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1885- Història De La Fotografia Professor: Miquel Seguí Aznar Curs 2001/2002

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1885- Història De La Fotografia Professor: Miquel Seguí Aznar Curs 2001/2002 Universitat de les Illes Balears Departament de Ciències Històriques i Teoria de les Arts Programa: 1885- Història de la Fotografia Professor: Miquel Seguí Aznar Curs 2001/2002 L’assignatura és de caràcter anual amb una assignació de 12 crèdits, desglossats en 8 teòrics i 4 pràctics. Les pràctiques es duran a terme a l’aula i al laboratori. I.- Els antecedents: - Anticipació literària. - El component químic: els materials fotosensibles i els alquimistes de la Edat Mitja; el coneixement del nitrat de plata i el descobriment del clorur de plata; les investigacions en el segle XVII i XVIII; les experiències de Wedgwood i Davy. - L'evolució i desenvolupament del component físic: les càmares obscures. - Els antecedents ideològics: la moda dels perfils i de les siluetes; el fisionotrazo; la càmera lucida. II.- La invenció de la fotografia: - Joseph-Nicéphore Niépce (1765-1833). La litografia. Les heliografies. El betum de Judea. La primera fotografia coneguda. Les càmeres de l’inventor. - Daguerre i el Diorama. - L’associació Niépce-Daguerre (1829). III.- Daguerre i el daguerrotip: - El llançament del daguerrotip i la consagració de Daguerre com inventor. - L’època del daguerrotip: primers materials fotogràfics; resò mundial de la fotografia. - Adeptes i retractors. - Els estudis fotogràfics. - Els geners fotogràfics: el paisatge; el retrat; la fotografia de viatges; altres aplicacions. Les primeres fotografies científiques. IV.- La imatge sobre paper i la imatge multiplicada: Hippolyte Bayard. Fox Talbot. Les primeres experiències: el dibuixo fotogènic. El calotipo. La fotografia com procediment par a la reproducció de l’obra d’art. The Pencil of Nature 1 - Desenvolupament del calotip: el retrat. David Octavius Hill. - Blanquart-Evrard. - Niépce de Sant Victor (1805-1870) i el procés de l’albúmina. V.- El col.lodió humit i el seu apogeu: - Frederick Scott Archer i el col.lodió humit. Cap a la instantània. Tècnica d’aquest procediment. - L’ambrotip. - L’evolució de la càmera. - Les primeres fotografies pictoralistes. - Fotògrafs destacats: Nadar (1820-1910); Julia Margaret Cameron (1815-1879); Lewis Caroll (1832-1898). - El retrat comercial. La <<carte de visite>>: André-Adolphe Disdéri. - Apogeu del col·lodió: el retrat; la fotografia documentalista; els primers reportatges de guerra; la fotografia signalèctica i judicial; la fotografia aèria. - El ferrotip. - Els estudis fotogràfics. VI.- La placa seca: el gelatino-bromur: - Richard Leach Maddox i el procediment del gelatino-bromur. - Laboratoris i productes. Normalització internacional. - Els objectius i les càmeres fotogràfiques. - George Eastman i la fundació Kodak. La fotografia d’ aficionat. - El desenvolupament de la indústria fotogràfica i l’organització de la professió. - La fotografia pictoralista. El naturalisme: Emerson; Alfred Stieglitz i la <<Photo- Secession>>. - El documentalisme social: Jacob August Riis i Lewis Wickes Hine. Eugène Atget (1856- 1927). - La cronofotografia: Eadweard Muybridge (1830-1904), Etienne-Jules Marey, homas Eakins. Incidències en les arts plàstiques. VIII.- El color: - Charles Gros i Louis Ducos du Hauron. - La tricromia. - Gabriel Lippmann i el mètode interferencial. 2 - Els sistemes reticulats i la síntesi sostractiva. - El reticulat fotogràfic i el puntillisme pictòric. IX.- La fotografia i l’art: - La fotografia com instrument en la creació artística. - La fotografia com a mitjà d’expressió plàstica. - La fotografia, auxiliar de conservació i restauració. - La fotografia arqueològica i monumental. - Els arxius fotogràfics. - Instrument de divulgació de l’art. X.- El període d’entre guerres: - Les avantguardes històriques i la fotografia. - La nova objectivitat. - El grup de la <<Farm Security Administration>>. - La fotografia en els països totalitaris: l’ Alemanya nazi i la URSS. - Els avanços en la tècnica fotogràfica. - La conquesta de l’instant: H.Cartier-Bresson . - El fotoperiodisme. - La fotografia Live. XI.- De la postguerra a la postmodernitat: - Tendències i representans. - El fotoperiodisme. La agència Magnum. - El retrat. - La fotografia de moda. - La estètica de fi de segle: Pierre Molinier, el precursor; Joel Peter Witkin; Robert Mapplethorpe; Cindy Sherman. - Noves propostes fotogràfiques. XI.- La fotografia a Espanya: - Els inicis: les diferents traduccions del text de Daguerre i la progressió del Daguerrotip. El calotip. - Els viatgers estrangers i la divulgació de la fotografia a Espanya. - El retrat i els retratistes. - Ciència i fotografia. 3 - El pictoralisme. - Les avantguardes històriques i la fotografia. - Publicitat i cartellisme. - La guerra civil i els anys de la postguerra. - Josep Renau i el fotomontatge. - L’avantguarda fotogràfica dels anys 70. - Els anys 80 i breu panorama dels anys 90. Criteris d’avaluació: Es valoraran els coneixements de la matèria, en l’examen i en el treball, adquirits a les classes, així com amb les lectures complementàries. BIBLIOGRAFIA A.A.V.V., <<Articles de prensa 1925-1945>>, a Les avantguardes fotogràfiques a Espanya 1925-1945, Fundació <<la Caixa>>, Barcelona, 1998, pp. 173-194. A.A.V.V., A l'Est de Magnum 1945-1990, Les Éditions Arthaud, París, 1991. A.A.V.V., Ideas y caos, aspectos de la vanguardias fotográficas en España, Ministerio de Cultura, Madrid, 1984. A.A.V.V., Técnicas de los grandes fotógrafos, Hermann Blume Ediciones, Madrid, 1983. ABADIE, Daniel, <<Bernard Faucon. Une lumière d'éternité>>, a Cimaise, nº 192, 1988, pp. 61-72. ADAM, Hans Christian i XANTHAKIS, Alkis X., <<Margaritis and the Mysterious Perraud. Early Daguerreotypes of Classical Athens>>, a History of Photography, vol. 16, nº 1, 1992, pp. 61-69. ADAMS, Ansel, An Autobiography, Little, Brown and Company, Boston-Nueva York-Toronto-Londres, 1996 (1946). ADES, Dawn, Photomontage, Thames and Hudson, Londres, 1976. AGEE, James i EVANS, Walker, Elogiemos ahora a hombres famosos, Editorial Seix Barral, Barcelona, 1993 (1941). AGUILO, Catalina, Josep Truyol (1868-1949), Consell de Mallorca. Comissió de Cultura i Patrimoni Històric/Sa Nostra, Palma de Mallorca, 1999. AGUILO, Catalina, Josep Truyol fotògraf i cineasta 1868-1949, Miquel Font Editor, Palma de Mallorca, 1987. ALEIXANDRE PORCAR, José, HUGUET CHANZA, Josep i MERITA, Josep, Memoria de la luz. Fotografía en la Comunidad Valenciana, 1839-1939, Consellería de Cultura, Educació i Ciència de la Generalitat Valenciana, Valencia, 1992. ALEXANDER, M. Darsie, <<Diane Arbus. A Theatre of Ambiguity>>, a History of Photography, vol. 19, nº 2, 1995, pp. 120-123. ALIAGA, Juan Vicente, <<Profecías del Japón>>, a Lápiz, nº 40, 1987, pp. 52-55. ALSINA MUNNE, H., Historia de la Fotografía, Ediciones del Nordeste, Barcelona, 1954. ALT, Laurence, <<Alfred Swaine Taylor (1801-80). Some Early Material>>, a History of Photography, vol. 16, nº 4, 1992, pp. 397-398. ALVAREZ BRAVO, Manuel, CALLAHAM, Harry, CLERGUE, Lucien, GIBSON, Ralph, JOSEPHON, Kenneth, KERTESZ, André, MICHALS, Duana, NEWTON, Helmut, Nude Theory, Lustrum Press, INC., Nueva York, 1979. ANDERSON, Arthur James, The Artistic Side of Photography, Arno Press, Nueva York, 1973 (1863). ANDREWS, Lew, <<Walker Evans' American Photographs. The Sequential Arrangement>>, a History of Photography, vol. 18, nº 3, 1994, pp. 264-271. AQUILINO, G. F., <<In the Steps of Bourne>>, a History of Photography, vol. 16, nº 4, 1992, pp. 349. ARAGO, François, Le Daguerréotype. Rapport fait à l'Académie des Sciences de Paris les 19 aout 1839, L'Echoppe, Caen, 1987 (1839). ARMSTRONG, Carol, <<Florence Henri: A Photographic Series of 1928. Mirror, Mirror on the Wall>>, a History of Photography, vol. 18, nº 3, 1993, pp. 223-229. ARNAUD, Jean-Robert, <<La photo: un langage et déjà un mythe>>, a Cimaise, nº 209, 1990, sin paginar. ARNAULT, Martine, <<Jean-Luc Monterosso. Programmation de l'Espace photographique de Paris>>, a Cimaise, nº 209, 1990, pp. 1- 24. ARNHEIM, Rudolf, On the Nature of Photography. Critical Inquiry I, University of Chicago Press, Chicago (Illinois), 1974. ARNO, Jan, Hadbook of Alternative Photographic Processes, Van Nostrand Reinhold, Nueva York, 1982. 4 ATGET, Eugène, Eugène Atget. Un choix de photographies extraites de la collection du Musée Carnavalet, Centre National de la Photographie, cop., París, 1984. ATSUSHI, Miura, <<La vision photographique dans Combat de Taureaux de Manet>>, a Revue de l'Art, nº 79, 1988, pp. 73-75. AUER, Michael, Histoire illustrée des Appareils Photographiques, Denoël, Lausana, 1975. BAERWALDT, Wayne i altres, Pierre Molinier, Plug in Editions/Srmart Art Press, Winnipeg-Santa Mónica, s/f. BAETENS, Jan, <<John Berger and Jean Mohr. From Photography to Photo Narrative>>, a History of Photography, vol. 19, nº 4, 1995, pp. 283-285. BALK, Eugene, <<F. Holland Day Photographs. Prints and Photographs Division, Library of Congress>>, a History of Photography, vol. 18, nº 3, 1994, pp. 384-386. BAR-AM, Orna i BAR-AM Micha, <<The Illustrator E. M. Lilien as Photographer>>, a History of Photography, vol. 19, nº 3, 1995, pp.195-200. BARNARD, George N., Photographic Views of Sherman´s Campaign, Dover Publications, Inc., Nueva York, 1977. BARRET, André, Les premiers reporters photographes, 1848-1914, André Barret, París, 1977. BARROW, Thomas F., <<Some Thoughts on Photography´s Future. A Letter to Bill Jay, 8 April 1970>>, a History of Photography, vol. 17, nº 1, 1993, pp. 13-21. BARTHES, Roland, <<El mensaje fotográfico>>, a La Semiología, Editorial Tiempo Contemporáneo, Buenos Aires, 1970, BARTHES, Roland, <<El mensaje fotográfico>>, a Lo obvio y lo obtuso, Editorial Paidós, Buenos Aires,
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