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Jacob August Riis (/ r iː s / REESS; May 3, 1849 – May 26, 1914) was a Danish-American social reformer, "muck-raking" journalist, and social documentary photographer. He contributed significantly to the cause of urban reform in the United States of America at the turn of the twentieth century. [ 1 ]
Jacob Riis, author of How the Other Half Lives. Jacob Riis emigrated from Denmark in 1870 to New York City, eager to prove himself. Finding it difficult to find work, he found a home in the slums of New York's Lower East Side. [13] He went back to Denmark for a short time, returning to New York to become a police reporter.
Pages in category "Photographs by Jacob Riis" The following 6 pages are in this category, out of 6 total. This list may not reflect recent changes. B.
Lodgers in Bayard Street Tenement, Five Cents a Spot (1889) by Jacob Riis. Lodgers in Bayard Street Tenement, Five Cents a Spot is a black and white photograph taken by Danish-American photographer Jacob Riis, in 1889. It was included in his photographic book How the Other Half Lives, published in 1890. [1]
Bandits' Roost, 59 1/2 Mulberry Street is a black and white photograph produced by Danish-American photojournalist and social reformer Jacob Riis in 1888. [1] [2] The photograph was possibly not taken by Riis but instead by one of his assistant photographers, Henry G. Piffard or Richard Hoe Lawrence. [3]
"I Scrubs" (c. 1890) by Jacob Riis "I Scrubs", full title: ‘I scrubs.’Little Katie from the W. 52nd Street Industrial School, is a black and white photograph taken by Danish American photographer and social reformer Jacob Riis, c. 1890.
Street Arabs in the Area of Mulberry Street (c. 1890) by Jacob Riis. Street Arabs in the Area of Mulberry Street is a black and white photograph taken by Danish American photographer Jacob Riis, probably in 1890. The designation of street arabs was given back then to homeless children.
To the right, a man is barely visible, carrying a shovel, probably a working companion, since he was almost totally cropped from the photograph. The surprised look of the man is most likely due to the effect the flash photographs used by Riis sometimes had on the people he captured on camera, often without their permission. [2] [3]
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