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Roger Fenton. London EXHIBITION REVIEWS will to pause only long enough be spoon-fed rooms factoids by educational wall texts. The (dramatically lit with darkly painted walls) have been far too crowded for any mosdy ? individual viewer to identify and get an to enough of uninterrupted view seriously - the better art on appreciate works of display. 1 After its London showing, the exhibition will be shown at the Phillips Collection, Washington, from ist February to 14thMay. 2 Catalogue: Degas, Sickert and Toulouse-Lautrec: London and Paris 1870-1910. By Anna Gruetzner Robins and Richard Thomson. 232 pp. incl. 100 col. pis. + 50 b. & w. ills. (T?te Publishing, London, 2005), ?35 (HB). ISBN 1-85437-634-9; ?26.99 (PB). ISBN 1-85437 548-2 (PB). Roger Fenton 68. Orientalist London group, by Roger Fenton. 1858. byALEXANDRA MOSCHOVI Albumen silver print from glass 25.5 the exhibition negative, by Roger Fenton: Photographs 26.3 cm. (Wilson at T?te Lon 1852-1860, currendy Britain, Centre for Photog don (to 22nd January), where this reviewer raphy, London; saw a not as a exh. T?te it, is welcome event, only long Britain, awaited monographic study of England's most London). celebrated mid-nineteenth-century landscape as and architectural photographer, but also the first show of historic photography at the of the photographer Gustave Le Gray, setting not-for-profit club, he approached the Photo T?te.1 with a on a Concurrent the ubiquitous off, only few months later, his first graphic Association, primarily commercial enthusiasm for to contemporary photography, photographic expedition toRussia. Although agency, in order have his photographs in recent a there has been, years, gradual he promoted the educational aspects of showcased for sale. To add to his scanty earn revival of interest in nineteenth-century pho photography, and also worked tirelessly ings from fairly sporadic print sales, Fenton As itwas as a in a to tographs. Douglas Crimp remarked, towards establishing photography high succeeded receiving commission pho was only when photography elevated to the art (being a foundingmember of the Photo tograph the exhibits at the BritishMuseum. status of autonomous art that nineteenth-cen graphic Society of London and organising And itwas with commercial intent that he a new as a tury photographs acquired currency exhibitions in Britain and abroad), Fenton undertook the expedition, with portable art own was to own to objects in their right, and printsfrom equally keen market his work.3 It darkroom, Balaclava in the spring of 1855. the Crimean War, Egypt or theHoly Land, is telling that, in the face of objections from Capitalising on his royal connections (hewas classified under a long topographical names, the members of the Photographic Society, commissioned by Queen Victoria to take anew could echo the authorial voice of Roger informalportraits of the royal family,while his Fenton, Francis Frith or Francis Bedford.2 photographs were regularly acquired for the A joint venture of three American institu queen's collection; Fig.69) and financially tions, the Metropolitan Museum of Art in supportedby Thomas Agnew, not only did he to at New York, the National Gallery of Art in gain permission photograph the barracks Washington and theJ. Paul GettyMuseum in of the allied armies in Sevastopol during the venues access Los Angeles (inwhich the exhibition Crimean War, but he also gained to all has already been shown), this retrospective the leading military figures,whose dignified brings together vintage printsfrom disparate portraits, he mistakenly believed, would a photographic collections around the world, constitute portfolio that would attract aristo from the obvious international at a ranging collec cratic buyers and therefore sell good price. tions of photographicato the archive of the Fenton did not differentiatebetween the Canadian Center for Architecture and the commercial and the aesthetic value of his at an Royal Collection Windsor. It is attempt work, and nor did he distinguish between to outline Fenton's and versatility re-evaluate the processes of 'taking' and 'making' photo his in the as as authorship cultural well the graphs. He would unreservedly stage a contexts commercial of the period. Fenton photograph if the outcome were to convey was a amore most born into familyof wealthy industrialists the message in direct and, impor outside Manchester. studied and Having law tandy, visually pleasing way. In his Crimean to a career unsuccessfully attempted launch photographs, for instance, he asked the senior as a to painter, he turned photography, which, officials to dress in their winter uniforms and in overcoats even were having been included theGreat Exhibition though they being was of 1851, attracting gathering interest in photographed in springtime. In the same 69. Prince Duke Fenton. Britain. Alfred, ofEdinburgh, by Roger Overwhelmed by the examples of vein, the series of he took in 1856. Salted paper print from glass negative, 33.2 by 26 photographs method he saw at in a manner similar to photographic Crystal cm. (Royal Photographic Society Collection at the 1858, orientalising Fenton instruction in the William Holman constitutes Palace, sought National Museum of Photography, Film and Televi Hunt, make at the Paris exh. T?te scenes wax-paper negative process studio sion, Bradford; Britain, London). believe which emulated the pictorial THE BURLINGTON MAGAZINE CXLVIII JANUARY 200? 5^ Burlington Magazine is collaborating with JSTOR to digitize, preserve, and extend access to The Burlington Magazine ® www.jstor.org EXHIBITION REVIEWS - mannerism and narrative of genre painting, limitations of the wet-collodion method and also the tableaux-vivant photography with exhibition and commercially published of the Orientalist period. group (cat. no.62; prints of the series, the display also shows as an Fig.68), which may be read avant la lettre Fenton's conscious use of different media, an of the notion that a not postmodernist parody aspect fully addressed in the main show. has unassailable value as on photograph 'truth', Here the emphasis is ultimately the depicts Fenton dressed in theTurkish costume aesthetic value of existing vintage prints.This of a entertained a musician a con pasha, being by quality is not without relevance for an (the painter Frank Dillon) and exotic temporary audience, for Fenton's work brings dancer The (a professional model). full-frarne together different genres, themes, formats on retains all the a manner copy currendy display signs and audiences, in which strongly current of artifice: the studio walls and the hanging chimes with the all-inclusive profile of come into behind the and drapery sight props, photography. were 70. A connoisseurs, Bourne. 1807. the wires that used to keep the model's meeting of by John 1 Watercolour on paper, 41.3 by 55.5 cm. (Victoria and hands stillduring the exposure are discernible Catalogue: All theMighty World: The Photographs of Albert Museum, London; exh. Manchester Art in were Edited Gordon Baldwin, the foreground. These laboriously Roger Fenton, 1852?1860. by Malcolm Daniel and Sarah with contribu Gallery). eliminatedfrom the exhibition prints. Greenough, tions by Richard Pare, Pam Roberts and Roger Taylor. Combining traditional art-historical schol 304 incl. 96 col. + 208 b. & w. ills. pp. pis. (Metropoli cast net one arship with modern contextual analysis, the her wider than might at first tanMuseum of Art, New York, and Yale University curators of the present show and the contrib expect, for there is an contradiction Press, New Haven and London, 2004), ?40. ISBN irritating utors to the between the tide of the Black stunningly produced catalogue 1-58839-128-0. show, Victorians, have endeavoured to a 2 and its Black in British Art present comprehensive See D. Crimp: On theMuseum's Ruins, London 1993, subtide, People career to image of Fenton's decade-long by PP.73-74. 1800?1 goo. Marsh disarmingly admits this on artistic as as 3 Fenton's definition of the art of no drawing the well commercial open-ended photog but gives explanation. Some fascinating was in aspects of his work.4 The exhibition begins raphy manifest his drafting of the 'Proposal for examples fall into the period before 1837 and the Formation of a Society' inwhich he one can see to with various self-portraits,followed by dis Photographical why Marsh wanted include a tinct as as explicitly stated that such society should 'include sections, thematic well chronologi them. John Bourne's humorous group of itsmembers men of all ranks of life' and that among a cal. Unsurprisingly, Fenton's large-format connoisseurs appraising muscular black male 'while men of eminence, from their fortune, social posi no. a landscapes, much praised by his contempo model of 1807 (cat. 19; Fig.70) has tion, or scientific reputation, are welcomed, no pho raries, dominate the From the curious frisson, and theatrical display. tographer of respectability in his particular sphere of life John Simpson's Turnerian in and below the The slave in which the his light Wharfe pool, be rejected', stressing that the annual subscription captive (no.88), slave, raised to a Strid of 1854 (no. 13) and his Whisderian should be kept small 'in order that none may be exclud eyes heaven like Baroque saint, view narrowness Thames of Westminster from Waterloo ed by the of theirmeans'; R. Fenton: 'Pro embodies the noble pathos that appealed to to for the Formation of a Bridge of 1858 (no.60) the epic representa posal Photographical Society' the Abolitionists. In contrast, a modest chalk nature in dt. tion of in Glyn Pont-y-Pant (1852), quoted Baldwin, op. (note 1), p.214. made in in 1815 Lledr,from 4 drawing Liverpool by John When, in the 1860s, with the of of 1857 (no.3 5), which followed the pictur early proliferation Downman of a black sailor (no.40; Fig.71) photographic studios and the popularisation of carte esque tradition of theWelsh Bettws School, has a seen in this exhibition; de-visite his was quality rarely treatment was a portraiture, photography, by standards, Fenton's of landscape always it expresses the humanity of direct, sensitive vulgarised, Fenton sold his equipment and one thou technical and compositional tour de force.
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