Les liens tissés entre photographie et peinture dans la création artistique du XIXe siècle ont longtemps été passés sous silence par les historiens d'art. Dominique de Font-Réaulx, qui étudie les relations entre peinture et photographie depuis une quinzaine d'années, propose une étude inédite, pour comprendre la réception de cet art nouveau que les artistes peintres vont observer, craindre et conquérir. Quelle influence, quel rôle la photographie a-t-elle joué sur les peintres ? "L'art est et ne peut être que la reproduction exacte de la nature [...]. Un Dieu vengeur a exaucé les voeux de cette multitude. Daguerre fut son messie". Cette question de la reproduction mimétique du réel qu'observe Baudelaire est l'enjeu majeur de cette révolution artistique. En étudiant le portrait, le paysage ou le nu en photographie en regard de la peinture, l'auteur démontre notamment l'inspiration de Courbet ou de Degas pour cette nouvelle invention qui conduit la notion d'instantané. Peinture et photographie est une lecture passionnante, un face-à-face étonnant, sur deux arts essentiels de notre siècle.
"This comprehensive study offers detailed analysis of how classical painting challenged, resisted, and was influenced by the emergence of photography. Photography divided opinion since its invention; some saw it as an invaluable tool in the enhancement of artistic production, for others it was too mechanical to ever represent the grand concept of 'art.' This volume examines the fraught yet rich relationship that developed between them, from portraiture and landscapes to still lifes, nudes, and tableaux vivants. Accompanied by a rich selection of illustrations, the text charts this fascinating history from photography's first forays into the public domain and the organizations set up to defend it against criticism, to the influence of figures such as Daguerre, whose daguerreotype invention raised the possibility of being able to accurately replicate images. This volume explores not only photography's fight for recognition, but also its impact on painters of the day, as it challenged them to devise new ways to capture the human form, and forever changed the face of art."--Publisher description.
Author: Dominique de Font-Réaulx
On 7 January 1839, during a session of the Academy of Sciences in Paris, the physicist and politician Francois Arago presented a new process to reproduce images, using mechanical and chemical means without any manual intervention in a dark room. This procedure became known as the daguerreotype and marked the official birth of photography. Louis Daguerre's invention, in which a single image is exposed directly onto a mirror-polished copper plate coated with silver halide particles, definitively altered the way we look at the world and the representations we make of it, both artistic and scientific. This collection of French daguerreotypes drawn from the Musee d'Orsay emphasizes the particular aesthetic of these unique photographs, which are at once positive and negative. The development and rapid, but ephemeral, spread of Daguerre's invention in France are illustrated by the variety of subjects and the depth and quality of the collection the Museum has built up over the last few years.
Huang Yong Ping
Author: Emma-Charlotte Gobry-Laurencin
The aim of Hiding Making - Showing Creation is twofold. In the first instance, we seek to trace the Nachleben of these studio topoi from the nineteenth century to today, in particular focusing on how artists have employed them as strategies for showing certain aspects of their practice (above all those which perpetuate the notions of artistic genius and autonomy), while carefully hiding others from view (routine, failure, craft). Secondly, in order to achieve these goals, we have adopted a method that we feel not only does justice to the richness and diversity of the topic but which, we believe, will add a new dimension to the already abundant and ever growing literature on the artist's studio.
Author: Nicholas Cullinan
With essays by an international selection of authorities, extracts of previously untranslated writings by the artist, a chronology and bibliography, this is a comprehensive and revealing survey of Munch's work.
Roland Barthes, one of photography’s most influential critics, once described the ‘trouble’ introduced by the advent of photography. Studies of literature and photography tend to assess the literary effects of photography, with literature seen as the older, broader, more established cultural form, and photography the new, alien upstart. Photography and Literatureinstead reverses the angle of vision to examine photography’s encounters with literature from the point of view of photography, providing a new way of understanding its interplay with literature and the printed page. François Brunet begins by showing how photography’s invention and its publication were shaped by written culture, both scientific and literary. In turn he examines its early and durable incarnation in the book format, the ongoing and often repetitive ‘discovery’ of photography by writers, and, finally, how, in the twentieth century, photography and literature are seen to trade tools and even merge formats. He also focuses on writings by photographers, from William Henry Fox Talbot’s groundbreaking exploration of photography in The Pencil of Nature of the 1840s, to Raymond Depardon’s correspondence or Sophie Calle’s projects with Jean Baudrillard and Paul Auster. Ultimately, Brunet argues that the histories of photography and literature since 1840 have been drawing closer together, and that their convergence has provided recent writing with a new ‘photo-textual’ genre. Offering a wealth of examples from autobiography, manifestos and ?ction, and a fascinating variety of images from the mid-nineteenth century to the twenty-first,Photography and Literaturewill be of interest to anyone passionate about the historic relationship of text and image.
The Optic of the State
Author: Jens Andermann
Publisher: University of Pittsburgh Pre
Traces the production of nationalist imaginaries through the public visual representation of modern state formation in Brazil and Argentina. The purpose of these imaginaries was to vindicate political upheavals and secure the viability of the newly independent states through a sense of historic destiny and inevitable evolution. The visions of national heritage, territory, and social and ethnic composition were conceived in a complex interplay between government, cultural and scientific institutions, as a means of propagating political agendas and power throughout the emerging states.
Gustave Le Gray, 1820-1884
Author: Sylvie Aubenas, Gustave Le Gray, Gordon Baldwin, J. Paul Getty Museum
Publisher: Getty Publications
Gustave Le Gray's life was as romantic as any novel. A young painter in Rome, then a fashionable portrait photographer in Paris, Le Gray received commissions from Napolï¿½on III, and astonished viewers with his painterly landscapes and ravishing seascapes. Facing bankruptcy, he fled Paris with Alexandre Dumas to Palermo, traveled to the Middle East, and finally settled in Egypt, where he became drawing master to the ruler's children and continued to make photographs until his death in 1884. Le Gray's work had remained largely unknown by the general public until he was rediscovered in the 1960s and was deemed by connoisseurs to be the Monet of photography. The fruit of years of research, this complete retrospective offers, as no volume before it, an assessment of Le Gray's important place in the history of photography. This catalogue was originally published in French to accompany the exhibition Gustave Le Gray, Photographer (1820-1884) at the Bibliothï¿½que Nationale in spring 2002. This English-language edition, edited by Gordon Baldwin, associate curator of photographs at the Getty Museum, coincides with an abridged version of the same exhibition at the Getty Museum that will run from July 9 to September 29, 2002.
Art and Photography
Author: Aaron Scharf
Publisher: Penguin (Non-Classics)
Analyzes the relationship between art and photography in England and France since the mid-nineteenth century
Author: Janet E. Buerger, International Museum of Photography at George Eastman House
Publisher: University of Chicago Press
Upon its introduction in 1839, the daguerreotype was hailed as a magical reflection of reality. Today, these early examples of the first practical photographic process offer fascinating windows into the past. The daguerreotypes collected here not only document the birth of photography and its aesthetic and historical legacy but also provide insight into French art and culture. Lavishly illustrated, this volume is the first complete catalog of the French daguerreotype collection of the International Museum of Photography at George Eastman House. Janet E. Buerger uses this remarkable collection of images to produce a cultural history of the daguerreotype's most learned following—an elite group of mid-nineteenth-century intellectuals who sought to understand and develop the usefulness, potential, and beauty of this camera image. This varied group, including entrepreneurs, painters, scientists, and historians, enables Buerger to trace the influence of photography into virtually every area of nineteenth-century European intellectual life.
Author: Maurice Sceve
Publisher: Cambridge University Press
Maurice Scève (c.1500-c.1564) was a French poet and a key French Renaissance literary figure. Originally published in 1966, this edition of Scève's 1544 poetic cycle Délie, objet de plus haulte vertu was prepared specifically for English-speaking students. The poems are presented in French, with an extensive introduction and detailed textual notes in English. Textual analysis focuses more on 'the mechanism of the individual poem, so that sources and contemporary habits of rhetoric are considered in the first place as elements of the poetic effect'. This book will be of value to anyone with an interest in French poetry and Renaissance literature.
Author: Roland Barthes
"Examining the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind."--Alibris.
Letters of Gustave Courbet
Author: Gustave Courbet, Petra ten-Doesschate Chu
Publisher: Sterling Publishing Company
The French Realist painter Gustave Courbet (1819-77), a pivotal figure in the emergence of modern painting, remains an artist whose interests, attitudes, and friendships are little understood. A voluminous correspondent, Courbet himself, through his letters, offers a tantalizing avenue toward a keener assessment of his character and accomplishments. In her critical edition of over six hundred of the artist's letters, Petra ten-Doesschate Chu presents just such a look at the inner life of the artist; her unparalleled feat of gathering together all of Courbet's known letters, many heretofore unpublished and untranslated, is sure to change our evaluation of Courbet's creativity and of his place in nineteenth-century French life. Beginning when Courbet left his provincial home at eighteen and ending eight days before his death in exile in Switzerland, this correspondence enables readers to follow the artist's development from youth to mature artist of international repute. Addressed to such varied and key figures of the Second Empire and the early Third Republic as Charles Baudelaire, Alfred Bruyas, Max Buchon, Champfleury, Pierre Dupont, Theophile Gautier, Victor Hugo, Claude Monet, the Comte de Nieuwerkerke, Pierre-Joseph Proudhon, Jules Simon, Jules Valles, and Francis Wey, Courbet's letters offer numerous insights into the artist's private and public personae, his work, and his participation in the cultural and political life of his day. They will encourage a rethinking of fixed notions about Courbet while they help to form a more nuanced picture of the artist's marketing strategies, his relation to the contemporary media, his deliberate choice of subject matter for Salon paintings, hispreoccupation with photography, and his reasons for participating in the Commune. The correspondence is also important for a better understanding of Courbet's work. The letters reveal that the artist produced an uninterrupted flow of portraits of family and friends, work unaccounted for today that appears to be as crucial to the development of Courbet's art as his larger, better-known paintings. Petra ten-Doesschate Chu, a recognized expert on nineteenth-century French art, has spent over ten years collecting, translating, and annotating these letters. Along with her annotations, she has provided this edition with an introduction, a detailed chronology, short biographies of Courbet's correspondents and persons appearing frequently in the letters, a list of paintings and sculptures mentioned in the letters, and an inventory of the letters and their whereabouts. The result is an invaluable cultural resource, as useful as it is readable, as illuminating as it is entertaining.