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Quarterly 1994 45 Winter.Pdf 1 Stairway, Louise S. McGehee School (printed in 1993 from 1984.189.31) UGENE DELCROIX The Historic New Orleans Collection's exhibition, (1891-1967), a profes­ Through a Lens Softly: The Photographs of Eugene Delcroix, sional photographer for marks the first major survey of Delcroix's photographs since his five decades, created a death in 1967. Among the images in the exhibition are photo­ Ebody of work that repre­ graphs taken in connection with Delcroix's long and influential sents a single sensibility - but with association with the New Orleans Camera Club. The creamy clear divisions of form and presenta- highlights and warm brown tones of his portraiture, landscapes, tion. He worked as a portrait photographer for the local firms of and architectural subjects, together with the blurred contours C. Bennette Moore and Anthony H. Hitchler before striking and pools of light created by his soft-focus lens, suffuse out on his own in the 1930s. Although he continued to accept Delcroix's works with nostalgia and romance. Most of the pic­ portrait commissions, the subjects for which Delcroix is remem­ tures in the exhibition are made from the original negatives, bered are Vieux Carre courtyards and ironwork, rafts of water given to the Historic New Orleans Collection in 1984 by the hyacinths on the bayou, and tangles of Spanish moss descending New Orleans Museum of Art. Delcroix's negatives were a gift to from trees. In 1938, Joseph S. W Harmanson published a selec­ NOMA from Joel Jurgens and Mrs. Eugene Delcroix. tion of Delcroix's photographs, entitled Patios, Stairways, and The exhibition runs from January 18 through May 14. Iron Lace Balconies of Old New Orleans. The journal Pencil Gallery talks are scheduled each Wednesday at 12:30, beginning Points also published his photographs that same year. January 26. - John H. Lawrence andJude Solomon 2 Cart on a Foggy Road (printed in 1993 from 1984.189.54) Rural Scene (printed in 1993 from 1984.189.2) 3 Rue d'Orleans (printed in 1993 from 1984.189.39) 4 usually toned his prints a warm amber- display. The one-hundred-foot mural brown. There is no record of Delcroix's was rendered in a simplified graphic style specific techniques or the kind of paper of only five colors. It includes the arched and chemicals he may have used; cura- and shuttered architecture of the French tors and photographers experimented Quarter on one wall and the undulating with contemporary materials until they live oaks of the Louisiana countryside on were able to reproduce the look of an the other. In the window display, actual Delcroix print. These new prints Delcroix's soft-focus technique was sug- were combined with 20 originals (bor- gested with the use of multiple trans- rowed from the New Orleans Museum lucent screens bearing the tide of the of Art and private sources, as well as from show. The lettered tide disappears into the Collection's own holdings) to make the window as though into a fog. up the bulk of the show. fu the great majority of THNOC's It was agreed that Delcroix's small, Delcroix collection is made up of the dense photographs would be best served photographer's glass negatives, the cura- rolific photographer Eugene by frames and matting that would not tors and preparators sought ways to Delcroix's romantic eye and compete with the images themselves. include these artifacts in the exhibit. soft-focus camera technique Exhibition preparators chose bronze- Carpenter Larry Falgoust constructed a helped define the popular colored frames with cream mats, all of a small, wall-mounted light box to cradle image of south Louisiana, uniform size and shape, to hang in an and to illuminate the fragile rectangles of and the Vieux Carre in particular, from even row on the wall at eye level. To glass. In order to protect the negatives the 1930s through the early 1960s. In enliven the exhibit without detracting from damaging ultraviolet light, the box 1984 the Collection acquired roughly from the photographs, they turned to includes screens of ultraviolet absorbing 5,000 of Delcroix's original glass nega- Delcroix's own images as inspiration for a plexiglass and a light switch to be activated rives from the New Orleans Museum of subtly colored mural on the Williams by gallery visitors only during the actual Art, a gift to NOMA from Joel Jurgens Gallery walls and for the front window viewing of the object. Only one negative and Mrs. Eugene Delcroix. ~. ~~-~---~-: ...,..,.........,""T":,...,,..,,......,,..,,.........,,~-----, will be displayed at a time. 1 Some 40 of these negatives were The title board for the exhi- recently chosen to be printed for bition refers to the backward Through a Lens Softly. nature of negatives - a Delcroix Typically Delcroix's photo- negative was commercially graphs were contact prints, enlarged and printed with the produced by laying the 5-x-7- show's title on a 4-x-8 sheet of inch negative directly over pho- j milky-white acrylic and mount- tographic paper without the . ed in a frame. The huge sheet, use of an enlarger. He rarely backlit with fluorescent tubes, masked the edges of his prints \ announces Through a Lens Softly crisply, preferring to create a to passersby on Royal Street. ragged deckle edge, and he Preparing the exhibit: Steve Sweet, John Lawrence, Jude So/,omon, and Doug MacCash - Doug MacCash 5 MR. JEFFERSON ATTRACTS A LARGE AUDIENCE ~·,._9-.C lf I}'~ 0 0 - ~.- A on November 10, the [ . ,,:",. · ~ Collection concluded : · - ; its series of lectures, Jefferson \ ./ at 250: The Legacy of an ·s-, z:s3o .~. American Genius, with "An '99J Eve n i n g w i t h T h o m a s Jefferson." Historian Clay Jenkinson impersonated Jefferson and answered questions in character. Speakers for the fall portion of the series were Lucia Stanton, plantation life; William Kelso, archaeology; and Dell Upton, architec­ ture. Record crowds attended the eight­ C/,ay jenkimon as Thomas Jefferson lecture series. ffi THE HISTORIC WoooFROM ~ NEW ORLEANS f~', COLLECTION COLONIAL BARRACKS PRESERVED l~ QUARTERLY Editors: Patricia Brady Louise C. Hoffman idwest Freeze-Dry in Head of Photography: Jan White Brantley Skokie, Illinois, has M The Historic New Orleans Collection preserved eight pieces of Quarterly is published by the Historic New wood from the 1991 archaeo- Orleans Coll ection, which is operated 1o g i cal dig at 726-28 by the Kemper and Leila Willia m s Toulouse Street, the Foundation, a Louisiana nonprofit corpora­ tion. Housed in a complex of historic build­ Collection's creole cottage ings in the French Quarter, facilities are next to the manuscripts open co the public, Tuesday through building. The wood, in all Saturday, from 10:00 a. m. until 4:45 p.m. probability, is from the colo­ Tours of the history galleries and the resi­ dence are available for a nominal fee. nial barracks erected in the 1730s. The conservation Board of Directors: process involved reducing the Mrs. William K. Christovich, President moisture content in the G. Henry Pierson, Jr. Francis C. Doyle water-soaked wood to 12 John E. Walker percent. Yellow stains on Fred M. Smith the wood have led to specula­ tion that gunpowder was Jon Kukla, Director manufactured on the site. The Historic New Orleans Collection Preservation of the wood was 533 Royal Street made possible through the New Orleans, Louisiana 70 130 generosity of Pat King, presi­ (504) 523-4662 dent of the company. ISS N 0886-2109 © 1994 Foundation beam and vertical planks, The Historic New Orleans Collection remaim ofFren ch barracks 6 From The ~-THE YEAR AHEAD-- DIRECTOR JANUARY 18 - MAY 14 "Vind friend," a Through A Lens Softly: The Photographs ofEugene De Lero ix; gallery talks every 1"'- young Con­ Wednesday, 12:30, beginning January 26 federate wrote in MARcH29 1862, "your letter Panel on Delcroix's work: Anne Peterson, Steven Maklansky, and Joshua Pailet was a welcome 7 p.m. at the Collection greeting to me when I arrived back APRIL to the Fort.... " Celebrating the Louisiana Purchase: The young soldier's original letter arrived lecture by Dr. Eunice Williams on the work of Pierre Paul Prud'hon, 7:30 p.m. from California several weeks ago - the date and place to be announced gift of an eloquent friend of the Collection MAY12 whose own "collateral duty of a censor in Slide presentation by Richard Sexton and Randolph Delahanty, authors of World War II" inspired reflections about New Orleans: Elegance and Decadence life, letters, and history. "Like most 7:30 p.m. at the Collection soldiers' letters," our friend observed, MAY 24 - AUGUST 20 it bears no historical moment and its Exhibition: From Bank to Shore: 19th-Century Development of value is largely emotional, but it New Orleans Neighborhoods touched me in a way I would hope that it would touch others .... I was SEPTEMBER 13 - DECEMBER 10 struck by the similarity of battlefield Exhibition: The Grand American Avenue phrases in this ancient letter penned DECEMBER 20 - FEBRUARY 24, 1995 by a young man who was to die in Exhibition: Mardi Gras Design and Process front of Seven Pines not long after [in August 1865]. Wars do not change in their cruelty. Most of the people in rhem are lost in one way or anorher. Our writer is a poignant example. WINNING This is what gives rhis letter value for me. I found in this old letter the same LETTERS ironies, the same desire to be loved for bravery, rhat I found so often in orher responded to the same letter written by soldiers' letters of another day and James Murphy, New Orleans, to his wife, time.
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