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The Art of Victorian Photography

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THE ART OF VICTORIAN
PHOTOGRAPHY

Dr. Laurence Shafe [email protected] www.shafe.uk

The Art of Victorian Photography

The invention and blossoming of photography coincided with the Victorian era and

photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment.

• My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts.
• I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium.
• In particular,
• Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The

Pencil of Light

• But was it an art, how photographers created ‘artistic’ photographs,
‘artistic’ scenes, blurring, the Pastoral

• The Victorian debate, Lady Eastlake, Julie Margaret Cameron, Oscar
Rejlander
• Practical uses – portraiture (putting artists out of business), picturesque scenes and travel guides, carte de visite and famous people, recording historic events (Crimean War), from the exotic to the erotic, from

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education to titillation

• The moving image ushered in a new way of seeing the world, everything from news to entertainment

References

• Wikipedia • William Henry Fox Talbot, The Pencil of Nature, 1844

• John Thomson, Victorian London Street Life in Historic Photographs. 37

photographs first published in the 1870s with a description of each person based on an interview at the time. The best evocation of the Victorian period available.

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Woodcut: Jost

Amman, wood block cutter at work, 1568

Woodcut: Jost Amman, wood block cutter at work, 1568

• Photography both records the world and allows that record to be reproduced. I

start with the earliest way in which images were reproduced.
• This shows a wood block print of a wood block cutter producing a wood block for reproductions. Before photography this was one of the few ways of producing an image that could be reproduced multiple times.

Notes

• Producing reproductions by cutting into wood was the oldest technique and was used by the Chinese in 200BCE. The first woodcut book illustration in the West

was 1461, a few years after the development of movable type (1450, Johannes

Gutenberg).

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Engraving: Albrecht

Dürer, St. Jerome in Hi s Study, 1514

Albrecht Dürer, St. Jerome in His Study, 1514, an engraving by a Northern Renaissance master

• The other method, was some form of intaglio where the artist cuts into a metal

plate using a gouge (burin) or using acid (etching).

• With a wood block the ink sits on the raised wooden areas that remain after cutting but with intaglio techniques the ink is pushed down into the cut lines to produce a black line. Both methods were used to produce illustrations for books and to produce art works that could be cheaply reproduced. An engraving was often produced by a specialist engraver working from a painting produced by an artist.

Notes

• Movable type had been invented by Johannes Gutenberg (1398-1468) in 1439 and the first book, of a German poem, was produced in 1450. The 42-line Bible or Gutenberg Bible was printed in 1455. Gutenberg had to borrow money and may have become bankrupt. He was largely forgotten but mentioned as the inventor of typography in 1504.
• “Of Dürer's three technically brilliant Meisterstiche (master engravings) of 1513

and 1514, the other two being Melencolia I (1514) and Knight, Death and the Devil

(1513). This is the one whose interpretation seems the most straightforward. Saint Jerome, translator of the Bible into Latin (the Vulgate) and thus the exemplar of the Christian scholar, is seated in a typical study of Dürer's day. He works peacefully at a slanted writing table, and his lion and dog slumber equally peacefully in the foreground. The light of his halo and the sunlight pouring in through the windows are in perfect equilibrium, and recurrent horizontals in the

composition add to the pervasive sense of repose and harmony.” (Met Museum)
• “He is often depicted with a lion in reference to a legend in which he was befriended by a lion after extracting a thorn from it's paw.” (V&A)

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• Dogs are often used by Dürer to represent loyalty.

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Paul Sandby (1731-1809), Roslin Castle, Midlothian, c. 1780, 45.8 x 63.5 cm, Yale Centre for British Art

Paul Sandby (1731-1809), Roslin Castle, Midlothian, c. 1780, 45.8 x 63.5 cm, Yale Centre for British Art

• Drawing using the camera obscura. • There were also methods to automate the recording of nature before the invention of photography.
• This painting shows Lady Frances Scott, an amateur artist of some repute (she

was known to Horace Walpole) with a camera obscura making her own mechanically assisted version of the scene. The picturesque viewpoint overlooks Roslin Castle, 8 miles from Edinburgh. Many artists including Paul Sandby used a camera obscura to keep a visual journal of their travels. Her friend Lady Elliot is

seated beside her adding a picturesque element to the scene. Amateur artists

appeared first in the eighteenth century and they were most often female

watercolourists painting landscapes.

• The camera obscura inspired Thomas Wedgwood, Joseph Nicéphore Niépce and

Henry Fox Talbot to try to find ways to automatically record the image displayed.

They were all aware that silver halides were sensitive to light.

• The artist, Paul Sandby (1731-1809), was an English map maker turned landscape artist in watercolours. He was a founding member of the Royal Academy with his

older brother Thomas Sandby.
Notes • Leonardo da Vinci (1452–1519), wrote the earliest known clear description of a

camera obscura in 1502. There are many earlier references to optical devices and it has been suggested that naturally occuring small holes into a dark cave could have thrown an image onto a wall and inspired cave painting.
• Roslin Castle is about eight miles southwest of Edinburgh and was built in the fourteenth century. The ruins over look the River Esk and the scene was often the subject of poetry and paintings. The wild and sublime view also attracted visitors

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and this painting reflects the growing trend for picturesque touring.

• 'Picturesque' beauty was created and promoted by the Reverend William Gilpin

whose ‘Observations on the River Wye’ appeared in print in 1782. He was a

pioneer of the 'Picturesque‘ and he saw the landscape as 'expressive of that

peculiar beauty which is agreeable in a picture.‘ His writings influenced the

remarkable popularity of English landscape painting during the last decade of the

18th Century, and inspired the Romantic poets. Gilpin’s book was arguably the first

tour guide to be published in Britain, it was one of a series of illustrated

guidebooks to help travellers locate and enjoy the most ‘Picturesque’ aspects of

the countryside.

• The design of the camera obscura was simple, light coming through a small

opening in front of the box would hit a mirror placed at an angle and this projected the image onto a glass surface on which was laid a sheet, allowing its user to draw the outlines. The camera obscura was extremely popular with amateur artists and travellers who wished to keep a visual record of their search for the picturesque. There were used by amateurs, as shown here, but also by professional artists, such as Paul Sandby, Canaletto (1697-1768) and Joshua Reynolds.

• It should be noted that Aristotle and Euclid mentioned a type of camera obscura. References

• Yale Center for British Art

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Nicéphore Niépce's View from the Window at Le Gras (1826 or 1827), the earliest surviving photograph of a real-world scene, made using a camera obscura at Saint-Loup-de-Varennes, France, 16.2 x 20.2 cm

Enhanced version of Niépce's View from the Window at Le Gras (1826 or 1827), the earliest surviving photograph of a real-world scene, made using a camera obscura at

Saint-Loup-de-Varennes, France, 16.2 x 20.2 cm, Harry Ransom Humanities Research

Center in Austin, Texas. The exposure time was probably several days.

• The first recorded image was taken by Thomas Wedgwood in 1800 but it could not be fixed and was very faint. The first surviving permanent image was taken by

Joseph Nicéphore Niépce (‘nee-say-four nee-eps’) in 1826 or 1827 but the image

took several days to record and could only be seen by holding the metal plate at

an angle. Niépce was also the inventor of the world’s first internal combustion

engine. He came from a wealthy family so they had to flee the French Revolution

but he later worked as a staff officer in the army under Napoleon. In 1801 he

returned to his family’s estates to continue his scientific research. In 1816 he

captured small negative images using silver chloride but he had no way of fixing them. He then used thinned bitumen painted on a plate. Sunlight would soften the bitumen which could then be eaten away using acid and the bitumen remaining

acted as an acid resist. It was used in 1822 to create the world’s first permanent

photographic image. It was later accidentally destroyed trying to make a print so the earliest surviving image is from 1825 but this is a photocopy. The earliest surviving image of the world is from 1826 or 27 and is a view from his window. In 1829, he went into partnership with Louis Daguerre.

• Louis-Jacques-Mandé Daguerre (1787–1851) was a French artist and

photographer, recognized for his invention of the daguerreotype process of photography. Before he went into partnership with Niépce he was a successful artist and theatre designer who had invented the diorama. Following the death of Niépce in 1833 Daguerre concentrated on the use of silver salts and the process he

invented, known as the daguerreotype was based on holding a silver-plated

copper sheet above iodine vapour to sensitise it and then exposing the sheet in a
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camera. This required long exposures but he discovered the time could be

dramatically reduced by holding the plate above mercury vapours. The developed image was then fixed by removing the unexposed silver iodide using salt water. He

later used ‘hypo’ (sodium thiosulphate). The image was reversed and the plate had

to be held at a certain angle to see the image. The image was also very sensitive to scratching and so was sealed under glass. On seeing his first image Daguerre said,

‘I have seized the light – I have arrested its flight!’ He became known as one of the fathers of photography. In 1839 the French Government agreed to pay him a pension for life of 6,000 francs (and 4,000 francs to the family of Niépce) in exchange for the invention which they then offered to the rest of the world for

free, excluding Britain because of Talbot’s patent.

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William Henry Fox Talbot

(1800-1877), Latticed

Fox Talbot,

window at Lacock

Latticed window at

ALabcboecyk,A1b8be3y5, 1835

William Henry Fox Talbot (1800-1877), Latticed window at Lacock Abbey, 1835 See http://en.wikipedia.org/wiki/William_Henry_Fox_Talbot

• This is one of the earliest photographs taken in the UK. It shows the leaded light windows of Lacock Abbey (10 miles from Bath), the home of William Henry Fox Talbot (1800-1877) the British inventor of photography.

• William Henry Fox Talbot (1800-1877) was the only son of William Davenport

Talbot of Lacock Abbey and Lady Elizabeth Fox Strangways. He was educated at

Harrow School and Trinity College, Cambridge and was awarded a prize in classics

in 1820. He communicated with the Royal Society on mathematical subjects and

optical researches and began experimenting with what became photography in

1834. His first successful photographs were taken in 1835 using paper sensitised

with sodium chloride but exposure times were typically hours. When Louis

Daguerre exhibited his pictures in 1839 Talbot showed his three and a half year old pictures at the Royal Institution in 1839. He submitted his process (photogenic drawing) to the Royal Society in February, six months before Daguerre revealed the details of his process. In 1841 he announced the discovery of the calotype or talbotype process which used paper coated with silver iodide. The silver iodide paper was sensitised and developed using silver nitrate, acetic acid and gallic acid

(from galls) and fixed using potassium bromide or ‘hypo’ and then thoroughly

washed. Using this process exposure times were reduced from hours to minutes.
• Talbot has often been criticised for patenting his work and charging a license fee of up to £300 a year as it was thought this held back the development of photography in Britain. The alternative daguerreotype process was free in the rest of the world although also patented and charged for in Britain. Talbot’s negative/positive process eventually became the standard in the nineteenth and

twentieth century and by 1860 the use of daguerreotypes was rare. Early

calotypes were fuzzy and daguerreotypes were sharp but in 1851, the year of

Daguerre’s death, the wet collodion process enabled glass to be used as the

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support and the level of detail became as great as in daguerreotypes. Wet plates

were inconvenient and in the 1880s the wet plates were replaced by the dry

gelatin coated plates.
• In 1884 George Eastman invented dry gel on film and in 1888 he launched the
Kodak camera with the slogan ‘You press the button, we do the rest’. The first widely used colour photography process was not discovered until 1907 although

coloured images could be projected using three black-and-white photographs and coloured filters. Kodachrome film and therefore simple colour photography was not introduced until 1935.
• In his final two years, Eastman was in intense pain caused by a disorder affecting

his spine. On March 14, 1932, Eastman shot himself in the heart, leaving a note

which read, "To my friends: my work is done. Why wait?"
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William Henry Fox Talbot, The Pencil of Nature, 1844

• But is it art?

• Talbot published The Pencil of Nature in six instalments between 1844 and 1846

and it was described as the ‘first photographically illustrated book to be commercially published’. Talbot had two objectives, to explain various practical

uses for photography and to present photographic images as an art form. His

practical uses included recording large collections of, for example, china and glass, quickly, to record ancient works for posterity and to record buildings and scenes.
• The book was written by Talbot and published by Longman, Brown, Green &
Longmans in London and it detailed his development of the calotype process and included 24 calotype prints, each one pasted in by hand, illustrating some of the

possible applications of the new technology. Since photography was still very much

a novelty and many people remained unfamiliar with the concept, Talbot felt compelled to insert the following notice into his book:

• The plates of the present work are impressed by the agency of Light alone, without any aid whatever from the artist's pencil. They are the sun-pictures themselves, and not, as some persons have imagined, engravings in imitation.

• The Pencil of Nature was published and sold one section at a time, without any binding (as with many books of the time, purchasers were expected to have it bound themselves once all the instalments had been released). Talbot planned a large number of instalments; however, the book was not a commercial success and he was forced to terminate the project after completing only six.
• Each plate is accompanied by a short text which describes the scene and the photographic processes involved in obtaining it. Talbot emphasized the practical implications of his images (for instance, "The whole cabinet of a Virtuoso and collector of old China might be depicted on paper in little more time than it would

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take him to make a written inventory describing it in the usual way."), but he also

recognized their artistic value (see next slide).
• Due to the novelty of the subject, Talbot needed to point out some things that

seem obvious today; for instance, ‘Groups of figures take no longer time to obtain than single figures would require, since the Camera depicts them all at once,

however numerous they may be.’ He also speculated about such questions as

(among others) whether photographs would stand up as evidence in court and whether a camera could be made to record ultraviolet light.
• At the beginning of the book, Talbot included an incomplete history of his

development of the calotype, titled ‘Brief Historical Sketch of the Invention of the

Art.’ The history ends rather abruptly, and though Talbot expressed his intention to

complete it at a later date, he never did.

Contents of the Pencil of Nature

Part 1 PLATE I. PART OF QUEEN'S COLLEGE, OXFORD. . . 15 PLATE II. VIEW OF THE BOULEVARDS AT PARIS. . 17 PLATE III. ARTICLES OF CHINA. . . . . . . . . . . . . 19 PLATE IV. ARTICLES OF GLASS. . . . . . . . . . . . . 21

PLATE V. BUST OF PATROCLUS. . . . . . . . . . . . 23

Part 2 PLATE VI. THE OPEN DOOR. . . . . . . . . . . . . . . 25 PLATE VII. LEAF OF A PLANT. . . . . . . . . . . . . . 27 PLATE VIII. A SCENE IN A LIBRARY. . . . . . . . . . 29 PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE. 31 PLATE X. THE HAYSTACK. . . . . . . . . . . . . . . . 33 PLATE XI. COPY OF A LITHOGRAPHIC PRINT. . . . 35 PLATE XII. THE BRIDGE OF ORLEANS. . . . . . . . . 37

Part 3 PLATE XIII. QUEEN'S COLLEGE, OXFORD. . . . . . . 39 PLATE XIV. THE LADDER. . . . . . . . . . . . . . . . 41 PLATE XV. LACOCK ABBEY IN WILTSHIRE. . . . . . 43

Part 4 PLATE XVI. CLOISTERS OF LACOCK ABBEY. . . . . 45 PLATE XVII. BUST OF PATROCLUS. . . . . . . . . . . 47 PLATE XVIII. GATE OF CHRISTCHURCH. . . . . . . . 49

Part 5

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PLATE XIX. THE TOWER OF LACOCK ABBEY . . . . 51

PLATE XX. LACE . . . . . . . . . . . . . . . . . . . . . 55 PLATE XXI. THE MARTYRS' MONUMENT . . . . . . 57

Part 6 PLATE XXII. WESTMINSTER ABBEY . . . . . . . . . 59 PLATE XXIII. HAGAR IN THE DESERT. . . . . . . . . 61 PLATE XXIV. A FRUIT PIECE. . . . . . . . . . . . . . . 63

7

Henry Fox Talbot, ‘The Open Door’, Plate VI,

The Pencil of Nature, 1844

Henry Fox Talbot, ‘The Open Door’, Plate VI, The Pencil of Nature, 1844

• "The chief object of the present work is to place on record some of the early

beginnings of a new art, before the period, which we trust is approaching, of its being brought to maturity by the aid of British talent.“

8

Henry Fox Talbot, ‘View of the Boulevards of Paris’, Plate II,

The Pencil of Nature, 1844

Fox Talbot, ‘View of the Boulevards of Paris’, Plate II, The Pencil of Nature, 1844

The Pencil of Nature (1844-6)

• From the beginning Talbot was motivated to automate the artistic process and to

be able to reproduce the image mechanically. In 1841 he licensed Henry Collen, a miniature painter as the first professional calotypist and between 1844 and 1846 he published six instalments of The Pencil of Nature, the first photographically illustrated book to be commercially published.

• This picture is the second picture from the first volume of the book. He included

one portrait and one artistic image in the book and ten of the 24 images were of

specific locations such as Westminster Abbey, Queen’s College and Lacock Abbey.

He realised that complete collections of, for example, china, could be recorded

easily and he also recognised their artistic value.

• Talbot presented photography as an art form from the beginning. He also pointed out other aspects, such as recording collections of, for example, glassware or ceramics, recording detail instantly, making copies of important documents and works of art and recording architecture and scenes. The idea came to him during his visit to Italy in 1823-24 when he was recording the images from a camera obscura onto paper. He realised at once the importance of silver nitrate which goes dark quickly when exposed to light. He returned to England in 1834 and started experimenting immediately. It took months of experimenting before he realised that a weak solution of salt produced a darker image with silver chloride than a stronger solution. He then had the problem of fixing the resulting image and first tried silver iodine. The announcement of the daguerreotype by M. Daguerre in 1839 caused him to announce his discovery.

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  • Information to Users

    Information to Users

    Alfred Stieglitz and the opponents of Photo-Secessionism Item Type text; Thesis-Reproduction (electronic) Authors Zimlich, Leon Edwin, Jr., 1955- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:07:09 Link to Item http://hdl.handle.net/10150/291519 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy.
  • Download PDF Version

    Download PDF Version

    100 Books With Original Photographs 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS 100 BOOKS With ORIGINAL PHOTOGRAPHS 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS Paul M. Hertzmann & Susan Herzig David Margolis & Jean Moss Post Office Box 40447 Post Office Box 2042 San Francisco, California 94140 Santa Fe, New Mexico 87504-2042 Tel: (415) 626-2677 Fax: (415) 552-4160 Tel: (505) 982-1028 Fax: (505) 982-3256 E-mail: [email protected] E-mail: [email protected] Association of International Photography Art Dealers Antiquarian Booksellers’Association of America Private Art Dealers Association International League of Antiquarian Booksellers 90. TERMS The books are offered subject to prior sale. Customers will be billed for shipping and insurance at cost. Payment is by check, wire transfer, or bank draft. Institutions will be billed to suit their needs. Overseas orders will be sent by air service, insured. Payment from abroad may be made with a check drawn on a U. S. bank, international money order, or direct deposit to our bank account. Items may be returned within 5 days of receipt, provided prior notification has been given. Material must be returned to us in the same manner as it was sent and received by us in the same condition. Inquiries may be addressed to either Paul Hertzmann, Inc. or Margolis & Moss Front cover and title page illustrations: Book no. 82. 2 introduction his catalog, a collaborative effort by Paul M. Hertzmann, Inc., and Margolis & Moss, T reflects our shared passion for the printed word and the photographic
  • Photography 2: Landscape, Place and Environment

    Photography 2: Landscape, Place and Environment

    Landscape, Place and Environment Part One: Beauty and the Sublime Helen Sear, B eyond the View 5 (2010) Image courtesy of the artist. 22 Photography 2: Landscape, Place and Environment “Do not put off doing a coveted picture until another year, for next year the scene will look very different. You will never be able twice to get exactly the same thing.” Peter Henry Emerson, Hints on Art i n N aturalistic Photography for Students of the Art ( 1889) The ‘land’ – or perhaps, ‘our environment’, or ‘the terrain we inhabit’, or simply ‘the space that surrounds us’ – has featured within all documented aspects of human culture: adorning the walls of the caves that our ancestors inhabited; as settings for theological texts and mythological narratives; as a backdrop to historical friezes; as the theme of folksongs and symphonies. The landscape – including water – is an ever-present motif, reminding us of the intrinsic relationship between people and their surroundings. Whether celebrated for its beauty and the resources it provides or respected for its power and the challenges it presents, the different ways we’ve represented the landscape – and continue to represent it – tell us, above all, about the depth, range and contrasting values we place upon it. Lascaux Cave Painting ( Palaeolithic period) Discovered in 1940. Image courtesy of Bridgeman Images. 23 Photography 2: Landscape, Place and Environment As you’ll see when you work through Part One of this course, photographic landscape traditions, like other photographic approaches, are grounded in landscape painting, and these conventions – including particular attention to the ‘play’ of light on the land and strict compositional standards – have continued to dominate landscape photography, within all applications of the medium.
  • Century British Photography and the Case of Walter Benington by Robert William Crow

    Century British Photography and the Case of Walter Benington by Robert William Crow

    Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography.
  • Alvin Langdon Coburn Photographie Zwischen Piktorialismus Und Moderne

    Alvin Langdon Coburn Photographie Zwischen Piktorialismus Und Moderne

    2018-01-30 14-50-55 --- Projekt: transcript.anzeigen / Dokument: FAX ID 02bd483679102714|(S. 1- 2) VOR4193.p 483679102722 Aus: Cathrin Hauswald Alvin Langdon Coburn Photographie zwischen Piktorialismus und Moderne Februar 2018, 318 Seiten, kart., zahlr. Abb., 39,99 €, ISBN 978-3-8376-4193-6 Alvin Langdon Coburn ist der erste Künstler, der 1916 von »abstrakter Photographie« schreibt und sie auch ästhetisch umsetzt. Und das, obwohl er selbst der piktorialisti- schen Strömung, der stimmungsvollen Kunstphotographie, angehört. Anhand von Coburns Wirken als zentrale Figur des epistemisch-ästhetischen Umbruchs in der Zeit der Jahrhundertwende verdeutlicht Cathrin Hauswald eindrucksvoll die Entwick- lung der Photographie vom 19. Jahrhundert in die Moderne. Sie zeigt: Während Co- burn die Beben des technologischen und photographischen Fortschritts aufzeichnet und gleichsam gestaltet, inszeniert sich der Kunstphotograph selbst als ambivalentes und geradezu antimodernes Element seines photographischen Schaffens, dessen Ziel stets die eigene Nobilitierung bleibt. Cathrin Hauswald (Dr. phil.) ist wissenschaftliche Mitarbeiterin der Sammlung Foto- grafie und neue Medien im Museum für Kunst und Gewerbe Hamburg. Von 2013 bis 2016 war sie Stipendiatin am DFG-Graduiertenkolleg »Das Reale in der Kultur der Moderne« an der Universität Konstanz. Zu ihren Forschungsinteressen zählen Foto- geschichte(n) und fotografische Ausstellungsformate. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-4193-6 © 2018 transcript Verlag, Bielefeld 2018-01-30 14-50-55 --- Projekt: transcript.anzeigen / Dokument: FAX ID 02bd483679102714|(S. 1- 2) VOR4193.p 483679102722 Inhaltsverzeichnis Siglen | 7 Vorwort | 9 1 IM UMBRUCH. PHOTOGRAPHIE UM 1900 | 13 1.1 Ist Photographie Kunst? | 15 1.2 Eine elitäre Strömung: der Piktorialismus | 20 1.2.1 Die Amateure sind los! | 20 1.2.2 Coburn, der Amateur | 23 1.2.3 Malerische Photographie | 26 1.3 Tradition und Moderne | 30 1.3.1 Mimesis und Abstraktion | 30 1.3.2 Strukturierung und Symbolismus | 33 2 KÜNSTLERISCHE MYTHEN.
  • The Development and Growth of British Photographic Manufacturing and Retailing 1839-1914

    The Development and Growth of British Photographic Manufacturing and Retailing 1839-1914

    The development and growth of British photographic manufacturing and retailing 1839-1914 Michael Pritchard Submitted for the degree of Doctor of Philosophy Department of Imaging and Communication Design Faculty of Art and Design De Montfort University Leicester, UK March 2010 Abstract This study presents a new perspective on British photography through an examination of the manufacturing and retailing of photographic equipment and sensitised materials between 1839 and 1914. This is contextualised around the demand for photography from studio photographers, amateurs and the snapshotter. It notes that an understanding of the photographic image cannot be achieved without this as it directly affected how, why and by whom photographs were made. Individual chapters examine how the manufacturing and retailing of photographic goods was initiated by philosophical instrument makers, opticians and chemists from 1839 to the early 1850s; the growth of specialised photographic manufacturers and retailers; and the dramatic expansion in their number in response to the demands of a mass market for photography from the late1870s. The research discusses the role of technological change within photography and the size of the market. It identifies the late 1880s to early 1900s as the key period when new methods of marketing and retailing photographic goods were introduced to target growing numbers of snapshotters. Particular attention is paid to the role of Kodak in Britain from 1885 as a manufacturer and retailer. A substantial body of newly discovered data is presented in a chronological narrative. In the absence of any substantive prior work this thesis adopts an empirical approach firmly rooted in the photographic periodicals and primary sources of the period.