Jan 22, 2012
** Ongoing **
Help required | Photographs that are stylistically similar to paintings | | | |
At certain times people have sought to raise the "artistic" value of photography by showing how similar it was, or is, to painting. Within pictorialism "hand-worked" prints were the natural way to go with this and although it was a dead end as it denied what made photography unique it was a significant period in widening the acceptance of photography as an art form. This exhibition brings together a series of photographs that demonstrate how photographers have been influenced stylistically by painting and printmaking.
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Exhibition: Photographs that are stylistically similar to paintings
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| | Jan 22, 2012 | Art and Photography | | | |
This online exhibition is an overview for educational use of issues surrounding art and photography.
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Exhibition: Art and Photography
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| Jan 22, 2012
** Ongoing **
Help required | Photographic reproductions of works on paper and canvas | | | |
One of the earliest applications of photography was the reproduction of artworks and Joseph Nicéphore Niépce did this in the 1820s with his work on the portrait of Cardinal d'Amboise. Henry Fox Talbot in The Pencil of Nature , published in 1844, included a "Fac-simile of an Old Printed Page" (Part 2, pl.9), a " Copy of a Lithographic Print" (Part 2, pl.11) and "Hagar in the Desert" (Part 6, pl.23) to stress the importance that photography would have in historical and art research. As photography developed some photographers and companies specialized in selling copies of masterpieces of art history and this exhibition includes texts on these and the associated legal issues over copyright protection of photographs.
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Exhibition: Photographic reproductions of works on paper and canvas
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| | Jan 22, 2012 | Photographic reproductions of sculpture | | | |
This online exhibitions shows how sculptures were photographed in the 19th century.
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Exhibition: Photographic reproductions of sculpture
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| | Jan 20, 2012 | Snapshot: Painters and Photography, Bonnard to Vuillard | | | | February 4–May 6, 2012
Phillips Collection
George Hendrik Breitner
"Girl in a kimono (Geesje Kwak) in Breitner’s studio on Lauriersgracht, Amsterdam"
n.d., Gelatin silver print, 12 1/4 x 15 1/4 ins (framed)
Collection RKD (Netherlands Institute for Art History)
George Hendrik Breitner
Girl in Red Kimono, Geesje Kwak
1893-1895, Oil on canvas, 24 x 19 1/2 ins
Noortman Master Paintings
On behalf of private collection, Netherlands.
The invention of the Kodak handheld camera in 1888 gave post-impressionist artists a new source of inspiration. Investigating the techniques and compositional strategies made possible by the new apparatus, artists captured their private lives, as well as their public domains, in surprising ways. The exhibition debuts many previously unpublished photographs taken by seven European artists, renowned for their paintings and prints. Approximately 200 photographs and 80 paintings and works on paper by artists including Pierre Bonnard, Félix Vallotton, and Edouard Vuillard explore the dynamic relationships among the various media.
The exhibition was co-organized by The Phillips Collection, the Van Gogh Museum, Amsterdam, and the Indianapolis Museum of Art.
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| | Jan 15, 2012 | Newsletter 6.01 - Jan 15, 2012 has been emailed | | | | The Luminous-Lint Newsletter 6.01 - Jan 15, 2012 has been emailed to all those on our mailing list and you can subscribe to these free newsletters if you haven't already done so.
Past issues of the newsletter are in the library on the Luminous-Lint website. Best, Alan
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| | Jan 15, 2012 | Icons of the South - Portraits of Ouleds-Nails (Algeria 1860-1910) | | | |
“Exposed to the curious eyes of foreigners in all the showcases of the photographers, is a portrait of a woman of the south in a bizarre costume, with the impressive face of an idol from the old Orient […], the face of a bird of prey with eyes full of mystery …” So begins Le Portrait de l’Ouled Nail, written by Isabelle Eberhardt at the very beginning of the twentieth century. Classic iconographs of the Algerian south, the Ouled Nail never ceased to fascinate travellers and artists, from Fromentin to Gide and Robert Hitchens, who popularised the legend of these Bedouin women leaving the desert for Biskra and Bou Saada, well before the arrival of the first Europeans, to become dancers and prostitutes for long enough to build up a satisfactory dowry and return to marry a man of their own tribe.
From the introduction by Michel Mégnin.
Thanks to Gilles Dupont, great grandson of Auguste Maure; and to Bruno Tartarin, the Photo-Verdeau gallery, Paris. Special thanks to Angela Martin for an attentive and sensitive translation from the original French.
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Exhibition: Icons of the South - Portraits of Ouleds-Nails (Algeria 1860-1910)
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| | Jan 15, 2012 | Countess de Castiglione | | | |
The other day I was browsing through the "Dossier Photographies sur le Second Empire réunies par l'abbé Misset" at ARCHIM - Service interministériel des archives de France and I came across some of the hand-painted photographs of the Countess of Castiglione by Louis Pierson that I hadn't seen. They may well be in the book by Pierre Apraxine and Xavier Demange, La Divine Comtesse: Photographs of the Countess de Castiglione (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2000) but not having a copy I'm unable to check and I'm sure that some of you will let me know. The collection of the portraits of the Countess de Castiglione at the Metropolitan Museum of Art is extraordinary and I felt it would be enjoyable to give them another showing.
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Exhibition: Countess of Castiglione
More about this photographer
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| | Jan 7, 2012 | Fabricated Cameras and Contemporary Pinhole Photography | | | |
This exhibition is one of the most extraordinary I've put together and it was a total surprise. After meeting pinhole camera maker Benjamin Wooten in Halifax at a gallery opening in November 2011 we discussed the idea for bringing together examples of contemporary pinhole cameras and the photographs made with them. I sent around an email and seven of the leading camera makers came up with examples of their works and quite a variety of cameras including Band-Aid boxes, gas masks, human skulls, complex underwater contraptions, cardboard boxes, ceramic cameras, ammo boxes, human blood, an RVs, a VW camper and a wheelie bin.
I'd like to thank the artist-inventors and pinhole enthusiasts who have supplied examples:
Jo Babcock
Alyson Belcher
Wayne Martin Belger
Steve Irvine
Donald Lawrence
Justin Quinell
Benjamin Wooten
Thanks to you all - You create tangible visions.
Alan Griffiths
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Exhibition: Fabricated Cameras and Contemporary Pinhole Photography
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| | Jan 7, 2012 | Photograph albums from North American Private Collections | | | |
The patenting of the Carte de Visite (CDV) by Andre Disderi of France in 1854 and subsequent introduction to North America in 1859 made it possible for everyone to have their photographic portrait taken. The cost was low, it was easy to order duplicates, the small business card size made it ideal for mailing and, if there was no photo studio nearby, a travelling photographer would soon show up in a horse-drawn carriage outfitted with cheap backdrops and a primitive darkroom. Enterprising inventors on both sides of the Atlantic created a bewildering array of devices designed to showcase numerous CDVs at once... the album being the most popular and enduring.
Whole new industries sprung up to supply the album manufacturers with special papers, boards, gilded clasps, porcelain rests etc., in addition to the leathers, velvets, carved woods, composition and thermoplastic materials used for the covers. Costly machines were invented for the cutting and gilding (bronzing) of the pages. Gilders and other craftsmen couldn't be hired fast enough. The public demand for albums was unrelenting. There was no limit to the variety and richness of ornamentation, except the means of the buyer. Prices started at 75 cents to $50 or more, depending on the decorations. While many businesses folded during the Civil War, the manufacturers of albums thrived. One of the earliest was William Harding of Philadelphia, a prominent Bible maker, who registered an album patent, possibly as early as 1853, to be followed by others up to 1872. The most prolific maker was Samuel Bowles & Co. of Springfield, Mass. Statistics available for the year of 1864 state that, in that year alone, the firm "employed about 100 hands, used 50 tons of paper and 125 tons of pasteboard and album board, with other material to match". The popularity of the Cabinet Card ca.1880-1890 spelled the end of these jewels of bookbinding.
Partially excerpted from the Springfield Republican, December 28, 1864.
With thanks to Pam Ferrazzutti for getting the ball rolling with enthusiasm and humor. Thanks to Stephen Evans who put us in touch and to Paul Berg and Matt Isenburg - collectors of photographica - for proving additional examples.
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Exhibition: Photograph albums from North American Private Collections
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