Characterization, Contextualization and Reception of Robert Demachy's

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Julien Faure-Conorton Characterization, contextualization and reception of Robert Demachy’s photographic work (1859-1936) Ph.D. Thesis defended on 11 May 2015 at the École des Hautes Études en Sciences Sociales (EHESS), Paris to be granted the title of Doctor of Art History and Theory summa cum laude Examiners: - Jacques Aumont, Research Director, EHESS, Paris - Claire Barbillon, Professor, Poitiers University - Michel Frizot, Research Director Emeritus, CNRS, Paris (supervisor) - Bertrand Lavédrine, Professor, MNHN, Paris - François-René Martin, Professor, ENSBA, Paris - Anne de Mondenard, Curator, C2RMF, Paris Abstract: From 1894 to 1914, Robert Demachy (1859-1936) was the leader of French pictorial photography and his name became famous worldwide thanks to the excellence of his works. Touchstone of the Photo-Club de Paris, he is still considered today as one of the best “pictorialists” and remains one of the most important names in the history of French photography. Yet, until now, his work had never been studied extensively. This is the purpose of this thesis, which is not limited to the study of the pictorialist adventure but embraces all the phases and all the aspects of his work, from the 1870s to the 1930s. Almost 6000 original works of all kinds have been taken into account: negatives, prints, albums, glass slides, etc. Great technician, apostle of the pigment processes (gum bichromate, oil, oil transfer), Robert Demachy was also a prolific writer and his numerous articles had a decisive influence on the growth and legitimization of pictorial photography, from his technical instructions to his theoretical essays (notably those against “straight photography”). He also played a key role in the development of foreign pictorialism in France, especially British (Linked Ring) and American (Alfred Stieglitz’s Photo-Secession). This thesis also examines his links with contemporary artists (painters, engravers) and the spreading of his work (prints, writings, photo-engravings), the reception of which is highly revealing. Wishing to replace the idea of “amateur photography” at the core of the study of pictorialism, this thesis also endeavours to recount Robert Demachy’s personal life, which is inseparable from his work. All this contributes to put things in perspective and to give a new dimension and a new meaning to his work. Through the figure of Robert Demachy, it is therefore a new history of pictorial photography which is offered here. Characteristics: Volume I (Text): 632 pages, 2403 footnotes. Volume II (Appendixes, Annexes, Archives and Bibliography): 504 pages. .

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