Glimpses of the natural world: Lorine Niedecker as photographer
[Visual Essay] Photographs from the Lorine Niedecker archives at the Hoard Historical Museum in Fort Atkinson show how the poet observed light, landscape and detail
“She is alive in a visual world,” remarks scholar Caryl Pagel in her University Place lecture on the life and work of poet Lorine Niedecker (1903–1970). In preparing her talk, Pagel studied the photographs preserved in the Lorine Niedecker Archival Collection at the Hoard Historical Museum in Fort Atkinson. While she highlights existing images of Niedecker herself, Pagel also notes the many pictures taken from the poet’s point of view: “[Niedecker] made travel books, scrapbooks, collages. Many of her remaining photos weren’t of people at all, but of the natural world — glimpses she caught of the light and the grass and the animals.”
In an interview about the making of Welcome Poets, series producer Colin Crowley said his favorite discovery was realizing Niedecker “was a very intentional photographer.” And in the fourth chapter of the series, Nicholas Gulig explores how Niedecker used both photography and watercolor as part of her sustained practice of documenting the world around her.
Merrilee Lee, Director of the Hoard Historical Museum, together with the Friends of Lorine Niedecker, generously allowed PBS Wisconsin’s archival producer to digitize a substantial number of photographs from the Niedecker collection for use in Welcome Poets, and granted us further permission to present a selection of those digitized works here as a photo essay.
The images below are accompanied by brief captions. In some cases, Niedecker left only a word or two written on the back of the photo as identifying information, which we reproduce verbatim in quotation marks. Where she left no information, captions were supplied with the help of the Hoard Historical Museum and the Friends of Lorine Niedecker, or left blank.





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