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The Art of Victorian Photography
THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY 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 -
Each Wild Idea: Writing, Photography, History
e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory. -
The Image of Truth: Photographic Evidence and the Power of Analogy
Articles The Image of Truth: Photographic Evidence and the Power of Analogy Jennifer L. Mnookin* We have but Faith: We cannot know For Knowledge is of things we see. Alfred Tennyson, In Memoriam' Maxims that urge the power of images are cultural commonplaces with which we are all too familiar: "a picture's worth a thousand words," "seeing is believing," and so forth.2 The photograph, in * Doctoral Fellow, American Bar Foundation. For useful comments and suggestions, particular thanks are due to Shari Diamond, Joshua Dienstag, Bob Gordon, Evelyn Fox Keller, Jim Liebman, Bob Mnookin, Stephen Robertson, Richard Ross, Christopher Tomlins, and the participants of the Chicago Legal History Forum and the Northwestern History and Philosophy of Science Seminar Series. Thanks, too, for the many thoughtful suggestions of the editors of the Yale Journal of Law & the Humanities, especially Barton Beebe, Jacob Cogan, and Beth Hillman. For research support during the course of working on this article, I thank the American Bar Foundation. 1. ALFRED TENNYSON, In Memoriam, in TENNYSON'S POETRY 119, 120 (Robert W. Hill, Jr. ed., 1971). 2. Some research lends credence to these adages. See, e.g., Brad E. Bell & Elizabeth F. Loftus, Vivid Persuasion in the Courtroom, 49 J. PERSONALITY ASSESSMENT 659 (1985) (claiming that "vivid" testimony is more persuasive than "pallid" testimony); William C. Cos- topoulos, Persuasion in the Courtroom, 10 DuO. L. REv. 384, 406 (1972) (suggesting that more Yale Journal of Law & the Humanities, Vol. 10, Iss. 1 [1998], Art. 1 Yale Journal of Law & the Humanities [Vol. 10: 1 particular, has long been perceived to have a special power of persuasion, grounded both in the lifelike quality of its depictions and in its claim to mechanical objectivity.3 Seeing a photograph almost functions as a substitute for seeing the real thing. -
"Alfred Stieglitz: Known and Unknown" on View at the National
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: May 20, 2002 "Alfred Stieglitz: Known and Unknown" On View at the National Gallery of Art, June 2 - September 2, 2002 Provides New Insights into the 50-Year Career of This Seminal Artist Washington, DC--Alfred Stieglitz has been renowned for his introduction of modern European art to America and for his support of contemporary American artists, but he was first and foremost a photographer. His photographs, which span more than five decades from the 1880s through the 1930s, are widely celebrated as some of the most compelling ever made. Alfred Stieglitz: Known and Unknown, on view at the National Gallery of Art West Building June 2 through September 2, 2002, presents 102 of Stieglitz's photographs from the National Gallery's collection. Encompassing the full range and evolution of his art, the exhibition includes many works that have not been exhibited in the last fifty years. It highlights less well-known images in order to demonstrate how they expand our understanding of the development of his art and his contributions to 20th-century photography. The exhibition, which is the culmination of a multi-year project on Stieglitz at the National Gallery, also celebrates the publication of Alfred Stieglitz: The Key Set, a definitive study of this seminal figure in the history of photography. Consisting of 1,642 photographs, the key set of Stieglitz's photographs was donated to the National Gallery by Georgia O'Keeffe in 1949 and 1980 and contains the finest example of every mounted print that was in Stieglitz's possession at the time of his death. -
Scaling Lightness Perception and Differences Above and Below Diffuse White and Modifying Color Spaces for High-Dynamic-Range Scenes and Images Ping-Hsu Chen
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 2011 Scaling lightness perception and differences above and below diffuse white and modifying color spaces for high-dynamic-range scenes and images Ping-hsu Chen Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Chen, Ping-hsu, "Scaling lightness perception and differences above and below diffuse white and modifying color spaces for high- dynamic-range scenes and images" (2011). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Scaling Lightness Perception and Differences Above and Below Diffuse White and Modifying Color Spaces for High-Dynamic-Range Scenes and Images by Ping-hsu Chen B.S. Shih Hsin University, Taipei, Taiwan (2001) M.S. Shih Hsin University, Taipei, Taiwan (2003) A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Color Science in the Center for Imaging Science, Rochester Institute of Technology Signature of the Author Accepted By Coordinator, M.S. Degree Program Data CHESTER F. CARLSON CENTER FOR IMAGING SCIENCE COLLEE OF SCIENCE ROCHESTER INSTITUTE OF TECHNOLOGY ROCHESTER, NY CERTIFICATE OF APPROVAL M.S. DEGREE THESIS The M.S. Degree Thesis of Ping-hsu Chen has been examined and approved by two members of the Color Science faculty as satisfactory for the thesis requirement for the Master of Science degree Prof. -
Development of a Methodology for Analyzing the Color Content of a Selected Group of Printed Color Analysis Systems
AN ABSTRACT OF THE THESIS OF Edith E. Collin for the degree of Master of Sciencein Clothing, Textiles and Related Arts presented on April 7, 1986. Title: Development of a Methodology for Analyzing theColor Content of a Selected Group of Printed Color Analysis Systems Redacted for Privacy Abstract approved: Ardis Koester The purpose of this study was to develop amethodology to compare the color choice recommendationsfor each personal color analysis category identified by the authorsof selected publications. The procedure used included: (1) identification of publications with color analysis systemsdirected toward female clientele; (2) comparison of number and names of categoriesused; (3) identification, by use of Munsell colornotations, the visual and written color recommendations ascribed toeach category; and (4) comparison of the publications on the basisof: (a) number and names of categories; (b) numberof color recommendations in each category; (c) range of hue value and chroma presented;(d) comparison of visual and written color recommendations by categoryand author. With the exception of comparison of publications onthe basis of written color recommendations, all components of themethodology were successful. Comparison of the publications used in development ofthe methodology revealed that: 1. The majority of authors use the seasonal category system. 2. The number of color recommendations per category was quite consistent within a publication but varied widely among authors. 3. There were few similarities in color recommendations even among authors using the same name categories. 4. There was poor agreement between written and visual color recommendations within all color categories. 5. There was no discernable theoretical basis for the color recommendations presented by any author included in this study. -
Digitizing the Harvard Observatory Plate Collection
Digitizing the Harvard Observatory Plate Collection Scanning the “Historic Sky” Our Goals: Find Funding to Construct a Scanner and Digitize the Harvard Astronomical Photographic Plate Collection. Make the results available in Online Storage. Jonathan E. Grindlay – Harvard Professor of Astronomy Elizabeth Griffin – WG Chair IAU Digitization and Preservation Alison Doane – Acting Curator of the Harvard Plate Stack Douglas J. Mink - Software and Data Archivist Bob Simcoe – Volunteer Associate & System designer Before photography, astronomers’ eyes were their only sensing device and hand drawing was the means of permanent recording. This severely limited the science they could accomplish. rjs Astronomy, as a science, made quantum leaps forward with the advent of photography. For the first time permanent, measurable photographic records made possible “offline” analysis of data. rjs The first daguerreotype of the moon was made by American physiologist J.W. Draper in 1840, involving a full 20 minute exposure. The first star was not recorded until 1850, when director of Harvard Observatory, W.C. Bond and Boston photographer J.A. Whipple, took a daguerreotype of Vega. The first photographic sky surveys were done at Harvard during the period of 1882-1886. Each photograph covered 15 degree squares of sky and recorded stars as faint as 8th magnitude. rjs The world’s collection of astronomical photographic images (estimated at 2 million glass plates) represents the costly output of over a century of devotion and skill by myriad astronomers. Harvard Observatory now has 500,000+ photographs, by far the largest collection and 25% of the world’s total. Harvard’s plates contain the most complete sky coverage of both the northern and southern sky over the longest time period – 1880 to 1989 rjs Since the 1980’s, astronomers have largely abandoned the use of photography. -
Empire of Prints. the Imperial City of Augsburg and the Printed Image In
OPUS Augsburg 2016 Peter Stoll Empire of Prints The Imperial City of Augsburg and the Printed Image in the 17th and 18th Centuries1 Detail from the frontispiece to David Langenmantel’s Historie des Regiments in des Heil. Röm. Reichs Stadt Augspurg (Augsburg 1734); engraving by Jakob Andreas Friedrich: Augsburg city hall; on top of the cartouche the pine cone from the city’s coat of arms; to the right the eagle signifying the Holy Roman Empire. 1 This text, in a Spanish translation, first served as one of the introductory essays in an exhibition catalogue dealing with Augsburg prints as modellos for baroque paintings in Quito, Ecuador (‘El imperio del grabado: La ciudad imperial de Augsburgo y la imagen impresa en los siglos XVII y XVIII’, in: Almerindo E. Ojeda, Alfonso Ortiz Crespo [ed.]: De Augsburgo a Quito: fuentes grabadas del arte jesuita quiteño del siglo XVIII, Quito 2015, pp. 17-66). For the present purpose, all passages of the text which only made sense in the context of the exhibition have been removed. Nonetheless, the 18th century bias of the text as well as the selection of artists which come under closer scrutiny still reflect the origins of the essay. As it was meant to address not only art historians, but also a general interest readership, it contains much basic information about print- making and the cultural history of Augsburg. OPUS Augsburg 2016 / Stoll, Empire of Prints 2 _______________________________________________________________________________________ A very particular type of factory When in 2001 Johan Roger -
Material Culture, Theoretical Culture, and Delocalization
PETER GALISON Material Culture, Theoretical Culture, and Delocalization Collection, laboratory, and theater – all face the unavoidable problem of moving the specific, tangible reality of a highly refined local circum- stance into a wider domain, if not of the universal, at least out of the here and now. In the study of science, simply recognizing the inevitably local origins of science has been an enormous accomplishment, perhaps the signal achievement of science studies over the past twenty years. But we then need to understand, again in specific terms, how this lo- cally-produced knowledge moves, how – without invoking an other- wise unexplained process of ‘generalization’ – scientific work is de- localized. My work over the last years (e.g. Image and Logic)1 has aimed at this goal, folding the local back on the local, so to speak, by asking how the local cultures of science link up through the piecewise coordination of bits of languages, objects, procedures. I have in mind much more austere and less grand ideas than the ‘translation,’ ‘trans- mission,’ or ‘diffusion’ of pre-existing meanings. Instead, my focus is on the way bare-bone trading may occur between different subcultures of science, or between subcultures of science and bits of the wider world in which they are fundamentally embedded. In this picture, nei- ther language nor the world of things changes all of a piece, and talk of world-changing Gestalt shifts give way to the particular building-up of scientific jargons, pidgins, and creoles. These trading languages be- come important as do shared bits of apparatus or fragments of theoreti- cal manipulation. -
František Kupka: Sounding Abstraction – Musicality, Colour and Spiritualism
Issue No. 2/2019 František Kupka: Sounding Abstraction – Musicality, Colour and Spiritualism Anna-Maria von Bonsdorff, PhD, Chief Curator, Finnish National Gallery / Ateneum Art Museum, Helsinki Also published in Anne-Maria Pennonen, Hanne Selkokari and Lene Wahlsten (eds.), František Kupka. Ateneum Publications Vol. 114. Helsinki: Finnish National Gallery / Ateneum Art Museum 2019, 11–25. Transl. Tomi Snellman The art of František Kupka (1871–1957) has intrigued artists, art historians and exhibition visitors for many decades. Although nowadays Kupka’s name is less well known outside artistic circles, in his day he was one of the artists at the forefront in creating abstract paintings on the basis of colour theory and freeing colours from descriptive associations. Today his energetic paintings are still as enigmatic and exciting as they were in 1912, when his completely non- figurative canvases, including Amorpha, Fugue in Two Colours and Amorpha, Warm Chromatics, created a scandal when they were shown in the Salon d’Automne in Paris. It marked a turning point in many ways, not least in the decision of the Gaumont Film Company to use Kupka’s abstract works for the news in cinemas in France, Germany, the United States and England.1 And as we will see, Kupka’s far-reaching shift to abstraction was a long process which grew partly out of his childhood interest in spiritualism and partly from Symbolist and occultist ideas to crystallise into the concept of an art which could be seen, felt and understood on a more multisensory basis. Kupka’s art reflects the idea of musicality in art, colour and spiritualism. -
Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012
Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2. -
We Have Never Been Modern Pdf Free Download
WE HAVE NEVER BEEN MODERN PDF, EPUB, EBOOK Bruno Latour | 168 pages | 04 May 2011 | HARVARD UNIVERSITY PRESS | 9780674948396 | English | Cambridge, Mass, United States We Have Never Been Modern PDF Book What difference does the scientific method make? Home About Publications Archive Index. We often encounter attempts to gauge the strength of faiths and denominations Act the Man and Build. The domains interact with one another, but they cannot, ought not, be confused. Skip to search form Skip to main content You are currently offline. View 4 excerpts, cites background. We have to keep up appearances, because being modern simply is the pretense that We are not Them. This forms the basis for Harman's Object Oriented Ontology. Church and ministry leadership resources to better equip, train and provide ideas for today's church and ministry leaders, like you. On March 24, I submitted the final copyedits for my new book …. Childish primitives that they were and are , pre-moderns muck everything up. With the rise of science, we moderns believe, the world changed irrevocably, separating us forever from our primitive, premodern ancestors. For moderns, the purification process is overt, while hybrids are denied even though modernity proliferates them. The imbroglios and networks that had no place now have the whole place to themselves. Inauguration and Vocation. Paradox 2: Nature is immanent, we construct it in a lab; society is not out construction, it is bio-fact that transcends us. Latour's book is largely a rumination on the phenomenon of modernity and how to create for ourselves a nonmodern world by ending the divide between social life and natural life.