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Author: Sarah Kate Gillespie
Publisher: MIT Press
ISBN: 0262334100
Category : Photography
Languages : en
Pages : 227
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Book Description
The American daguerreotype as something completely new: a mechanical invention that produced an image, a hybrid of fine art and science and technology. The daguerreotype, invented in France, came to America in 1839. By 1851, this early photographic method had been improved by American daguerreotypists to such a degree that it was often referred to as “the American process.” The daguerreotype—now perhaps mostly associated with stiffly posed portraits of serious-visaged nineteenth-century personages—was an extremely detailed photographic image, produced though a complicated process involving a copper plate, light-sensitive chemicals, and mercury fumes. It was, as Sarah Kate Gillespie shows in this generously illustrated history, something wholly and remarkably new: a product of science and innovative technology that resulted in a visual object. It was a hybrid, with roots in both fine art and science, and it interacted in reciprocally formative ways with fine art, science, and technology. Gillespie maps the evolution of the daguerreotype, as medium and as profession, from its introduction to the ascendancy of the “American process,” tracing its relationship to other fields and the professionalization of those fields. She does so by recounting the activities of a series of American daguerreotypists, including fine artists, scientists, and mechanical tinkerers. She describes, for example, experiments undertaken by Samuel F. B. Morse as he made the transition from artist to inventor; how artists made use of the daguerreotype, both borrowing conventions from fine art and establishing new ones for a new medium; the use of the daguerreotype in various sciences, particularly astronomy; and technological innovators who drew on their work in the mechanical arts. By the 1860s, the daguerreotype had been supplanted by newer technologies. Its rise (and fall) represents an early instance of the ever-constant stream of emerging visual technologies.
Author: Sarah Kate Gillespie
Publisher: MIT Press
ISBN: 0262334100
Category : Photography
Languages : en
Pages : 227
Get Book Here
Book Description
The American daguerreotype as something completely new: a mechanical invention that produced an image, a hybrid of fine art and science and technology. The daguerreotype, invented in France, came to America in 1839. By 1851, this early photographic method had been improved by American daguerreotypists to such a degree that it was often referred to as “the American process.” The daguerreotype—now perhaps mostly associated with stiffly posed portraits of serious-visaged nineteenth-century personages—was an extremely detailed photographic image, produced though a complicated process involving a copper plate, light-sensitive chemicals, and mercury fumes. It was, as Sarah Kate Gillespie shows in this generously illustrated history, something wholly and remarkably new: a product of science and innovative technology that resulted in a visual object. It was a hybrid, with roots in both fine art and science, and it interacted in reciprocally formative ways with fine art, science, and technology. Gillespie maps the evolution of the daguerreotype, as medium and as profession, from its introduction to the ascendancy of the “American process,” tracing its relationship to other fields and the professionalization of those fields. She does so by recounting the activities of a series of American daguerreotypists, including fine artists, scientists, and mechanical tinkerers. She describes, for example, experiments undertaken by Samuel F. B. Morse as he made the transition from artist to inventor; how artists made use of the daguerreotype, both borrowing conventions from fine art and establishing new ones for a new medium; the use of the daguerreotype in various sciences, particularly astronomy; and technological innovators who drew on their work in the mechanical arts. By the 1860s, the daguerreotype had been supplanted by newer technologies. Its rise (and fall) represents an early instance of the ever-constant stream of emerging visual technologies.
Author: Sarah Kate Gillespie
Publisher: MIT Press
ISBN: 0262034107
Category : Photography
Languages : en
Pages : 227
Get Book Here
Book Description
The American daguerreotype as something completely new: a mechanical invention that produced an image, a hybrid of fine art and science and technology. The daguerreotype, invented in France, came to America in 1839. By 1851, this early photographic method had been improved by American daguerreotypists to such a degree that it was often referred to as “the American process.” The daguerreotype—now perhaps mostly associated with stiffly posed portraits of serious-visaged nineteenth-century personages—was an extremely detailed photographic image, produced though a complicated process involving a copper plate, light-sensitive chemicals, and mercury fumes. It was, as Sarah Kate Gillespie shows in this generously illustrated history, something wholly and remarkably new: a product of science and innovative technology that resulted in a visual object. It was a hybrid, with roots in both fine art and science, and it interacted in reciprocally formative ways with fine art, science, and technology. Gillespie maps the evolution of the daguerreotype, as medium and as profession, from its introduction to the ascendancy of the “American process,” tracing its relationship to other fields and the professionalization of those fields. She does so by recounting the activities of a series of American daguerreotypists, including fine artists, scientists, and mechanical tinkerers. She describes, for example, experiments undertaken by Samuel F. B. Morse as he made the transition from artist to inventor; how artists made use of the daguerreotype, both borrowing conventions from fine art and establishing new ones for a new medium; the use of the daguerreotype in various sciences, particularly astronomy; and technological innovators who drew on their work in the mechanical arts. By the 1860s, the daguerreotype had been supplanted by newer technologies. Its rise (and fall) represents an early instance of the ever-constant stream of emerging visual technologies.
Author: Janet E. Buerger
Publisher: University of Chicago Press
ISBN: 9780226079851
Category : Art
Languages : en
Pages : 304
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Book Description
Upon its introduction in 1839, the daguerreotype was hailed as a magical reflection of reality. Today, these early examples of the first practical photographic process offer fascinating windows into the past. The daguerreotypes collected here not only document the birth of photography and its aesthetic and historical legacy but also provide insight into French art and culture. Lavishly illustrated, this volume is the first complete catalog of the French daguerreotype collection of the International Museum of Photography at George Eastman House. Janet E. Buerger uses this remarkable collection of images to produce a cultural history of the daguerreotype's most learned following—an elite group of mid-nineteenth-century intellectuals who sought to understand and develop the usefulness, potential, and beauty of this camera image. This varied group, including entrepreneurs, painters, scientists, and historians, enables Buerger to trace the influence of photography into virtually every area of nineteenth-century European intellectual life.
Author: Cara A. Finnegan
Publisher: University of Illinois Press
ISBN: 0252052692
Category : Photography
Languages : en
Pages : 378
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Book Description
Defining the Chief Executive via flash powder and selfie sticks Lincoln’s somber portraits. Lyndon Johnson’s swearing in. George W. Bush’s reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama’s selfies to tell the stories of how presidents have participated in the medium’s transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs—as representations of leaders who symbolized the nation—sparked public debate on these values and their implications. An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it.
Author: John Rohrbach
Publisher: University of California Press
ISBN: 0520306686
Category : Photography
Languages : en
Pages : 117
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Book Description
Cabinet cards were America’s main format for photographic portraiture throughout the last quarter of the nineteenth century. Standardized at 6½ x 4¼ inches, they were just large enough to reveal extensive detail, leading to the incorporation of elaborate poses, backdrops, and props. Inexpensive and sold by the dozen, they transformed getting one’s portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends. The cards reinforced middle-class Americans’ sense of family. They allowed people to show off their material achievements and comforts, and the best cards projected an informal immediacy that encouraged viewers to feel emotionally connected with those portrayed. The experience even led sitters to act out before the camera. By making photographs an easygoing fact of life, the cards forecast the snapshot and today’s ubiquitous photo sharing. Organized by senior curator John Rohrbach, Acting Out is the first ever in-depth examination of the cabinet card phenomena. Full-color plates include over 100 cards at full size, providing a highly entertaining collection of these early versions of the selfie and ultimately demonstrating how cabinet cards made photography modern. Published in association with the Amon Carter Museum of American Art. Tentative exhibition dates (postponed due to COVID-19): Amon Carter Museum of American Art: August 2020 Los Angeles County Museum of Art (LACMA): 2021
Author: Beaumont Newhall
Publisher: New York] : Duell, Sloan & Pearce
ISBN:
Category : Daguerreotype
Languages : en
Pages : 266
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Book Description
Newhall discusses the initial introduction of the daguerreotype in America in 1839, the beginnings of the daguerreotype industry, the entrepreneurs and innovators, the incredible Broadway daguerreotype galleries, the explorers, the quest for a color process, and more. In America, Daguerre's initial technique became greatly modified; the new process that evolved is described in detail in a special chapter. Originally published in 1961, this third edition contains all of the original text and illustrations plus sixteen additional pages of plates, corrections, and minor text revisions.
Author: Bates Lowry
Publisher: Getty Publications
ISBN: 0892365366
Category : Art
Languages : en
Pages : 258
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Book Description
By the middle of the nineteenth century, the most common method of photography was the daguerreotype—Louis Jacques Mandé Daguerre’s miraculous invention that captured in a camera visual images on a highly polished silver surface through exposure to light. In this book are presented nearly eighty masterpieces—many never previously published—from the J. Paul Getty Museum’s extensive daguerreotype collection.
Author: Marcy J. Dinius
Publisher: University of Pennsylvania Press
ISBN: 0812206347
Category : Literary Criticism
Languages : en
Pages : 317
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Book Description
Before most Americans ever saw an actual daguerreotype, they encountered this visual form through written descriptions, published and rapidly reprinted in newspapers throughout the land. In The Camera and the Press, Marcy J. Dinius examines how the first written and published responses to the daguerreotype set the terms for how we now understand the representational accuracy and objectivity associated with the photograph, as well as the democratization of portraiture that photography enabled. Dinius's archival research ranges from essays in popular nineteenth-century periodicals to daguerreotypes of Americans, Liberians, slaves, and even fictional characters. Examples of these portraits are among the dozens of illustrations featured in the book. The Camera and the Press presents new dimensions of Nathaniel Hawthorne's The House of the Seven Gables, Herman Melville's Pierre, Harriet Beecher Stowe's Uncle Tom's Cabin, and Frederick Douglass's The Heroic Slave. Dinius shows how these authors strategically incorporated aspects of daguerreian representation to advance their aesthetic, political, and social agendas. By recognizing print and visual culture as one, Dinius redefines such terms as art, objectivity, sympathy, representation, race, and nationalism and their interrelations in nineteenth-century America.
Author: Ilisa Barbash
Publisher: Aperture
ISBN: 9781597114783
Category : History
Languages : en
Pages : 0
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Book Description
To Make Their Own Way in the World is a profound consideration of some of the most challenging images in the early history of photography. The fifteen daguerreotypes--made in 1850 by photographer Joseph T. Zealy--portray Alfred, Delia, Drana, Fassena, Jack, Jem, and Renty, men and women of African descent who were enslaved in South Carolina. Since 1976, when the daguerreotypes were rediscovered at Harvard University's Peabody Museum, the photographs have been the subject of intense and widespread study. To Make Their Own Way in the World features essays by prominent scholars who explore everything from the photographs' historical context and the "science" of race to the ways in which photography created a visual narrative of slavery and its effects. Multidisciplinary, deeply collaborative, and with more than two hundred illustrations, including new photography by contemporary artist Carrie Mae Weems, this book frames the Zealy daguerreotypes as works of urgent contemporary inquiry. Copublished by Aperture and Peabody Museum Press
Author: Mazie M. Harris
Publisher: Getty Publications
ISBN: 1606065491
Category : Photography
Languages : en
Pages : 226
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Book Description
Scholarship on photography’s earliest years has tended to focus on daguerreotypes on metal or on the European development of paper photographs made from glass or paper negatives. But Americans also experimented with negative-positive processes to produce photographic images on a variety of paper formats in the early decades of the medium. Paper Promises: Early American Photography presents this rarely studied topic within photographic history. The well-researched and richly detailed texts in this book delve into the complexities of early paper photography in the United States from the 1840s to 1860s, bringing to light a little-known era of American photographic appropriation and adaptation. Exploring the economic, political, intellectual, and social factors that impacted its unique evolution, both the essays and the carefully selected images illustrate the importance of photographic reproduction in shaping and circulating perceptions of America and its people during a critical period of political tension and territorial expansion. Due to the fragility of paper photography from this period, the works in this catalogue are rarely displayed, making the volume an essential tool for any scholar in the field and a very rare peek into the mid-nineteenth century.
