ART BULL the Newsletter of Boston University’S Department of History of Art and Architecture
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Voir Construit Des Maquettes 2004
#9 - Novembre 2015 Sur une idée d’Eric Touchaleaume Auguste Salzmann, Murs du temple de Jérusalem. Détail de la Piscine Probatique, 1854 Calotype monté sur carton, 22,3 x 32,1 cm TROIS PHOTOGRAPHES, TROIS ÉPOQUES, TROIS VISIONS Auguste Salzmann à Jérusalem en 1854. Un siècle plus tard, priorité au rendu des volumes, des matières, de la lumière. Lucien Hervé à l’Abbaye du Thoronet, à la Cité Radieuse de A différents degrés d’engagement, l’on est en présence de Le Corbusier ou face à des murs anonymes de faubourgs démarches plasticiennes pures dépassant le cadre formel de parisiens. De nos jours, James Casebere et ses mises la photographie et de l’architecture. en scène théâtrales au moyen de maquettes d’espaces architecturaux imaginaires. L’histoire est en perpétuel recommencement, illustrée à travers ces trois personnalités. Des prémices de l’abstraction Au-delà de leurs spécificités propres, leurs œuvres témoignent vers 1850, à son triomphe au milieu du XXe siècle, l’on assiste des préoccupations communes : images dépouillées parfois aujourd’hui au retour d’une certaine forme de « romantisme jusqu’à l’extrême, absence de pittoresque, cadrages serrés, dépouillé ». 2 RUE DES BEAUX ARTS - 75006 PARIS 19 RUE MAZARINE 75006 PARIS www.galerie-leminotaure.com www.alainlegaillard.com Du minimalisme Dans la PH OTOGRaPHie D’aRcHiTecTuRe AUGUSTE SALZMANN En attendant d’hypothétiques redécou- piètre valeur documentaire de vues telles LASZLO ELKÀN exposition accompagnée d’un intéressant Né en Alsace, 1824-1872 vertes, nous ne pouvons préjuger de que Inscription tumulaire grecque ou Détail DIT LUCIEN HERVÉ catalogue, aujourd’hui recherché par les l’originalité de la peinture de Salzmann, de l’appareil de la Piscine probatique ? En Né en Hongrie en 1910. -
ART BULL the Newsletter of Boston University’S Department of History of Art & Architecture
ART BULL The Newsletter of Boston University’s Department of History of Art & Architecture 2014-2015 The end of the academic year offers an opportunity for us to reflect upon and share our achievements from the past year. This year the faculty and graduate students have engaged in exciting endeavors in the research, publishing, and curatorial fields and have created much work for which to feel proud. I hope that you enjoy learning what everyone's been up to as much as I have! Thank you to Michael Zell for serving as this year's faculty advisor. Best, Lindsay Alberts PhD candidate FACULTY Professor Jodi Cranston has spent much of Professor Cynthia Becker was invited to this past semester developing an initiative in speak in Bahrain at the opening of the computational humanities for CAS that will exhibition "Berber Women of Morocco." The hopefully result in more support for faculty exhibition, curated by Bjorn Dahstrom from research projects and for educating students. the The Fondation Pierre Bergé – Yves Saint She has been continuing to work on her Laurent, opened at the National Museum of Mapping Titian site, with the invaluable help Bahrain in January 2015. Professor Becker of Ariel Green, Erin Nolan, and Bryn wrote an essay for the catalog, which was Schockmel, and is now developing a platform published in English, French and Arabic. for mapping artworks that will at some point allow visitors to museums to learn about the travels of an artwork simply by taking a smartphone photo of the object. She also reached the midpoint in writing her next book, The Green Worlds of Renaissance Venice. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
2-FRA-GLG Portraits of Gustave Le Gray
WEEKLY TRANSMISSION N°26 THURSDAY 30 JUNE 2016 SUMMER QUIZ : PORTRAITS OF GUSTAVE LE GRAY ON PAPER l i a t e d , V PWT 26-2016 CONTENTS : Examination of a Le Gray Picture from Sirot collection III Method, disproving/supporting evidence V Timeline of Gustave Le Gray’s home and studio addresses VIII Five early portraits of Gustave Le Gray by Henri Le Secq, 1848 1-5 Five portraits at Barrière de Clichy, 1849-1855 6-10 Three portraits at 35, Boulevard des Capucines and Ville d’Avray, 1856-1858 11-13 Two Silhouettes of Gustave Le Gray, 1851 14-15 Students of Gustave Le Gray or the First School for Creative Photography 20 V, detail The e-bulletin presents articles as well as selections of books, albums, photographs and ancient documents as they have been handed down to the actual owners by their creators and by amateurs from past generations. The physical descriptions, attributions, origins, and printing dates of the books and photographs have been carefully ascertained by collations and through close analysis of comparable works. This essay presents a timeline of portraits of Gustave Le Gray. Only one, «V» will be offered in an auction on 10 November 2016 (Paris, Drouot, Binoche & Giquello). N°26 : Portraits of Le Gray on paper Weekly Transmission 26 III 30 June 2016 . Examination of a Le Gray Picture from Sirot collection The salt paper print represents the portrait of a young man in a dark coat, his feet have been cropped, some foxing, wet stamp: «Gustave Le Gray». The verso shows a few pencil inscriptions «Portrait de Gustave Le Gray par Lui-même», «Catalogue Un Siècle de vision nouvelle n°2», «premier cachet de Gustave Le Gray», «Ancienne collection Sirot, A.J.». -
Nineteenth-Century French Photographs from the National Gallery of Canada
Randy Innes exhibition review of Nineteenth-Century French Photographs from the National Gallery of Canada Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Randy Innes, exhibition review of “Nineteenth-Century French Photographs from the National Gallery of Canada,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc-artworldwide.org/autumn10/nineteenth-century-french-photographs-from- the-national-gallery-of-canada. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Innes: Nineteenth-Century French Photographs from the National Gallery of Canada Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Nineteenth-Century French Photographs from the National Gallery of Canada National Gallery of Canada, Ottawa 5 February – 16 May 2010 Art Gallery of Alberta, Edmonton 24 June – 10 October 2011 Catalogue James Borcoman, Nineteenth-Century French Photographs from the National Gallery of Canada. Ottawa: National Gallery of Canada, 2010. Issued in French as Photographies françaises du XIX siècle du Musée des beaux-arts du Canada. 168 pp., essay, catalogue and notes 250 illustrations, 100 in color $49.00 Can. / $55.00 U.S. ISBN: 9780888848734 Reflecting on his encounter with one of Auguste Salzmann's photographs of Jerusalem taken in 1854, Roland Barthes recalls an experience with time that differed from his experience with the temporality of lived experience. Salzmann's photograph of a road in Jerusalem is only a picture of a dusty place, Barthes says, "nothing but stony ground, olive trees." And yet this picture is the basis for a highly affective experience that leads Barthes to question how the photograph influences our understanding of lived and historical time. -
In Search of Biblical Lands: from Jerusalem to Jordan in 19Th-Century Photography
DATE: February 1, 2011 FOR IMMEDIATE RELEASE GETTY VILLA EXHIBITION PRESENTS EARLY PHOTOGRAPHS OF THE HOLY LAND, EXPLORING THE SPIRITUAL PROMISE OF PLACES FAMILIAR AND YET MYSTERIOUS In Search of Biblical Lands: From Jerusalem to Jordan in 19th-Century Photography At the J. Paul Getty Museum, Getty Villa March 2—September 12, 2011 The Pool of Hezekiah (detail), 1880s. Félix Bonfils (French, 1831–1885). Albumen silver print. The Getty Research Institute. LOS ANGELES—In Search of Biblical Lands: From Jerusalem to Jordan in 19th-Century Photography on view at the Getty Villa from March 2 through September 12, 2011, features some of the first photographic images of the eastern margins of the Mediterranean. This region is one of the most photographed places on earth, with subjects ranging from architectural sites to evocative geography, scenes of pastoral life, and its people. The photographs on view in this exhibition reveal what the travelers of the 1800s discovered on their journey: a landscape of belief, at once familiar yet still mysterious. In Search of Biblical Lands: From Jerusalem to Jordan in 19th-Century Photography features rare, early daguerreotypes, salted-paper prints, and albumen silver prints, created between the 1840s and 1900s by the leading photographers of the time, including Felice Beato, Maxime Du Camp, Auguste Salzmann, James Graham, Louis Vignes, Frank Mason Good, and Frederic Goupil-Fesquet. Due to the delicate nature of photographic materials that cannot be displayed for long periods, this exhibition features more than 100 photographs in total, divided into two installments, each on view for three-months. -more- Page 2 Organized into five sections—Jerusalem, Early Views, Peoples of the Bible, Travels in Bible Lands, and Expeditions Beyond the Dead Sea—the photographs, made for study by scholars or produced as souvenirs as well as works of art, were presented by photographers and publishers in ways designed to foster viewers’ religious identification with the region. -
Paper and Light: the Calotype in France and Great Britain, 1839-1870
Paper and Light r-.~heCalotype in Franceand GreatBritain, 183 9-18 7 0 The Museum of FineArts, Houston September24-November 21, 1982 Organized by the Museum of fine Arts , Houston, and the Art Institute of Chicago in cooperation with the Univer sity of Texas at Austin. The exhibition and its catalogue were made possible in part through a grant from the National Endowment for the Arts, Washington, D .C., a federal agency . The exhibition will be shown at the Art Institute of Chicago from December 15, 1982, to February 13, 1983. Designed by Michael Glass Design, Inc ., Chicago, Illinois The information in this brochure was drawn from Paper and Light: The Calotype in France and Great Britain , 18 39-1870 (at press). All rights reserved . No portion of this brochure may be used without permission of the Pub lications Department , the Art Institute of Chicago. A 1'6'~ [982- '1 I L-. 7- A Symposium on 17thCentury FrenchPainting Nicolas Poussin, Landscape with Saint John on Patmos, c . 1640, oil on canvas,T he Art Institute of The Art Institute of Chicago Chicago, A. A. Munger. H :E ;>;"' :E ::r P> !:!..::ro Friday, October 29, 1982 Friday, October 29 <n O Pl S 0 "' ~ .... ' < Pl and Saturday, October 30, 1982 (JQ. s ;ii :::, 6:00 Inspiration of the Poet: Reflections on Two Paintings by Nicolas 5· fE S ~ Poussin, Marc Fumaroli, Professor, The Sorbonne, Pari s. Pl :::, (1) Pl s· p.:, ~ - -<= OQ :::i < A symposium of American and European scholars to be held n ,O"'~ Saturday, October 30 8. r::r''-< ::;' in conjunction with the exhibition France in the Golden Age: 10:00 Opening Remarks (t):::, (1)p.:, I") ~ (J'J-· 17th Century French Painting in Ameri can Collections at the Art 0-::rp_. -
National Gallery of Art
National Gallery of Art FOR IMMEDIATE RELEASE CONTACT: Ruth Kaplan August 25, 1995 Deborah Ziska (202) 842-6353 EXHIBITION OF RARE MASTERPIECES REVEALS BEAUTY AND MAGIC OF PHOTOGRAPHY'S FIRST CENTURY; AT NATIONAL GALLERY. SEPTEMBER 10 - DECEMBER 31. 1995 WASHINGTON, D.C. -- Fifty-three rare masterpieces by seminal artists of photography's first century will be on view at the National Gallery of Art, West Building, September 10 through December 31, 1995. The works selected for The First Century of Photography: New Acquisitions come from one of the country's finest private collections of photographs assembled by Mary and David Robinson. The National Gallery recently acquired the collection of 165 works; twenty-seven are partial and promised gifts from the Robinsons. The Gallery's Patrons' Permanent Fund made possible the purchase of the remaining 138 photographs. "This exhibition presents many of the gems of the magnificent collection assembled by Mary and David Robinson since 1984," said Earl A. Powell III, director, National Gallery of Art. The works in the exhibition are arranged in chronological order. According to National Gallery curator of photographs -more- Fourth Street at Constitution Avenue, N.W., Washington, D.C. 20565 photography exhibition . page 2 Sarah Greenough, "The works were selected because of their beauty and importance. Collectively they speak of the photographer's joy of discovering the world through the seemingly magical new medium of photography." When the invention of photography was announced in 1839, it was called "a bit of natural magic." The exhibition begins with Lace (1839-1844) and Oak Tree (mid-1840s) by William Henry Fox Talbot. -
Get the Classic #1
# 01 THE SPRING 2019 CLASSICA free magazine about classic photography In this issue THE DENNIS HOPPER ARCHIVE ROBERT HERSHKOWITZ MARTIN BARNES THE ALEX NOVAK COLLECTION OF EARLY NEGATIVES FAIRS, AUCTIONS, EXHIBITIONS AND MORE 1 The photography department of the 5th ranked French auction house Millon, has been organizing exhibitions and auctions of collections, archives and estates, and specialized thematic sales for 25 years. The department’s specialty are the monographic auctions of great photographers of the 19th and 20th centuries. These auctions have resulted in record prices on the art market. Results from some of these auctions*: Succession Brassaï 2006 – 4,206,550 € Blanc & Demilly 2008 – 346,165 € Ilse Bing 2009 – 435,650 € Frédéric Barzilay 2014 – 57,250 € Edouard de Campigneulles 2016 – 334,580 € Les Frères Séeberger 2016 – 279,580 € Succession Galerie Gérard Lévy 2016 – 1,732,260 € Claude Raimond-Dityvon 2018 – 137,110 € To consign in one of our upcoming auctions please contact: Expert: Millon Head of Department: Christophe Goeury Natalia Raciborski +33 (0)6 16 02 64 91 +33 (0)7 88 09 91 86 [email protected] [email protected] MILLON, 19 rue de la Grange Batelière, 75009 Paris, France www.millon.com Bud Fraker, Audrey Hepburn for “Breakfast at Tiffany’s”, 1961. Vintage silver gelatin print. MILLON – SVV Agrément n°2002-379 *Results are indicated without the buyer’s premium 3 In this issue Distributors 04 IN BRIEF LOS ANGELES The Fahey/Klein Gallery 10 PREVIEW LONDON MAY 148 North La Brea between 1st Street The Special -
A New Art in an Ancient Land: Palestine Through the Lens of Early European Photographers
A New Art in an Of all the lands there are for dismal scenery, I think Palestine must be the Ancient Land: prince. The hills are barren, they are Palestine through dull of color, they are unpicturesque in shape. The valleys are unsightly the lens of deserts fringed with a feeble vegetation early European that has an expression about it of being sorrowful and despondent. The Dead photographers Sea and the Sea of Galilee sleep in the Andrea Merli midst of a vast stretch of hill and plain wherein the eye rests upon no pleasant tint, no striking object, no soft picture dreaming in a purple haze or mottled with the shadows of the clouds. Every outline is harsh, every feature is distinct, there is no perspective - distance works no enchantment here. It is a hopeless, dreary, heart-broken land. Palestine is desolate and unlovely. And why should it be otherwise? Can the curse of the Deity beautify a land? Palestine is no more of this work-day world. It is sacred to poetry and tradition – it is dream-land. Mark Twain in The Innocents Abroad1 Of all narrative accounts about Palestine written by Western travellers in the nineteenth century, the harsh words of American writer Mark Twain strike even the most disenchanted reader. Except for its spiritual dimension, Palestine appeared to him as a dull and characterless place, miles away from the magnificent sights he found in Damascus or Giza. Other visitors to the region, who felt quite disappointed by the evident decay of the Ottoman province of Palestine, shared Twain’s view. -
On the Origins of Architectural Photography James S
study centre mellon lectures 4 December 2001 2 On the Origins of Architectural Photography James S. Ackerman The refinement of photographic processes during the 1830s culminated in the announcement to the public in 1839 of two quite different techniques – originating in France and England – for producing a permanent positive image. Both involved the use of a homemade camera box with a lens.1 That of Louis-Jacques-Mandé Daguerre, which captured the object on a silver-plated metal ground (the daguerreotype), achieved a significantly greater precision of detail but was limited to unique positive images. That of William Henry Fox Talbot, based on the production of a paper negative from which large numbers of positive prints could be made, was more effective in providing multiple copies and thus widespread access to visual information.2 In the early years of photography, when long exposures were required, architecture and landscape subjects were favoured partly because they did not move, but also because they satisfied a growing interest among the bourgeoisie in the world beyond everyday experience, manifested as well in an increase in travel – previously the prerogative of a privileged minority. Talbot capitalized on this feature of his work by publishing books of photographic prints (such as Sun Pictures of Scotland, 1845) that appealed to the current culture of romanticism and to the proponents of medieval revival: castles, ruined abbeys, ancient country houses, and the undisturbed moors and downs celebrated by Wordsworth and Sir Walter Scott, whose castle Abbotsford appears in three of Talbot’s prints. My interest in early architectural photography grew out of my studies on the beginnings of post-antique architectural drawing. -
1. Before Photography
1. Before Photography Part 1: Discovering Light The most basic aspect of photography is our understanding of how light works, and the first known writings on this come from well over two thousand years ago in China. Mo Ti (later known as Mo Tsu) was a philosopher who lived from 470 to 391 BC. Unlike most philosophers he came from a poor background, perhaps why his teachings were based on the conviction that all men were of equal worth. His followers or 'Moists' were taught that right living demanded they take responsibility for the well being of others and ensured that their actions did not harm others, but practised a universal love for others. If people follow this path, the world is 'ordered and peaceful,' if not, 'the world becomes disorder, violent, and chaotic.' Although difficult to argue against, these ideas did not generally win the affection of the rich and powerful, and Moism soon died out. Mo Ti also thought deeply about the natures of shadows, realising that they were formed by light travelling in straight lines, the first recorded law of optics. He also was able to use this to explain why the images formed when light entered a darkened room through a small aperture were inverted, so can be credited both with recognising the role of an aperture in forming an image and also with an understanding of what later became known as the 'camera obscura' which will be looked at in more detail in a later section. Back in the more primitive west, the Greek philosophers were also noticing similar effects.