|
|
|
|
| |
Dominique de Font-Reaulx
|
|
Painting and Photography: 1839-1914
Автор: Dominique de Font-Reaulx Жанр: Flammarion Издательство: Flammarion Год: 2013 Страниц: 328 Дата загрузки: 14 февраля 20152015-10-17
|
|
This pioneering study offers detailed analysis of the impact of photographys birth on the classical art form of painting. Photography divided opinion in its early years; some saw it as an invaluable tool in the enhancement of artistic reproductions, while many believed it to be too mechanical to be associated with the grand concept of Art. Covering portraiture, landscapes, nudes, tableaux vivants, and still lifes, this richly-illustrated volume showcases some of the earliest photographic works alongside paintings that challenged, resisted, or were influenced by the emergence of photography in the first half of the nineteenth century. Author Dominique de Font-Reaulx examines the birth of photography in this period, its first forays into the public domain, and the organizations set up to preserve and defend it against a raft of criticism. The influence of figures such as Daguerre (creator of the daguerreotype, and originally a painter himself), Niepce, and Hippolyte Bayard is charted, as the idea of accurately replicating images seen by the human eye gradually became a very real possibility. Imperfections, for so long erased by painters seeking to capture an idealized version of the body, were laid bare by an invention that captured even the minutest details. Featuring an engaging text accompanied by a rich selection of illustrations, Painting and Photography explores not only photographys fight for recognition, but its impact on painters of the day, challenging them to devise new ways of capturing the human form.
|
| |
|
Towards Photojournalism 1848-1919
Автор: Dominique de Font-Reaulx Жанр: Разное Издательство: 5 Continents edition Год: 2011 Страниц: 96 Дата загрузки: 15 апреля 20152013-07-24
|
|
Ever since its invention in 1839, photography has had the ambition of reproducing everything and depicting the overall reality of the world. Given the long exposure times of the daguerrotype, the first photographic journeys were dedicated to landscapes and major monuments. Despite the technical obstacles, the attempt to produce a faithful or composed vision of people, of their singularity, their joys and sufferings, appeared by the end of the 1840s, linked to the realist approach of painting and the humanist philosophers. This book features a selection of documentary photographs including those by Felix Thiollier, which reveal his great human and artistic sensibility-depicting the work of the miners in the Saint-Etienne region. Also included are the photographs taken in Poland at the beginning of the 20th century in a Jewish ghetto, which underline the injustice of the fate of the children and the self-sacrifice of their relatives. The book discusses this new form of visual documentation and how it was embodied in the reproduction of major events, such as the barricades in rue Saint-Maur photographed by Thibault in 1848, and in the highlighting of the philanthropic projects recorded in the visits of Charles Negre to the Asile imperial de Vincennes during the 1850s, and in the photographs of explorers and missionaries by Charnay in Madagascar.
|
| |
|
|
|
|
|
