Introduction to the History of Photography

The Steerage, 1907 "There were men and women and children on the lower deck of the steerage.... I longed to escape from my surroundings and join them.... A round straw hat, the funnel leaning left, the stairway leaning right.... round shapes of iron machinery... I saw a picture of shapes and underlying that, the feeling I had about life..." source: http://www.rleggat.com/photohistory/history/stieglit.htm Portrait of Georgia O' Keefe, 1918

'Grand Prix de Circuit de la Seine', June 26th 1912

Street vendors in Rome Reception at the Quirinal Palace ( Palazzo Quirinale ), Rome, 1893 Hunting scene Photos of Degas in Paris, 1889 Link: Fondazione Primoli

Blind beggar at the cattle market, c.1890 Paul Martin British, 1864 - 1942 Platinum print 18 x 22.8cm Dancing to the organ, Lambeth, 1893 Platinum print 10 x 7.5cm The Old Empire Platinum print 17.5 x 23.5cm Southend Beach, 1905 Yarmouth sands, 1892 Link: Victoria and Albert Museum: Exploring Photography

Marey - Studies on human motion Marey - Studies on animal motion, 1880s M arey's photographic gun source: Wikipedia Marey and colleagues, a flip book experiment Links: Movements of Air Etienne-Jules Marey (1830-1904) Photographer of Fluids Works about and by Marey Marey's Flip Book by Philipp Felsch Marey- online exhibition

source: http://www.bath.ac.uk/ncuacs/FP_Fuessl.htm Ernst Mach (1838 – 1916) was influential as a physicist and philosopher of science in the late part of the 19th century and early part of the 20th century. He was one of the first to systematically investigate super-sonic motion using photographic techniques that he created in the early 1890s. The photographs of bullets in motion reveal (as shadows) the waves produced as the bullet approaches and surpasses the speed of sound. Links: Deutsches Museum E. March archive Scientific photographs of Ernst Mach online by Wilhelm Fuessl

Edgar Degas DANCER (ARMS OUTSTRETCHED) 1895 or 1896 Gelatin dry-plate negative source: http://classes.asn.csus.edu/vail/art101/degas.htm After the Bath, Woman Drying Her Back Edgar Germain Hilaire Degas French, 1896 Gelatin silver print 6 1/2 x 4 11/16 in. source: http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=47047&handle=li Edgar Degas After the Bath, Woman Drying Her Back pastel, 1896 Louise Halévy Reclining Edgar Germain Hilaire Degas French, 1895 Gelatin silver print 3 3/4 x 3 1/16 in. source: http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=61459&handle=li Links: Degas' funereal photography By Christopher Benfey Degas' Photos of Dancers by Morgan Alonso

In the mid 1800s, the documentary powers of photography were applied in systematic ways to works of art and architecture by photographers such as James Anderson, Adolphe Braun, the Alinari brothers, Roger Fenton and others. Soon, large photography enterprises developed for the publication of art reproductions. The photographer took over, not without protest initially, the market of reproductions that belonged to printmakers and painters. James Anderson (British, 1813 - 1877) Colossal bust of Antinous from the Villa Adriana, near Tivoli. James Anderson Rome, Colosseum and Arch of Costantin landscape c. 1860, Albumen print 42.2 x 21.5 cm James Anderson L'Arco di Tito [Rome] c. 1853 Wet-collodion-glass-negative 25.5 x 18.6 cm (10 x 7.5 ) James Anderson - Roman Forum James Anderson - Arch of Constantine, Rome, c. 1858 James Anderson - Venetian Palace, c. 1870s Comte Frédéric Flachéron Rome, The Ara Coeli and the Dioscuri of the Capitol 1851 Salt print from calotype 35.5 x 25

Walter Benjamin, c. 1938 photo by Gisèle Freund The mimetic relationship that photography establishes with painting, drawing and printmaking , the attempt to "elevate" photography to the dignity and the cultural status of the established art forms of tradition, correspond to the initial phase of emergence of both a new technology of the image and a new visual practice. Photography relationship with the established system of the arts was indeed from the beginning a source of cultural anxiety and insecurity. Anxiety that we can understand as the manifestation of an obscure intuition that the invention of photography brought about radical changes not just in image production and in our uses of images, but also changes in our understanding of images, and consequently, in our understanding of ourselves. The total impact of this new form of vision in the system of the visual arts and in the larger field and forms of the visual culture of the modern world would be fully recogn

Robert Demachy, Speed 1904, gum-bichromate print Robert Demachy, Severity 1904, gum-bichromate print Robert Demachy, Behind the scenes, c. 1897, gum-bichromate print

Still Life with Fruit], 1860 Roger Fenton (British, 1819–1869) Albumen silver print from glass negative; 13 7/8 x 16 15/16 in. (35.2 x 43.1 cm) source: http://www.metmuseum.org/TOAH/HD/rfen/ho_2005.100.15.htm Stillleben mit Hortensien, Holler, Forellengeranien (1854) by Adolphe Braun Study of Leaves on a Background of Floral Lace, 1864 Charles-Hippolyte Aubry (French, 1811–1877) Albumen silver print from glass negative; 18 3/8 x 14 1/2 in. (46.7 x 36.7 cm) source: http://www.metmuseum.org/toah/hd/infp/ho_2004.106.htm

L.M. Melender and brother, The Haunted Lane , c.1880.  albumen stereograph,  Library of Congress, Washington D C

Fading Away, 1858 Henry Peach Robinson, Carolling, 1890. Seattle Art Museum, Seattle, Washington. When the Day's Work is Done , 1877 The Lady of Shalott by Henry Peach Robinson (1830-1901). 1861. Albumen print from two negatives, 12 x 10 in. (30.4 x 50.8 cm.). Unsigned. The Harry Ransom Humanities Research Center, University of Texas (ace. no.964:057:068) Helmut Gernscheim Collection. Ophellia by Sir John Everett Millais, 1852