Posts Tagged ‘Henry Peach Robinson She Never Told her Love

28
Apr
13

Exhibition: ‘Faking It: Manipulated Photography Before Photoshop’ at The National Gallery of Art, Washington

Exhibition dates: 17th February – 5th May 2013

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Further images from this impressive exhibition devoted to the art of photographic manipulation before the advent of digital imagery from its second stop, at The National Gallery of Art, Washington.

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Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Unknown, American (American). 'He Lost His Head' Nd

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Unknown American (American)
He Lost His Head
Nd

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Edward Steichen. 
'The Pond - Moonrise' 1904

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Edward Steichen

The Pond – Moonrise
1904
Platinum print with applied color
image
39.7 x 48.2 cm (15 5/8 x 19 in.)
Lent by The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933
© The Metropolitan Museum of Art/ Permission Estate of Edward Steichen. All rights reserved

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Using a painstaking technique of multiple printing, Steichen achieved prints of such painterly seductiveness they have never been equaled. This view of a pond in the woods at Mamaroneck, New York is subtly colored as Whistler’s Nocturnes, and like them, is a tone poem of twilight, indistinction, and suggestiveness. Commenting on such pictures in 1910, Charles Caffin wrote in Camera Work: “It is in the penumbra, between the clear visibility of things and their total extinction into darkness, when the concreteness of appearances becomes merged in half-realised, half-baffled vision, that spirit seems to disengage itself from matter to envelop it with a mystery of soul-suggestion.”  (Text from the Metropolitan Museum of Art website)

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Henry Peach Robinson (British, 1830-1901) 'She Never Told Her Love' 1857

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Henry Peach Robinson (British, 1830-1901)
She Never Told Her Love
1857
Albumen silver print from glass negative
18 x 23.2cm (7 1/16 x 9 1/8in.)
Gilman Collection, Purchase, Jennifer and Joseph Duke Gift, 2005

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Consumed by the passion of unrequited love, a young woman lies suspended in the dark space of her unrealized dreams in Henry Peach Robinson’s illustration of the Shakespearean verse “She never told her love,/ But let concealment, like a worm i’ the bud,/ Feed on her damask cheek” (Twelfth Night II,iv,111-13). Although this picture was exhibited by Robinson as a discrete work, it also served as a study for the central figure in his most famous photograph, Fading Away, of 1858.

Purportedly showing a young consumptive surrounded by family in her final moments, Fading Away was hotly debated for years. On the one hand, Robinson was criticized for the presumed indelicacy of having invaded the death chamber at the most private of moments. On the other, those who recognized the scene as having been staged and who understood that Robinson had created the picture through combination printing (a technique that utilized several negatives to create a single printed image) accused him of dishonestly using a medium whose chief virtue was its truthfulness. (Text from the Metropolitan Museum of Art website)

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Frederick Sommer. 'Max Ernst' 1946

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Frederick Sommer
Max Ernst
1946
Gelatin silver print
19.2 x 23.97 cm (7 9/16 x 9 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© Frederick and Frances Sommer Foundation

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Wm. Notman & Son, Montreal, Eugène L'Africain, William Notman. 'Red Cap Snow Shoe Club, Halifax, Nova Scotia' c. 1888

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Wm. Notman & Son, Montreal, Eugène L’Africain, William Notman
Red Cap Snow Shoe Club, Halifax, Nova Scotia
c. 1888
Collage of albumen prints with applied media
71.1 x 83.8 cm (28 x 33 in.)
McCord Museum, Montreal

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Notman established his first photography studio in Montreal in 1856 and relentlessly expanded his operations over the next two decades. At its peak, his company had twenty-four branches throughout Canada and New England, making it the most successful photographic enterprise in North America at the time. Notman specialized in composite portraits of large groups, including sporting clubs, trade associations, family gatherings, clergymen, and college graduates, some featuring more than four hundred figures. Each figure in a group was photographed separately in the studio then printed at the proper scale and pasted onto a painted background, as in this portrait of a Nova Scotia snowshoe club. The entire collage was then re-photographed. The final, relatively seamless tableau could then be printed and sold in a variety of sizes and formats. (Text from the Metropolitan Museum of Art website)

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The National Gallery of Art presents the first major exhibition devoted to the art of photographic manipulation before the advent of digital imagery. Faking It: Manipulated Photography before Photoshop will be on view in the West Building’s Ground Floor galleries from February 17 through May 5, 2013, following its debut at the Metropolitan Museum of Art (from October 11, 2012, through January 27, 2013). In June it travels to the Museum of Fine Arts, Houston.

“Following in its tradition of exhibiting and collecting the finest examples of photography, the Gallery is pleased to present some 200 photographs from the 1840s through the 1980s demonstrating the medium’s complicated relationship to truth in representation,” said Earl A. Powell III, director, National Gallery of Art. “We are grateful to the many lenders, both public and private, who have generously shared works from their collections – especially the Metropolitan Museum of Art, the largest lender and the organizer of this fascinating exhibition.”

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The Exhibition

This is the first major exhibition devoted to the history of manipulated photography before the digital age. While the widespread use of Adobe® Photoshop® software has brought about an increased awareness of the degree to which photographs can be doctored, photographers – including such major artists as Gustave Le Gray, Edward Steichen, Weegee, and Richard Avedon – have been fabricating, modifying, and otherwise manipulating camera images since the medium was first invented. This exhibition demonstrates that today’s digitally manipulated images are part of a continuum that extends back to photography’s first decades. Through visually captivating pictures created in the service of art, politics, news, entertainment, and commerce, Faking It not only traces the medium’s complex and changing relationship to visual truth, but also significantly revises our understanding of photographic history.

Organized thematically, the exhibition begins with some of the earliest instances of photographic manipulation – those attempting to compensate for the new medium’s technical limitations. In the 19th century, many photographers hand tinted portraits to make them appear more vivid and lifelike. Others composed large group portraits by photographing individuals separately in the studio and creating a collage by pasting them onto painted backgrounds depicting outdoor scenes. As the art and craft of photography grew increasingly sophisticated, photographers devised a staggering array of techniques with which to manipulate their images, including combination printing, photomontage, overpainting, ink and airbrush retouching, sandwiched negatives, multiple exposures, and other darkroom magic.

The exhibition presents a superb selection of manually altered photographs created under the mantle of art, including 19th-century genre scenes composed of multiple negatives, stunning pictorialist landscapes from the turn of the 19th century, and the predigital dreamscapes of surrealist photographers in the 1920s and 1930s. A section of doctored images made for political or ideological ends includes faked composite photographs of the 1871 Paris Commune massacres, anti-Nazi photomontages by John Heartfield, and falsified images from Stalin-era Soviet Russia. The show also explores popular uses of photographic manipulation such as spirit photography, tall-tale and fantasy postcards, advertising and fashion spreads, and doctored news images.

The final section features the work of contemporary artists – including Duane Michals, Jerry Uelsmann, and Yves Klein – who have reclaimed earlier techniques of image manipulation to creatively question photography’s presumed objectivity. By tracing the history of photographic manipulation from the 1840s to the present, Faking It vividly demonstrates that photography is – and always has been – a medium of fabricated truths and artful lies.”

Press release from the National Gallery of Art website

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Arthur Felig - Weegee (American, born Hungary, 1899-1968) 'Times Square, New York' 1952-59

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Arthur Felig – Weegee (American, born Hungary, 1899-1968)
Times Square, New York
1952-59
Gelatin silver print
20.3 x 17.8 cm (8 x 7 in.)
© International Center of Photography, Bequest of Wilma Wilcox, 1993

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Famous for his gritty tabloid crime photographs, Weegee devoted the last twenty years of his life to what he called his “creative work.” He experimented prolifically with distorting lenses and comparable darkroom techniques, producing photo caricatures of politicians and Hollywood celebrities, novel variations on the man-in-the-bottle motif, and uncanny doublings and reflections, such as this striking image, which he described as “Times Square under 10 feet of water on a sunny afternoon.”

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Kathy Grove (American, born 1948) 'The Other Series (After Kertész)' 1989-90

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Kathy Grove (American, born 1948)
The Other Series (After Kertész)
1989-90
Gelatin silver print
19.7 x 15.2 cm (7 3/4 x 6 in.)
Purchase, Charina Foundation Inc. Gift, 2010
© Kathy Grove

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In the late 1980s Grove, an artist who supports herself as a professional photo retoucher, began seamlessly altering images of famous works of art, using bleach, dyes, and airbrush to remove the female figure from each image and leaving the rest of the scene intact. Her cunning excisions mimic the process by which art historians, echoing the culture at large, have erased the achievements of actual women while enshrining Woman as a blank screen upon which the ideas and desires of both artist and viewer are projected. If photographs are presumed to represent the truth, Grove’s pictures remind us to ask: Whose truth?

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Unknown, American '[Decapitated Man with Head on a Platter]' c.1865

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Unknown American
[Decapitated Man with Head on a Platter]
c.1865
Tintype with applied color
8.4 x 6 cm (3 5/16 x 2 3/8 in.)
© International Center of Photography, Gift of Steven Kasher and Susan Spungen Kasher, 2008

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Carleton E. Watkins (American, 1829–1916) 'Cape Horn, Columbia River, Oregon' 1867

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Carleton E. Watkins (American, 1829-1916)
Cape Horn, Columbia River, Oregon
1867, printed 1880-1890
Albumen silver print from glass negatives
52.3 x 40.4 cm (20 9/16 x 15 7/8 in.)
© George Eastman House, International Museum of Photography and Film, Rochester

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Watkins, the consummate photographer of the American West, combined a virtuoso mastery of the difficult wet plate negative process with a rigorous sense of pictorial structure. For large-format landscape work such as Watkins produced along the Columbia River in Oregon, the physical demands were great. Since there was as yet no practical means of enlarging, Watkins’s glass negatives had to be as large as he wished the prints to be, and his camera large enough to accommodate them. Furthermore, the glass negatives had to be coated, exposed, and developed while the collodion remained tacky, requiring the photographer to transport a traveling darkroom as he explored the rugged virgin terrain of the American West. The crystalline clarity of Watkins’s remarkable “mammoth” prints is unmatched in the work of any of his contemporaries and is approached by few artists working today. (Text from the Metropolitan Museum of Art website). Here the clouds have been printed in (compare to the work on the Metropolitan Museum of Art website)

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Dora Maar (French, Paris 1907–1997 Paris) 'Le simulateur' 1936

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Dora Maar (French, Paris 1907-1997 Paris)
Le simulateur
1936
Gelatin silver print
29.2 x 22.9 cm (11 1/2 x 9 in.)
Collection of The Sack Photographic Trust for the San Francisco Museum of Modern Art

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Maar’s haunting photomontages of the mid-1930s evoke a mood of oneiric ambiguity. Here, the world is turned literally upside-down: a boy bends sharply backward, echoing the curve of the vaulted ceiling on which he stands. On the print, Maar scratched out the figure’s eyes, exploiting Surrealism’s strong association of blindness with inner sight.

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Albert Sands Southworth, Josiah Johnson Hawes. 'Seated man with Brattle Street Church seen through window' 1850s

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Albert Sands Southworth, Josiah Johnson Hawes
Seated man with Brattle Street Church seen through window
1850s
Daguerreotype
21.6 x 16.5 cm (8 1/2 x 6 1/2 in.)
The Isenburg Collection at AMC Toronto

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J.C. Higgins and Son. 'Man in bottle' c. 1888

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J.C. Higgins and Son
Man in bottle
c. 1888
Albumen print
13.5 x 10 cm (5 5/16 x 3 15/16 in.)
Lent by The Metropolitan Museum of Art, Purchase, Susan and Thomas Dunn Gift, 2011

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Jerry N. Uelsmann. 'Untitled' 1976

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Jerry N. Uelsmann
Untitled
1976
Gelatin silver print
49.3 x 36 cm (19 7/16 x 14 3/16 in.)
Lent by The Metropolitan Museum of Art, David Hunter McAlpin Fund, 1981
© The Metropolitan Museum of Art/ © Jerry N. Uelsmann

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Unknown Photographer, German. 'Ein kräftiger Zusammenstoss (A Powerfull Collision)' 1914

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Unknown Photographer German
Ein kräftiger Zusammenstoss (A Powerfull Collision)
1914
Gelatin silver print
8.7 x 13.7 cm (3 7/16 x 5 3/8 in.)
Lent by The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2010

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National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
Monday – Saturday 1000 am – 5.00 pm
Sunday 11.00 am – 6.00 pm

National Gallery of Art website

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24
May
11

Exhibition: ‘A Ballad of Love and Death: Pre-Raphaelite Photography in Great Britain, 1848-1875’ at the Musée d’Orsay, Paris

Exhibition dates: 8th March – 29th May 2011

 

Julia Margaret Cameron – you are one of my heroes!

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Many thankx to the Musée d’Orsay for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Henry White. 'Ferns and brambles' 1856

 

Henry White (British, 1819-1903)
Fougères et ronces (Ferns and brambles)
1856
Albumen print
19.1 x 24.1 cm
Collection particulière
© Droits réservés

 

John Ruskin. 'Fribourg' 1859

 

John Ruskin (English, 1819-1900)
Fribourg
1859
Pencil, ink, watercolour and gouache on paper
22.5 x 28.7 cm
London, The British Museum
© The Trustees of The British Museum. All rights reserved

 

Frederick Crawley, under the direction of John Ruskin. 'Fribourg, Switzerland, Palm Street and Berne Bridge' about 1854 or 1856

 

Frederick Crawley, under the direction of John Ruskin
Fribourg, Suisse, Rue de la Palme et Pont de Berne (Fribourg, Switzerland, Palm Street and Berne Bridge)
about 1854 or 1856
Daguerréotype
11.5 x 15.1 cm
Angleterre, Courtesy K. and J. Jacobson
© Droits réservés

 

Roger Fenton. 'Bolton Abbey' 1854

 

Roger Fenton (British, 1819-1869)
Bolton Abbey, West window
1854
Albumen print
25.1 x 34.5 cm
Bradford, National Media Museum
© National Media Museum, Bradford/Science & Society Picture Library

 

John William Inchbold. 'La Chapelle de Bolton Abbey' 1853

 

John William Inchbold (English, 1830-1888)
La Chapelle de Bolton Abbey (The Vault of Bolton Abbey)
1853
Oil on canvas
50 x 68.4 cm
Northampton, Museum and Art Gallery
© Northampton, Museum and Art Gallery

 

Henry Peach Robinson. 'Fading Away' 1858

 

Henry Peach Robinson (English, 1830-1901)
Fading Away
1858
Albumen print
28.8 x 52.1 cm
Bradford, The Royal Photographic Society Collection au National Media Museum.
© National Media Museum, Bradford/Science & Society Picture Library

 

Henry Peach Robinson. 'She Never Told her Love' 1857

 

Henry Peach Robinson (English, 1830-1901)
She Never Told her Love
1857
Albumen print
18.6 x 23.3 cm
Paris, musée d’Orsay
© Musée d’Orsay (dist. RMN)/Patrice Schmidt

 

 

Consumed by the passion of unrequited love, a young woman lies suspended in the dark space of her unrealised dreams in Henry Peach Robinson’s illustration of the Shakespearean verse “She never told her love,/ But let concealment, like a worm i’ the bud,/ Feed on her damask cheek” (Twelfth Night II,iv,111-13). Although this picture was exhibited by Robinson as a discrete work, it also served as a study for the central figure in his most famous photograph, Fading Away, of 1858.

Purportedly showing a young consumptive surrounded by family in her final moments, Fading Away was hotly debated for years. On the one hand, Robinson was criticised for the presumed indelicacy of having invaded the death chamber at the most private of moments. On the other, those who recognised the scene as having been staged and who understood that Robinson had created the picture through combination printing (a technique that utilised several negatives to create a single printed image) accused him of dishonestly using a medium whose chief virtue was its truthfulness.

While addressing the moral and literary themes that Robinson believed crucial if photography were to aspire to high art, this picture makes only restrained use of the cloying sentimentality and showy technical artifice that often characterise this artist’s major exhibition pictures. Perhaps intended to facilitate the process of combination printing, the unnaturally black background serves also to envelop the figure in palpable melancholia.

Text from the Metropolitan Museum of Arts website [Online] Cited 27/01/2020

 

Frederick Pickersgill. 'Sunshine and Shade' 1859

 

Frederick Pickersgill (English, 1820-1900)
Sunshine and Shade
1859
Albumen print
16.4 x 19.4 cm
The Royal Photographic Society Collection at the National Media Museum.
© National Media Museum, Bradford/Science & Society Picture Library

 

 

The historian and art critic, John Ruskin, had a great influence in Great Britain not only on the Pre-Raphaelite movement created in 1848, but on the development of early photography in the 1850s. The leading Pre-Raphaelite painters, John Everett Millais, Dante Gabriel Rossetti, Holman Hunt and Ford Madox Brown and their followers, wished to change the pictorial conventions laid down by the Royal Academy, and in order to demonstrate the transformations in modern life, invented a radically new idiom marked by bright colours and clarity of detail.

Pre-Raphaelite painters and photographers frequently made similar choices of subjects, and the photographers, particularly Julia Margaret Cameron, David Wilkie Wynfield and Lewis Carroll, were often had close links with the painters.

When painting landscapes, the Pre-Raphaelite artists answered Ruskin’s call, meticulously observing nature in order to capture every nuance of detail. For their part, photographers, such as Roger Fenton, Henry White, William J. Stillman and Colonel Henry Stuart Wortley, experimented with the new process of wet plate collodion negatives that allowed much greater image detail, and achieved similar effects. Although highly impressed at first by the daguerreotype, which enabled the eye to see tiny, overlooked details, Ruskin was nonetheless still very critical of landscape photography, which could not reproduce the colours of nature and in particular of the sky. This failing also gave rise to a major debate amongst photography critics.

In portraiture, there were clear links between the painted portraits of Watts and Cameron’s photographic portraits. By using special lenses and photographing her models in close-up, Cameron, achieved, with a glass negative, exactly the opposite effect to the clear image advocated by Ruskin, and her work was distinctive for the breadth of relief and contour, as well as the compositions evoking Raphael’s paintings, also a source of inspiration for Watts.

The painter Dante Gabriel Rossetti repeatedly drew and painted Jane Morris, a model with whom he was infatuated, and he asked Robert Parsons to produce a series of photographs, under his personal direction, which captured the fascinating presence of the young woman as effectively as his own paintings.

Just like the Pre-Raphaelite painters, Victorian photographers would turn to religious or historical subjects, finding a shared inspiration in the poems of Dante, Shakespeare and possibly Byron, and above all in the Arthurian legend made popular once more by Lord Tennyson, the poet laureat. From a formal point of view, Millais’ Ophelia, one of his most successful paintings, was a source for Henry Peach Robinson’s photograph, The Lady of Shalott, even though it had a different theme.

Finally, Pre-Raphaelite painters and Victorian photographers both liked to present scenes from modern life with a moralising undertone: hence She Never Told Her Love, a photograph by Robinson that was very successful when exhibited at the Crystal Palace in 1858, William Holman Hunt’s painting, Awakening of Conscience, and Rossetti’s Found, a painting depicting a countryman who comes across his former sweetheart, now a prostitute in the city.

In the 1880s, Pre-Raphaelite painting would be transformed, with artists and writers like William Morris, Burne-Jones, Whistler and Oscar Wilde, into a very different movement concerned only with the cult of beauty and rejecting Ruskin’s concept of art as something moral or useful. British photographers, however, inspired by the Pre-Raphaelites would inspire the Pictorialist movement that flourished in the 1890s, encouraged by the writings of Henry Peach Robinson and Peter Henry Emerson, extolling artistic photography.

Press release from the Musée d’Orsay website

 

James Sinclair 14th Earl of Caithness. 'Weston Avenue, Warwickshire' c. 1860

 

James Sinclair 14th Earl of Caithness (Scottish, 1821-1881)
Avenue à Weston, Warwickshire (Weston Avenue, Warwickshire)
c. 1860
Albumen print
23 x 18.3 cm
New York, Courtesy George Eastman House Rochester
© Courtesy of George Eastman House, International Museum of Photography and Film

 

Julia Margaret Cameron. 'The sunflower' 1866-1870

 

Julia Margaret Cameron (British, 1815-1879)
Le tournesol (The sunflower)
1866-1870
Albumen print
35.2 x 24.3 cm
Washington, National Gallery of Art, Fond Paul Mellon
© National Gallery of Art, Washington

 

John Robert Parsons, under the direction of Rossetti. 'Jane Morris posing in the house of Rossetti' summer 1865

 

John Robert Parsons (Irish, 1826-1909), under the direction of Rossetti
Jane Morris posant dans la maison de Rossetti (Jane Morris posing in the house of Rossetti)
Summer 1865
Modern print
22.6 x 17.5 cm
London, Victoria and Albert Museum
© V&A Images / Victoria and Albert Museum, London

 

John Robert Parsons. 'Jane Morris posing in the garden of the house of Rossetti' summer 1865

 

John Robert Parsons (Irish, 1826-1909)
Jane Morris posant dans le jardin de la maison de Rossetti (Jane Morris posing in the garden of the house of Rossetti)
Summer 1865
Albumen print
Private collection
© Tim Hurst Photography

 

Dante Gabriel Rossetti. 'Jane Morris, the blue silk dress' 1868

 

Dante Gabriel Rossetti (English, 1828-1882)
Jane Morris, the blue silk dress
1868
Oil on canvas
110.5 x 90.2 cm
Londres, The Society of Antiquaries
© Kelmscott Manor Collection, by Permission of the Society of Antiquaries of London

 

Charles Lutwidge Dodgson (Lewis Caroll). 'Amy Hughes' 1863

 

Charles Lutwidge Dodgson (Lewis Caroll) (English, 1832-1898)
Amy Hughes
1863
Austin, The University of Texas, Harry Ransom Center, Gernsheim Collection
© Droits réservés

 

Julia Margaret Cameron. 'Maud' 1875

 

Julia Margaret Cameron (British, 1815-1879)
Maud
1875
Charcoal print
30 x 25 cm
Paris, musée d’Orsay
© Musée d’Orsay (dist. RMN)/Patrice Schmidt

 

Sir John Everett Millais. 'A Huguenot, on St. Bartholomew's Day Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge' 1851-1852

 

Sir John Everett Millais (British, 1829-1896)
A Huguenot, on St. Bartholomew’s Day Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge
1851-1852
Oil on canvas
91.4 x 62.2 cm
Collection Makins
© The Makins Collection/The Bridgeman Art Library

 

Sir Edward Burne-Jones. 'Princess Sabra (The King's Daughter)' 1865-1866

 

Sir Edward Burne-Jones (British, 1833-1898)
Princess Sabra (The King’s Daughter)
1865-1866
Oil on canvas
105 x 61 cm
Paris, Musée d’Orsay
© Musée d’Orsay (dist. RMN)/Patrice Schmidt

 

Julia Margaret Cameron. 'And Enid Sang' 1874

 

Julia Margaret Cameron  (British, 1815-1879)
And Enid Sang
1874
Print on albumen paper, collodion glass negative, laminated on cardboard
35 x 28 cm
Paris, Musée d’Orsay
© Musée d’Orsay (dist. RMN)

 

 

Musée d’Orsay
62, rue de Lille
75343 Paris Cedex 07
France

Opening hours:
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9.30 am – 9.45 pm on Thursdays
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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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