Monday, May 22, 2017

More and Other Ways Early Photography Existed

Dr Samuel A Bemis
View of Barn in New Hampshire
ca. 1840
daguerreotype
Getty Museum, Los Angeles

Louis-Adolphe Humbert de Molard
Louis Dodier as a prisoner
1847
daguerreotype
Musée d'Orsay, Paris

"Drink nothing but this water, live upon chocolate; tomorrow I shall do everything in the world to get some bread to you, I shall mark it on each side with little crosses in ink. It is a terrible thing to say, but you must know it, perhaps Barbone has been ordered to poison you."

"Poison!  Beware of water, wine, everything; live upon chocolate, try to make the dog eat your untouched dinner; you must not appear distrustful, the enemy would try some other plan. Do nothing foolish, in Heaven's Name! No frivolity!"

And indeed, every fortnight, one saw a fresh rumor come to birth in Parma announcing the death of Fabrizio in the near future. This talk plunged the unhappy Duchessa in the utmost despair. 

Conte Mosca believed that he could rely upon the future Barone Riva, he was afraid only of poison; Barbone's attempt had greatly alarmed him, and to such a point that he had determined to risk taking a step which, to all appearance, was an act of madness. One morning he went to the gate of the citadel and sent for General Fabio Conti, who came down as far as the bastion above the gate; there, strolling with him in a friendly fashion, he had no hesitation in saying to him, after a short preamble, acidulated but polite:  'If Fabrizio dies in any suspicious manner, his death may be put down to me; I shall get a reputation for jealousy, which would be an absurd and abominable stigma and one that I am determined not to accept. So, to clear myself in the matter, if he dies of illness, I shall kill you with my own hand; you may count on that.' General Fabio Conti made a magnificent reply and spoke of his bravery, but the look in the Conte's eye remained present in  his thoughts.

– passages from Chapter 19 of The Charterhouse of Parma by Stendhal, published in 1839, exactly contemporary with the invention of the daguerreotype (old world neatly overlapping new). The translation is by the great C.K. Scott Moncrieff and first appeared in 1924.

Alfred Stieglitz
Georgia O'Keeffe
1920
platinum print
George Eastman House, Rochester, New York

Paul Strand
Portrait, New York
1916
platinum print
Getty Museum, Los Angeles

Gertrude Käsebier
Portrait of Gertrude Käsebier O'Malley at billiards
1909
platinum print
Getty Museum, Los Angeles

Tina Modotti
Tree with Dog
1924
palladium print
Getty Museum, Los Angeles

Tina Modotti
Open Door, Mexico City
1925
palladium print
Getty Museum, Los Angeles

Tina Modotti
Rene d'Harnoncourt Puppet
1929
gelatin silver print
Museum of Fine Arts, Houston

Berenice Abbott
Union Square, Manhattan
1936
gelatin silver print
Getty Museum, Los Angeles

Armand Pierre Séguier
Still-life with plaster casts
ca. 1839-42
daguerreotype
Getty Museum, Los Angeles

Max Dupain
Sunbaker
1937
gelatin silver print
National Gallery of Victoria, Melbourne

Olive Cotton
Max after surfing
1939
gelatin silver print
National Gallery of Victoria, Melbourne

Joseph-Philibert Girault de Prangey
Parthenon, Athens
1842
daguerreotype
Getty Museum, Los Angeles

Marc-Antoine Gaudin
Burial of the Duke of Orléans, with Notre Dame draped
1842
daguerreotype
Musée d'Orsay, Paris

Modes and Mannerisms of Early Photography

Oscar Gustave Rejlander
Infant Photography gives the Painter an Additional Brush
ca. 1856
albumen print
Getty Museum, Los Angeles

Claude-Marie Ferrier
Model house for Families designed by HRH Prince Albert
for the Great Exhibition of 1851, London 

salted paper print
Royal Collection, Windsor

William Henry Fox Talbot
Articles of china
ca. 1844
salted paper print
Getty Museum, Los Angeles

THE EVENING STAR

Tonight, for the first time in many years,
there appeared to me again
a vision of the earth's splendor:

in the evening sky
the first star seemed
to increase in brilliance
as the earth darkened

until at last it could grow no darker.
And the light, which was the light of death,
seemed to restore to earth

its power to console. There were
no other stars. Only the one
whose name I knew

as in my other life I did her
injury: Venus,
star of the early evening,

to you, I dedicate
my vision, since on this blank surface

you have cast enough light
to make my thought
visible again.

 Louise Glück, from the volume Averno (Farrar, Straus and Giroux, 2006)

Eugène Durieu
Study of a model
ca. 1850-57
salted paper print
George Eastman House, Rochester New York

Charles Nègre
Family Group
1854
salted paper print
Metropolitan Museum of Art, New York

Oscar Gustave Rejlander
Madonna and Child with St John the Baptist
ca. 1860
albumen silver print
Getty Museum, Los Angeles

Oscar Gustave Rejlander
Head of John the Baptist on a Charger
1855
albumen print
Royal Collection, Windsor 
(purchased by Queen Victoria in 1869)

Étienne-Jules Marey
Movements in Pole-vaulting
ca. 1885-95
gelatin silver print
Museum of Fine Arts, Houston

Étienne-Jules Marey
Arab Horse Galloping
1887
gelatin silver print
Museum of Fine Arts, Houston

Guido Rey
Dutch Interior (after Vermeer)
ca. 1895
platinum print
Getty Museum, Los Angeles

attributed to James Anderson
View of the Tiber and Castel Sant'Angelo, Rome
1880s
carbon print
Museum of Fine Arts, Houston

Arnold Genthe
Merchant and Bodyguard, Old Chinatown, San Francisco
ca. 1896-1906
gelatin silver print
San Francisco Museum of Modern Art

Louis Fleckenstein
People riding a carousel
ca. 1910
gum bichromate print
Getty Museum, Los Angeles

Fédèle Azari
Shadow of a blimp near Milan
ca. 1914-29
gelatin silver print
Getty Museum, Los Angeles

Sunday, May 21, 2017

Paintings Made on Copper Surfaces in the 17th century

Rembrandt (Netherlands)
Self-portrait
1630
oil on copper
Nationalmuseum, Stockholm

Cornelis van Poelenburgh (Netherlands / Rome)
The Goddess Calypso rescues Ulysses
ca. 1630
oil on copper
Hallwyl Museum, Stockholm

                                      Farre hence, at sea,
There lies an Ile that beares Ogygia's name,
Where Atlas' daughter, the ingenious Dame,
Faire-haird Calypso lives  a Goddesse grave,
And with whom men nor Gods societie have.
Yet I (past man unhappie) liv'd alone
(By heav'n's wrath forc't) her house companion.
For Jove had with a fervent lightning cleft
My ship in twaine, and farre at black sea left
Me and my souldiers  all whose lives I lost.
I in mine armes the keele tooke and was tost
Nine dayes together up from wave to wave.
The tenth grim Night the angry Dieties drave
Me and my wracke on th'Ile in which doth dwell
Dreadfull Calypso, who exactly well
Receiv'd and nourisht me, and promise made
To make me  deathlesse, nor should Age invade
My powers with his deserts through all my dayes.
All mov'd not me; and therefore on her stayes
Seven yeares she made me lie: and there spent I
The long time steeping in the miserie
Of ceaslesse teares the Garments I did weare
From her fair hand.

 from Book 7 of Homer's Odyssey, translated into English verse by George Chapman, 1614-15, edited by Allardyce Nicoll for Princeton University Press, 1956

Lucio Massari (Bologna)
Miracle of the Probatic Pool
1605-06
oil on copper
Pinacoteca Capitolina, Rome

Ludovico Carracci (Bologna)
Allegory of Providence
1604
oil on copper
Pinacoteca Capitolina, Rome

Domenichino (Bologna)
The Way to Calvary
1610
oil on copper
Getty Museum, Los Angeles

Adam Elsheimer (Germany / Rome)
Coronis and Apollo
ca. 1606-08
oil on copper
Walker Art Gallery, Liverpool

Joachim Wtewael (Netherlands)
Mars and Venus surprised by the Gods
ca. 1606-10
oil on copper
Getty Museum, Los Angeles

Ambrosius Bosschaert (Netherlands)
Basket of Flowers
1614
oil on copper
Getty Museum, Los Angeles

Ambrosius Bosschaert (Netherlands)
Bouquet of Flowers in a Pewter Vase
1617
oil on copper
Hallwyl Museum, Stockholm

Carlo Maratti (Rome)
Annunciation
ca. 1650-90
oil on copper
Royal Collection, Great Britain

Jan Baptist Weenix (Netherlands)
Italian Landscape with Horsemen at a Spring
ca. 1657
oil on copper
Centraal Museum, Utrecht

Adriaen van Bloemen (Flanders)
In the Draper's Shop
1670
oil on copper
Hallwyl Museum, Stockholm

Giovanni Francesco Grimaldi (Bologna)
Landscape with Tobias and the Angel
before 1680
oil on copper
Hunterian Art Gallery, University of Glasgow

Giovanni Francesco Grimaldi (Bologna)
Landscape with St Peter Baptising
before 1680
oil on copper
National Trust, Great Britain

Why did I stop? Did some instinct
discern a shape, the artist in me
intervening to stop traffic, as it were?

A shape. Or fate, as the poets say,
intuited in those few long-ago hours 

I must have thought so once.
And yet I dislike the term
which seems to me a crutch, a phase,
the adolescence of the mind, perhaps 

Still, it was a term I used myself,
frequently to explain my failures.
Fate, destiny, whose designs and warnings
now seem to me simply
local symmetries, metonymic
baubles within immense confusion 

 Louise Glück, from the poem Afterword in the volume Faithful and Virtuous Night (Farrar, Straus and Giroux, 2014)

Albumen Prints

André-Adolphe-Eugène Disdéri
Antonio María del Valle Serrano
1860
albumen print carte de visite
Museo Cerralbo, Madrid

André-Adolphe-Eugène Disdéri
Jules Armand, duc de Polignac
ca. 1858-59
albumen print cartes de visite
Museum of Fine Arts, Houston

"Considered the father of commercial portrait photography, A.A. Disdéri changed the face of photography when he patented the carte de visite process in 1854.  He opened his first studio in 1849 in Brest, after prior careers as a painter, lingerie maker, and accountant.  In 1852 he began studying the wet collodion process which led to his patent of cartes de visite, and by 1854 he had opened the largest portrait studio in Paris.  His second studio, specializing in equestrian portraits, opened in 1861, the same year he was reputed to be "the richest photographer in the world."  In 1868 a studio branch opened in England.  Disdéri became a favorite portraitist among the courts of France, England, and Spain, particularly after he was rumored to have made a carte portrait of Napoleon III.  Wealth gained from his carte de visite business, however, did not keep Disdéri from experiencing financial collapse.  He died in Paris, in 1889, blind, deaf, and destitute."

 curator's notes from the Museum of Fine Arts, Houston

Oscar Gustave Rejlander
Girl with Dove
ca. 1860-70
albumen print
George Eastman House, Rochester NY

W. & D. Downey, Photographers
Sarah Bernhardt in Francesca da Rimini
1902
albumen print
Jewish Museum, New York

Adolphe Braun
Falls of the Reichenbach
1860
albumen print
Museum of Fine Arts, Houston

Adolphe Braun
Floral Still-life
ca. 1852-62
albumen print
George Eastman House, Rochester NY

Félix Nadar
Portrait of Honoré Daumier
before 1879
albumen silver print
Metropolitan Museum of Art, New York

Felice Beato
Portrait of a Coolie, Japan
1866-67
hand-colored albumen silver print
Getty Museum, Los Angeles

Gustave Le Gray
Seascape Cloud Study
1856-57
albumen print
Musée d'Orsay, Paris

Eugène Atget
Luxembourg Gardens, Paris
1902-03
albumen silver print
Getty Museum, Los Angeles

Eugène Atget
Saint Cloud
1926
albumen silver print
Getty Museum, Los Angeles

Eugène Atget
Pollard willows in winter
ca. 1921-22
albumen silver print
Getty Museum, Los Angeles

Eugène Atget
Old Convent, Avenue de l'Observatoire, Paris
1923
albumen silver print
Getty Museum, Los Angeles

Eugène Atget
The Old Château, Sceaux
1923
albumen silver print
Getty Museum, Los Angeles