ch. 3: popular photography and the aims of art

Ambrotype, 1858.

• A glass plate (collodion negative) is painted with an opaque black paint or put against black paper or velvet.• Did not have the same highly reflective surface as the daguerreotype, but was less expensive to produce.

Tintype

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Tintype camera, 1870.

Maury & Geiser, carte-de-visite, 1860s.

Portrait of Andre Disderi. He patented the carte-de-visite, introduced to the public in Paris, 1854.

Disderi, Clown in White Face, 1860.

Disderi, Princess Buonapart Gabrielli, 1862.

Baron & Mitkiewic, cartes-de-visites, 1860s.

Unknown, Turkish Lady of Rank, carte-de-visite, ND.

William Mumler, spirit photograph

William Mumler, Mary Lincoln with Ghost of Abraham Lincoln, carte-de-visite, after 1865.

Unknown, Haunted Lane

Unknown, spirit photograph

• Made by letting the model for the “spirit” leave the scene before exposure was completed, creating a “ghost” image.

• Spiritualists believed that human personality could survive and communicate with the living through a medium.

• In 1855 in New York, there were over 2 million spiritualists, 11 million in the U.S.

Unknown, The Ghost of Milton, stereograph, ND.

Spiritualist movement - opposite to Positivism

• Positivism stated that social progress and human knowledge were dependent on precise, ordered observation and comparison of external events.

• Positivism favored the exactitude of science. • The Spiritualists were interested in symbols and internal reality.

Stereo viewer with card

Stereo daguerreotype, ND.

Carlton Watkins, Mirror View, Yosemite, stereo card, 1866.

Stereo camera - produced two images simultaneously, mid 1850s.

Unknown, Looking Up Broadway From the Corner of Bromme St., stereo card, 1860.



Wm. England, View of Glacier, Switzerland stereo card, ND.

Unknown, Rainy Day Sports, stereo card, ND.

Unknown, The Fresh View Agent Soliciting, stereo card, 1860s.

Photography As Art

Nadar, cartoon illustrating photography’s attempts at recognition as art.

Three main positions about the potential of camera art emerged.

• Photographs can’t be considered art because they are made with a mechanical device and by a physical and chemical phenomena rather than by human hand and spirit.

• Photographs are useful to art but should not be considered equal in creativity to drawing and painting.

• Photographs can be considered art since they require creativity and control.

Negre, Chimney Sweeps Walking, salted paper print, 1851.

Ingres, Mr. Granet, oil on canvas, 1845.

Ingres, Madame D’Haussonville, oil on canvas, 1845

Nadar, Charles Baudelaire, paper print 1855.

Nadar, Charles Baudelaire, paper print 1854.

Etienne Carjat, Charles Baidelaire, 1862

Eugéne Delacroix, Odalisque, oil on canvas, ND



Hill & Adamson, portrait of Lady Eastlake, calotype, 1840

Camille Silvy, Valley of the Huisine, albumen print, 1856

Ingres, La sucre, oil on canvas, 1856.

Krone, Nude study, daguerreotype, 1850.

Unknown, Nude study, stereocard, ND

Unknown, daguerreotype, ND

Unknown, albumen print, 1870s.

Millet, Emptying Bucket, cliché verre, 1862

Roger Fenton, Still Life, 1860s.

Adolph Braun, Still Life With Deer, carbon print, 1865.

Oscar Rejlander, Hard Times, combination print, 1860.

Oscar Rejlander, Two Ways of Life, combination print, 1857.

Raphael, School of Athens, fresco, Apostolic Palace, Vatican City, 1511.

Oscar Rejlander, Self Portrait, 1860.

Oscar Rejlander, The Bachelor’s Dream, albumen print, ND.

Oscar Rejlander, Caught!, albumen print, 1874.

Henry Peach Robinson, Fading Away, combination print, 1858.

Robinson, When Day’s Work is Done, albumen print, 1877.

Robinson, A Merry Tale, albumen print, 1882.

Robinson, He Never Told His Love, albumen print, 1884.

Robinson, Little Red Riding Hood, albumen print, 1880s.

Julia Margaret Cameron, the Madonna, albumen print, 1868.



Julia Margaret Cameron, the Three Marys, albumen print, 1868.



Julia Margaret Cameron, the Rosebud Garden of girls, albumen print, 1868.

Julia Margaret Cameron, Ophelia study No. 2, albumen print, 1867.



Arthur Hughes, Ophelia, oil on wood, 1868.Pre-Raphaelite



Julia Margaret Cameron, Ophelia, albumen print, 1867.



Rosetti, the Daydream, oil on canvas, 1872, Cameron, the Princess, collodion, 1874.

Lewis Carroll, untitled, albumen print, ND.



Lewis Carroll, Alice Liddell as a Beggar Girl, albumen print, 1859.



Lewis Carroll, Beatrice Hatch, albumen print with applied color, ND.

Julia Cameron, portrait of Lewis Carroll, albumen print, ND.



Lady Clementina Hawarden, untitled, albumen print, ND.

Lady Clementina Hawarden, Girl in Fancy Dress, albumen print, 1860

Nadar (Gaspard Felix Tournachon), self portrait, albumen print, ND.

Nadar’s studio building

Nadar, portrait of Charles Baudelaire.

Nadar, Sarah Bernhardt, 1860.

Nadar, Pierrot Surpized, 1860.

Nadar, Pierrot the Photographer, 1860.



Nadar, George Sand, 1860.

Nadar, Revolving Self Portrait, ND.

Nadar, Aerial View of Paris, 1858.

Nadar, Catacombs, 1861.

Nadar, Self Portrait in Catacombs, 1861.

Napoleon Sarony, Sandra Bernhardt, 1860.



Napoleon Sarony, Sandow, 1860.

Louis Pierson, Countess Castiglione.

Louis Pierson, Venegance.

Louis Pierson, One Sunday, 1861.

ch. 3: popular photography and the aims of art

Art & Photos

albumen print

combination print

carbon print

salted paper print

stereo daguerreotype

stereo camera

julia margaret cameron

switzerland stereo card