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Introduction to Photography ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Questions  about the Nature of Photography ,[object Object],[object Object],[object Object],[object Object]
Louis Daguerre ,[object Object],[object Object],[object Object],[object Object]
Early Photography ,[object Object],[object Object],[object Object],[object Object],[object Object]
Nadar Ever open to new ideas and discoveries, Nadar was the first in France to make photographs underground with artificial light and the first to photograph Paris from the basket of an ascendant balloon. Even though a proponent of heavier-than-air traveling devices, he financed the construction of  Le Giant , a balloon that met with an unfortunate accident on its second trip. Nonetheless, he was instrumental in setting up the balloon postal service that made it possible for the French government to communicate with those in Paris during the German blockade in the Franco-Prussian War of 1870.  Ruined financially by this brief but devastating conflict, Nadar continued to write and photograph, running an establishment with his son Paul that turned out slick commercial work. Always a rebel, at one point he lent the photo studio to a group of painters who wished to bypass the Salon in order to exhibit their work, thus making possible the  first exhibition of the Impressionists  in April, 1874. Although he was to operate still another studio in Marseilles during the 1880s and '90s Nadar's last photographic idea of significance was a series of exposures made by his son in 1886 as he interviewed chemist Eugene Chevreul on his 100th birthday, thus foreshadowing the direction that picture journalism was to take. During his last years he continued to think of himself as "a daredevil, always on the lookout for currents to swim against." At his death, just before the age of ninety, he had outlived all those he had satirized in the famous Pantheon, which had started him in photography
Manet Delacroix ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],1878
Jean-Francois Millet ,[object Object],[object Object],[object Object],[object Object],[object Object]
The Gleaners, 1857
Gustave Courbet 1819 – 1877 Photo by Nadar “ ...in our so very civilized society it is necessary for me to live the life of a savage. I must be free even of governments. The people have my sympathies, I must address myself to them directly.”
Realism ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
A Burial at Ornans 1849-1850  (10’ x 21’)
The Painter’s Studio: A Real Allegory, 1855 The Painter's Studio  is an allegory of Courbet's life, bringing together the different people he encountered. The painting is also a picture of the ages of man; it represents all stages of life, from the child at his mother's breast to the gravedigger in the background. In  The Painter's Studio,  Courbet also portrays representatives of society's upper, middle, and lower classes.
The Stone-Breakers, 1849-50 ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Honore Daumier, a French artist, was deeply interested in people, especially the underprivileged. In  Third-Class Carriage  he shows us, with great compassion, a group of people on a train journey. We are especially concerned with one family group, the young mother tenderly holding her small child, the weary grandmother lost in her own thoughts, and the young boy fast asleep. The painting is done with simple power and economy of line. The hands, for example, are reduced to mere outlines but beautifully drawn. The bodies are as solid as clay, their bulk indicated by stressing the essential and avoiding the nonessential. These are not portraits of particular people but of mankind.   ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
The Horse Fair 1853 -55 Marie Rosa Bonheur  ( March 16 ,  1822  -  May 25 ,  1899 )  First Feminist Painter??
Realism in America ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
 
Realism in America ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],1859 - 1937                                                                                          
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

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Early Photo and Realism

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  • 6. Nadar Ever open to new ideas and discoveries, Nadar was the first in France to make photographs underground with artificial light and the first to photograph Paris from the basket of an ascendant balloon. Even though a proponent of heavier-than-air traveling devices, he financed the construction of Le Giant , a balloon that met with an unfortunate accident on its second trip. Nonetheless, he was instrumental in setting up the balloon postal service that made it possible for the French government to communicate with those in Paris during the German blockade in the Franco-Prussian War of 1870. Ruined financially by this brief but devastating conflict, Nadar continued to write and photograph, running an establishment with his son Paul that turned out slick commercial work. Always a rebel, at one point he lent the photo studio to a group of painters who wished to bypass the Salon in order to exhibit their work, thus making possible the first exhibition of the Impressionists in April, 1874. Although he was to operate still another studio in Marseilles during the 1880s and '90s Nadar's last photographic idea of significance was a series of exposures made by his son in 1886 as he interviewed chemist Eugene Chevreul on his 100th birthday, thus foreshadowing the direction that picture journalism was to take. During his last years he continued to think of himself as "a daredevil, always on the lookout for currents to swim against." At his death, just before the age of ninety, he had outlived all those he had satirized in the famous Pantheon, which had started him in photography
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  • 11. Gustave Courbet 1819 – 1877 Photo by Nadar “ ...in our so very civilized society it is necessary for me to live the life of a savage. I must be free even of governments. The people have my sympathies, I must address myself to them directly.”
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  • 13. A Burial at Ornans 1849-1850 (10’ x 21’)
  • 14. The Painter’s Studio: A Real Allegory, 1855 The Painter's Studio is an allegory of Courbet's life, bringing together the different people he encountered. The painting is also a picture of the ages of man; it represents all stages of life, from the child at his mother's breast to the gravedigger in the background. In The Painter's Studio, Courbet also portrays representatives of society's upper, middle, and lower classes.
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  • 17. The Horse Fair 1853 -55 Marie Rosa Bonheur ( March 16 , 1822 - May 25 , 1899 ) First Feminist Painter??
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