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　　[Signature]Reviewed by Kirstin DowneyHistorian Linda

Gordon presents us with a portrait of the artist as a woman in her

fascinating new biography of photographer Dorothea Lange

[1895–1965], who captured the images of Americans on the move

during the Great Depression.Lange's most famous picture features a

migrant woman in California, a refugee from the Dust Bowl. She sits

by the side of the road in her lean-to tent, her children draped on

her body, hanging from her haggard frame like dead weights, as she

stoically looks out into the distance.But the book's central focus

is the journey made by the woman standing behind the camera lens.

Lange was raised on New York City's Lower East Side and overcame

obstacles almost from the start. During her childhood, her parents

separated, which Dorothea experienced as a desertion by her father,

and a bout of childhood polio left her with a permanent limp. She

spotted an opportunity, however, in photography, which was a

burgeoning new art field. Dorothea apprenticed herself to a master

to learn the craft, giving herself a new identity. She dropped her

childhood name, Dorothea Nutzhorn, and adopted her mother's maiden

name instead.She further redefined herself after making a westward

trek in 1918. Within two years, she emerged as a prosperous society

photographer in San Francisco who specialized in portraiture of the

city's elite, but that work dried up in the 1930s. Lange shifted

course again, becoming a documentary photographer for New Deal

programs. From 1935 to 1941, Lange was virtually a migrant worker

herself, traveling from place to place, photographing farm workers

in fields and primitive labor camps.Gordon wrestles with the issue

of how Lange dealt with her role as a woman in a society where

family burdens are disproportionately borne by females. Raising a

large brood of children and stepchildren, Lange frequently had to

put her own work aside to run the household. She also became the

primary breadwinner for her first husband, cowboy artist Maynard

Dixon, and later supported the career of her second husband,

economist and diplomat Paul Taylor, despite her own failing

health.Lange privately railed at her family obligations. She

shipped the children away when their care conflicted with her

schedule or that of her respective husbands. And sometimes she

could be cruel: she took revenge on her adolescent stepdaughter,

whose father dumped her in Dorothea's lap for months at a time,

criticizing and carping at her and photographing her in ways that

an adolescent girl would likely have found humiliating.Dorothea

Lange's talented eye brings the Great Depression home for us even

today, but an observer might suggest that Dorothea, despite her

fame and talent, was as much a captive of a woman's societal roles

as the migrant mother she so brilliantly photographed.

(Oct.)Kirstin Downey is a former staff writer at

theWashington Post and author of The Woman Behind the

New Deal: The Life of Frances Perkins, FDR's Secretary of Labor and

His Moral Conscience (Doubleday/Talese).

Copyright ? Reed Business Information, a division of Reed Elsevier

Inc. All rights reserved. --This text refers to the Hardcover

edition.

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