Posts Tagged ‘Nicolaas Henneman

22
Jul
20

Exhibition: ‘2020 Vision: Photographs, 1840s-1860s’ at the Metropolitan Museum of Art, New York

Exhibition dates: 3rd December 2019 – closing date to be announced due to the COVID-19 pandemic

 

Antoine-François-Jean Claudet. ‘The Chess Players’ c. 1845 (detail)

 

Likely by Antoine-François-Jean Claudet (French, Lyon 1797 – 1867 London)
Possibly by Nicolaas Henneman (Dutch, Heemskerk 1813 – 1898 London)
The Chess Players (detail)
c. 1845
Salted paper print from paper negative
Sheet: 9 5/8 × 7 11/16 in. (24.5 × 19.6cm)
Image: 7 13/16 × 5 13/16 in. (19.8 × 14.7cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

An excellent selection of photographs in this posting. I particularly like the gender-bending, shape-shifting, age-distorting 1850s-60s Carte-de-visite Album of Collaged Portraits by an unknown artist. I’ve never seen anything like it before, especially from such an early date. Someone obviously took a lot of care, had a great sense of humour and definitely had a great deal of fun making the album.

Other fascinating details include the waiting horses and carriages in Fox Talbot’s View of the Boulevards of Paris (1843); the mannequin perched above the awning of the photographic studio in Dowe’s Photograph Rooms, Sycamore, Illinois (1860s); and the chthonic underworld erupting from the tilting ground in Carleton E. Watkins’ California Oak, Santa Clara Valley (c. 1863).

Dr Marcus Bunyan

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

 

 

When The Met first opened its doors in 1870, photography was still relatively new. Yet over the preceding three decades it had already developed into a complex pictorial language of documentation, social and scientific inquiry, self-expression, and artistic endeavour.

These initial years of photography’s history are the focus of this exhibition, which features new and recent gifts to the Museum, many offered in celebration of The Met’s 150th anniversary and presented here for the first time. The works on view, from examples of candid portraiture and picturesque landscape to pioneering travel photography and photojournalism, chart the varied interests and innovations of early practitioners.

The exhibition, which reveals photography as a dynamic medium through which to view the world, is the first of a two-part presentation that plays on the association of “2020” with clarity of vision while at the same time honouring farsighted and generous collectors and patrons. The second part will move forward a century, bringing together works from the 1940s through the 1960s.

Text from the Metropolitan Museum of Art website

 

 

Antoine-François-Jean Claudet. ‘The Chess Players’ c. 1845

 

Likely by Antoine-François-Jean Claudet (French, Lyon 1797 – 1867 London)
Possibly by Nicolaas Henneman (Dutch, Heemskerk 1813 – 1898 London)
The Chess Players
c. 1845
Salted paper print from paper negative
Sheet: 9 5/8 × 7 11/16 in. (24.5 × 19.6cm)
Image: 7 13/16 × 5 13/16 in. (19.8 × 14.7cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

Lewis Carroll (British, Daresbury, Cheshire 1832 - 1898 Guildford) '[Alice Liddell]' June 25, 1870

 

Lewis Carroll (British, Daresbury, Cheshire 1832 – 1898 Guildford)
[Alice Liddell]
June 25, 1870
Albumen silver print from glass negative
Sheet: 6 1/4 × 5 9/16 in. (15.9 × 14.1cm)
Image: 5 7/8 × 4 15/16 in. (15 × 12.6cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

Eighteen-year-old Alice Liddell’s slumped pose, clasped hands, and sullen expression invite interpretation. A favoured model of Lewis Carroll, and the namesake of his novel Alice in Wonderland, Liddell had not seen the writer and photographer for seven years when this picture was made; her mother had abruptly ended all contact in 1863. The young woman poses with apparent unease in this portrait intended to announce her eligibility for marriage. The session closed a long and now controversial history with Carroll, whose portraits of children continue to provoke speculation. In what was to be her last sitting with the photographer, Liddell embodies the passing of childhood innocence that Carroll romanticised through the fictional Alice.

 

Unknown photographer (American) '[Surveyor]' c. 1854

 

Unknown photographer (American)
[Surveyor]
c. 1854
Daguerreotype
Case: 1.6 × 9.2 × 7.9cm (5/8 × 3 5/8 × 3 1/8 in.)
Gift of Charles Isaacs and Carol Nigro, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

 

This portrait of a surveyor from an unknown daguerreotype studio was made during the heyday of the Daguerreian era in the United States, a time that coincided with an increased need for survey data and maps for the construction of railways, bridges, and roads. The unidentified surveyor, seated in a chair, grasps one leg of the tripod supporting his transit, a type of theodolite or surveying instrument that comprised a compass and rotating telescope. The carefully composed scene, in which the angle of the man’s skyward gaze is aligned with the telescope and echoed by one leg of the tripod, conflates its surveyor subject with an astronomer. As a result, the lands of young America are compared to the vast reaches of space, with both territories full of potential discovery.

 

Unknown photographer (American) '[Surveyor]' c. 1854

 

Unknown photographer (American)
[Surveyor]
c. 1854
Daguerreotype
Case: 1.6 × 9.2 × 7.9cm (5/8 × 3 5/8 × 3 1/8 in.)
Gift of Charles Isaacs and Carol Nigro, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

Alphonse Delaunay (French, 1827-1906) 'Patio de los Arrayanes, Alhambra, Granada, Spain' 1854

 

Alphonse Delaunay (French, 1827-1906)
Patio de los Arrayanes, Alhambra, Granada, Spain
1854
Albumen silver print from paper negative
10 in. × 13 5/8 in. (25.4 × 34.6cm)
Gift of W. Bruce and Delaney H. Lundberg, 2017
The Metropolitan Museum of Art
Public domain

 

 

One of the most talented students of famed French photographer Gustave Le Gray, Delaunay was virtually unknown before a group of his photographs appeared at auction in 2007. Subsequent research led to the identification of several bodies of work, including the documentation of contemporary events through instantaneous views captured on glass negatives. Delaunay also was a particular devotee of the calotype (or paper negative) process, with which he created his best pictures – including this view of the Alhambra. Among a group of pictures he made between 1851 and 1854 in Spain and Algeria, this view of the Patio de los Arrayanes reveals the extent to which Delaunay was able to manipulate the peculiarities of the paper negative. He revels in the graininess of the image, purposefully not masking out the sky before printing the negative, so that the marble tower appears somehow carved out of the very atmosphere that surrounds it. In contrast, the reflecting pool remains almost impossibly limpid, its dark surface offering a cool counterpart to the harsh Spanish sky.

 

Hippolyte Bayard (French, 1801-1887) '[Classical Head]' probably 1839

 

Hippolyte Bayard (French, 1801-1887)
[Classical Head]
probably 1839
Salted paper print
6 1/2 × 5 7/8 in. (16.5 × 15cm)
Purchase, Horace W. Goldsmith Foundation Gift, 2019
The Metropolitan Museum of Art
Public domain

 

 

This luminous head seems to materialise before our very eyes, as if we are observing the moment in which the latent photographic image becomes visible. Nineteenth-century eyewitnesses to Hippolyte Bayard’s earliest photographs (direct positives on paper) described a similarly enchanting effect, in which hazy outlines coalesced with light and tone to form charmingly faithful, if indistinct, images. These works, which Bayard referred to as essais (tests or trials), often included statues and busts, which he frequently arranged in elaborate tableaux. In this case, he photographed the lone subject (an idealised classical head) from the front and side, as if it were a scientific specimen. The singular object emerges as a relic from photography’s origins and now distant past.

 

William Henry Fox Talbot (British, Dorset 1800 - 1877 Lacock) 'Group Taking Tea at Lacock Abbey' August 17, 1843

 

William Henry Fox Talbot (British, Dorset 1800 – 1877 Lacock)
Group Taking Tea at Lacock Abbey
August 17, 1843
Salted paper print from paper negative
Mount: 9 15/16 in. × 13 in. (25.3 × 33cm)
Sheet: 7 3/8 × 8 15/16 in. (18.7 × 22.7cm)
Image: 5 in. × 7 1/2 in. (12.7 × 19 cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

Although Talbot’s groundbreaking calotype (paper negative) process allowed for more instantaneous image making, works such as this one nevertheless reflect the technical limitations of early photography. Here, he adapts painterly conventions to the new medium, staging a genre scene on his family estate. The stilted arrangement of figures – rigidly posed to produce a clear image – belies Talbot’s attempt to show action in progress. To achieve sufficient light exposure, he photographed the domestic tableau outdoors, arranging his subjects before a blank backdrop to create the illusion of interior space.

 

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

Unknown artist. '[Carte-de-visite Album of Collaged Portraits]' 1850s-60s

 

Unknown artist (American or Canadian)
[Carte-de-visite Album of Collaged Portraits]
1850s-60s
Albumen silver prints
5 15/16 × 5 1/8 × 2 1/16 in. (15.1 × 13 × 5.3cm)
Bequest of Herbert Mitchell, 2008
The Metropolitan Museum of Art
Public domain

 

 

Beginning in the late 1850s, cartes de visite, or small photographic portrait cards, were produced on a scale that put photography in the hands of the masses. This unusual collection of collages is ahead of its time in spoofing the rigidity of the format. The images play with scale and gender by juxtaposing cutout heads and mismatched sitters, thereby highlighting the difference between social identity – which was communicated in part through the exchange of calling cards – and individuality.

 

Unknown artist (American) '[Studio Photographer at Work]' c. 1855

 

Unknown artist (American)
[Studio Photographer at Work]
c. 1855
Salted paper print
Image: 5 1/8 × 3 13/16 in. (13 × 9.7cm)
Sheet: 9 1/2 × 5 5/8 in. (24.1 × 14.3cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

In this evocative image, picture making takes centre stage. Underneath a canopy of dark cloth, the photographer poses as if to adjust the bellows of a large format camera. The view reflected on its ground glass would appear reversed and upside down. Viewers’ expectations are similarly overturned, because the photographer’s subject remains unseen.

 

Unknown artist (American) '[Boy Holding a Daguerreotype]' 1850s

 

Unknown artist (American)
[Boy Holding a Daguerreotype]
1850s
Daguerreotype with applied colour
Image: 3 1/4 × 2 3/4 in. (8.3 × 7cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

The boy in this picture clutches a cased image to his chest, as if to illustrate his affection for the subject depicted within. Daguerreotypes were a novel form of handheld picture, portable enough to slip into a pocket or palm. Portraits exchanged between friends and family could be kept close – a practice often mimed by sitters, who would pose for one daguerreotype while holding another.

 

James Fitzallen Ryder (American, 1826-1904) 'Locomotive James McHenry (58), Atlantic and Great Western Railway' 1862

 

James Fitzallen Ryder (American, 1826-1904)
Locomotive James McHenry (58), Atlantic and Great Western Railway
1862
Albumen silver print
Image: 7 3/8 × 9 1/4 in. (18.7 × 23.5cm)
Mount: 10 × 13 in. (25.4 × 33cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

In spring 1862, the chief engineer in charge of building the Atlantic and Great Western Railway – which ran from Salamanca, New York, to Akron, Ohio, and from Meadville to Oil City, Pennsylvania – engaged James Ryder to make photographs that would convince shareholders of the worthiness of the project. Ryder’s assignment was “to photograph all the important points of the work, such as excavations, cuts, bridges, trestles, stations, buildings and general character of the country through which the road ran, the rugged and the picturesque.” In a converted railroad car kitted out with a darkroom, water tank, and developing sink, he processed photographs that make up one of the earliest rail surveys.

 

Attributed to Josiah Johnson Hawes (American, Wayland, Massachusetts 1808 - 1901 Crawford Notch, New Hampshire) Winter on the Common, Boston' 1850s

 

Attributed to Josiah Johnson Hawes (American, Wayland, Massachusetts 1808 – 1901 Crawford Notch, New Hampshire)
Winter on the Common, Boston
1850s
Salted paper print
Window: 6 15/16 × 8 15/16 in. (17.6 × 22.7cm)
Mat: 16 × 20 in. (40.6 × 50.8cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Having originally set his sights on a career as a painter, Josiah Hawes gave up his brushes for a camera upon first seeing a daguerreotype in 1841. Two years later, he joined Albert Sands Southworth in Boston to form the celebrated photographic studio Southworth & Hawes. Turning to paper-based photography in the early 1850s, Hawes frequently depicted local scenery. This surprising picture, which presents Boston Common through a veil of snow-laden branches, shows that Hawes brought his creative ambitions to the nascent art of photography.

 

 

Carleton E. Watkins (American, 1829-1916)
[California Oak, Santa Clara Valley]
c. 1863
Albumen silver print
Image: 12 in. × 9 5/8 in. (30.5 × 24.5cm)
Mount: 21 1/4 in. × 17 5/8 in. (54 × 44.8cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

For viewers today, the crown of this majestic oak tree, with its complex network of branches, might evoke the allover paintings of Abstract Expressionism with their layers of dripped paint. As photographed by Carleton Watkins, the dark, flattened silhouette of the tree feathers out across the camera’s field of view. The sloped horizon line, uncommon in Watkins’s output, both echoes the ridge in the distance and grounds the energy of the tree canopy, ably demonstrating his masterful command of pictorial composition.

 

George Wilson Bridges (British, 1788-1864) 'Garden of Selvia, Syracuse, Sicily' 1846

 

George Wilson Bridges (British, 1788-1864)
Garden of Selvia, Syracuse, Sicily
1846
Salted paper print from paper negative
Image: 6 15/16 × 8 9/16 in. (17.7 × 21.7cm)
Sheet: 7 5/16 × 8 13/16 in. (18.5 × 22.4cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

The monk’s gesture of prayer in this image by George Wilson Bridges is a touchstone of stillness against the impressive landscape and vegetation that rise up behind him. Bridges was an Anglican reverend and friend of William Henry Fox Talbot, the inventor of the calotype (paper negative), who instructed him on the method before it was patented. Bridges was also one of the earliest photographers to embark upon a tour of the Mediterranean region; he wrote to Talbot that he conceived of the excursion both as a technical mission to advance photography and as a pilgrimage to collect imagery of religious sites.

 

Pietro Dovizielli (Italian, 1804-1885) '[Spanish Steps, Rome]' c. 1855

 

Pietro Dovizielli (Italian, 1804-1885)
[Spanish Steps, Rome]
c. 1855
Albumen silver print from glass negative
Image: 14 11/16 × 11 5/16 in. (37.3 × 28.8cm)
Sheet: 24 7/16 × 18 7/8 in. (62 × 48cm)
Gift of W. Bruce and Delaney H. Lundberg, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art
Public domain

 

 

Made in late afternoon light, Pietro Dovizielli’s picture shows a long shadow cast onto Rome’s Piazza di Spagna that almost obscures one of the market stalls flanking the base of the famed Spanish Steps. Rising above the sea of stairs is the church of Trinità dei Monti, its facade neatly bisected by the Sallustiano obelisk. In the piazza, a lone figure – the only visible inhabitant of this eerily empty public square – rests against the railing of the Barcaccia fountain. Keenly composed pictures like this led reviewers of Dovizielli’s photographs to proclaim them “the very paragons of architectural photography.”

 

Edouard Baldus (French (born Prussia), 1813-1889) '[Amphitheater, Nîmes]' c. 1853

 

Edouard Baldus (French (born Prussia), 1813-1889)
[Amphitheater, Nîmes]
c. 1853
Salted paper print from paper negative
Overall: 12 3/8 × 15 3/16 in. (31.5 × 38.5cm)
Gift of Joyce F. Menschel, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Instead of photographing the entire arena in Nîmes, as he had two years earlier, Baldus focusses here on a section of the façade, playing the superimposed arches against the vertical, shadowed pylons in the foreground. The resulting composition manages to isolate and monumentalise the architecture, while creating a rhythmic play of light and dark that energises the picture. The photograph was part of a massive, four-year project, Villes de France photographiées, in which the views from the south of France were said to surpass all of the photographer’s previous work in the region.

 

William Henry Fox Talbot (British, Dorset 1800-1877 Lacock) 'View of the Boulevards of Paris' 1843

 

William Henry Fox Talbot (British, Dorset 1800 – 1877 Lacock)
View of the Boulevards of Paris
1843
Salted paper print from paper negative
Mount: 9 in. × 10 1/16 in. (22.8 × 25.6cm)
Sheet: 7 3/8 × 10 1/8 in. (18.7 × 25.7cm)
Image: 6 5/16 × 8 1/2 in. (16.1 × 21.6cm)
Bequest of Maurice B. Sendak, 2012
The Metropolitan Museum of Art
Public domain

 

 

In May 1843 Talbot traveled to Paris to negotiate a licensing agreement for the French rights to his patented calotype process. His invention used a negative-positive system and a paper base – not a copper support as in a daguerreotype. Although his negotiations were not fruitful, Talbot’s views of the elegant new boulevards of the French capital were highly successful.

Filled with the incidental details of urban life, architectural ornamentation, and the play of spring light, this photograph appears as the second plate in Talbot’s groundbreaking publication The Pencil of Nature (1844). The chimney posts on the roofline of the rue de la Paix, the waiting horses and carriages, and the characteristically French shuttered windows evoke as vivid a notion of mid-nineteenth-century Paris now as they must have 170 years ago.

 

Lewis Dowe (American, active 1860s-1880s) '[Dowe's Photograph Rooms, Sycamore, Illinois]' 1860s

 

Lewis Dowe (American, active 1860s-1880s)
[Dowe’s Photograph Rooms, Sycamore, Illinois]
1860s
Albumen silver print
Image: 5 7/8 × 7 5/8 in. (14.9 × 19.3cm)
Mount: 8 × 10 in. (20.3 × 25.4cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Above a bustling thoroughfare in Sycamore, Illinois, boldface lettering advertises the services of photographer Lewis Dowe, a portraitist who also published postcards and stereoviews. Easier to miss in the image is a mannequin perched above the awning to promote the studio. The flurry of activity below Dowe’s storefront and the prime location of the outfit, poised between a tailor and a saloon, speak to the important role of photography in town life.

 

E. & H. T. Anthony (American) '[Specimens of New York Bill Posting]' 1863

 

E. & H. T. Anthony (American)
[Specimens of New York Bill Posting]
1863
Albumen silver prints
Mount: 3 1/4 in. × 6 3/4 in. (8.3 × 17.1cm)
Image: 2 15/16 in. × 6 in. (7.5 × 15.3cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

Benefit concerts, minstrel shows, lectures, and horse races all clamour for attention in this graphic field of broadsides posted in the Bowery neighbourhood of Manhattan. The stereograph format lends added depth and dimensionality to the layered fragments of text, transporting viewers to a hectic city sidewalk. Published for a national market, the scene indexes a precise moment in the summer of 1863, offering armchair tourists an inadvertent trend report on downtown cultural life.

 

Roger Fenton (British, 1819-1869) 'The Diamond and Wasp, Balaklava Harbour' March, 1855

 

Roger Fenton (British, 1819-1869)
The Diamond and Wasp, Balaklava Harbour
March, 1855
Albumen silver print from glass negative
Image: 8 in. × 10 1/8 in. (20.3 × 25.7 cm)
Mount: 19 5/16 × 24 3/4 in. (49 × 62.9 cm)
Gift of Thomas Walther Collection, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Fenton’s view of the Black Sea port of Balaklava, which the British used as a landing point for their siege of Sevastopol during the Crimean War, shows a busy but orderly operation. The British naval ships, HMS Diamond and HMS Wasp, oversaw the management of transports into and out of the harbour, which explains the presence of ships and rowboats, as well as the large stack of crates near the rail track in the foreground. Against claims of “rough-and-tumble” mismanagement of Balaklava in the British press, Fenton (commissioned by a Manchester publisher to record the theatre of war) offers documentation of a well-functioning port.

 

Roger Fenton (British, 1819-1869) 'The Mamelon and Malakoff from front of Mortar Battery' April, 1855

 

Roger Fenton (British, 1819-1869)
The Mamelon and Malakoff from front of Mortar Battery
April, 1855
Salted paper print from glass negative
Image: 9 1/8 × 13 1/2 in. (23.1 × 34.3cm)
Sheet: 14 3/4 × 17 13/16 in. (37.5 × 45.3cm)
Gift of Joyce F. Menschel, in celebration of the Museum’s 150th Anniversary, 2019
The Metropolitan Museum of Art

 

 

Fenton’s extensive documentation of the Crimean War – the first use of photography for that purpose – was a commercial endeavour that did not include pictures of battle, the wounded, or the dead. His unprepossessing view of a vast rocky valley instead discloses, in the distance, a site of crucial strategic importance. Fort Malakoff, the general designation of Russian fortifications on two hills (Mamelon and Malakoff) is just perceptible at the horizon line. Malakoff’s capture by the French in September 1855, five months after Fenton made this photograph, ended the eleven-month siege of Sevastopol and was the final episode of the war.

 

Felice Beato (British (born Italy), Venice 1832-1909 Luxor) and James Robertson (British, 1813-1881) [Dome of the Rock, Jerusalem] 1856-57

 

Felice Beato (British (born Italy), Venice 1832-1909 Luxor) and James Robertson (British, 1813-1881)
[Dome of the Rock, Jerusalem]
1856-57
Albumen silver print
Image: 9 in. × 11 1/4 in. (22.9 × 28.6cm)
Mount: 17 5/8 in. × 22 1/2 in. (44.8 × 57.2cm)
Gift of Joyce F. Menschel, 2013
The Metropolitan Museum of Art

 

 

This detailed print showing the Dome of the Rock in Jerusalem provides a sense of the structure’s natural and architectural surroundings. Felice Beato depicted the religious site from a pilgrim’s point of view – walls and roads are given visual priority and stand between the viewer and the shrine. Holy sites such as this were the earliest and most common subjects of travel photography. Beato made multiple journeys to the Mediterranean and North Africa, and he is perhaps best known for photographing East Asia in the 1880s.

 

R.C. Montgomery (American, active 1850s) '[Self-Portrait (?)]' 1850s

 

R.C. Montgomery (American, active 1850s)
[Self-Portrait (?)]
1850s
Daguerreotype with applied colour
Image: 3 1/4 × 4 1/4 in. (8.3 × 10.8 cm)
William L. Schaeffer Collection, Promised Gift of Jennifer and Philip Maritz, in celebration of the Museum’s 150th Anniversary
The Metropolitan Museum of Art

 

 

The insouciant subject here may be the daguerreotypist himself, posing in bed for a promotional picture or a private joke. His rumpled suit and haphazard hairstyle affect intimacy, perhaps in an effort to showcase an informal portrait style. Because they required long exposure times, daguerreotypes often captured sitters at their most stilted. With this surprising picture, the maker might have hoped to attract clients who were in search of a more novel or natural likeness.

 

 

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Phone: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30am – 5.30pm*
Friday – Saturday: 9.30am – 9.00pm*
Sunday: 9.30am – 5.30pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

03
Jun
14

Exhibition: ‘Hiroshi Sugimoto: Past Tense’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 4th February – 8th June 2014

 

I loved Sugimoto’s time lapse movie screens, where the exact length of a movie was captured by the open lens of the camera, the substance of time and space evidenced by a seemingly empty screen. There was something wonderfully poetic and transformational about that gesture, about the notion of compressing the narrative, reality and action of a movie into a single frame of light: “the ‘annihilation of time and space’ as a particular moment in a dynamic cycle of rupture and recuperation enables a deliberate focus on the process of transition.”1 The process of transition in the flow of space and time.

Sugimoto’s art since that ground breaking body of work has been a bit of a let down. Where the movie theatres photographs were transubstantiationalist, the three series presented here – Dioramas (1975-1994), Portraits (1999) and his newest series, Photogenic Drawings (2008-present) play, if that is the right word, with the re/animation of death. The stuffed animals, the wax figures, the redrawing of William Henry Fox Talbot photogenic drawings, the redrawing of a light already been, just seem DEAD to me – a kind of double death or even triple death – the death of the animal/the death of the photograph, the unreality (the undead) of the wax figures and their death in the photograph, the death of the plant, their capture not once but twice by the death of the photograph. We know exactly what Sugimoto is doing, but the images are stilted and lifeless and I am not convinced by them.

The diorama images are just OK – almost good undergraduate work but nothing more. My problem with the waxworks images and the pencil of nature is “other images”. We all know Cindy Sherman and her images of historical figures, and we know the work of William Henry Fox Talbot. Somehow these earlier images crowd Sugimoto’s work in a way that doesn’t often happen. Winogrand never crowded Friedlander or vice versa – and you can think of many other examples where comparing is actually beneficial… but not here.

I’m not saying Sugimoto is derivative but because of these other works, they don’t have much room to move. Indeed, they hardly move at all. They are so frozen in attitude that all the daring transcendence of light, the light! of space time travel, the transition from one state to another, has been lost. The Flame of Recognition (Edward Weston) – has gone.

Dr Marcus Bunyan for the Art Blart blog

1. McQuire, Scott. The Media City. London: Sage Publications, 2008, p. 14.

.
Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Hiroshi Sugimoto (*1948) 'Sam Eric, Pennsylvania' 1978

 

Hiroshi Sugimoto (*1948)
Sam Eric, Pennsylvania
1978
Gelatin silver print
42.5 x 54.5 cm
Private collection, Frankfurt
© Hiroshi Sugimoto / Courtesy The Pace Gallery

 

Hiroshi Sugimoto (Japanese, born 1948) 'Polar Bear' 1976

 

Hiroshi Sugimoto (Japanese, born 1948)
Polar Bear
1976
Gelatin silver print
42.1 x 54.6 cm (16 9/16 x 21 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Wapiti' 1980

 

Hiroshi Sugimoto (Japanese, born 1948)
Wapiti
1980
Gelatin silver print
34.9 x 58.7 cm (13 3/4 x 23 1/8 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Sable Antelope' 1994

 

Hiroshi Sugimoto (Japanese, born 1948)
Sable Antelope
1994
Gelatin silver print
42.4 x 54.1 cm (16 11/16 x 21 5/16 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Manatee' 1994

 

Hiroshi Sugimoto (Japanese, born 1948)
Manatee
1994
Gelatin silver print
42.2 x 54.1 cm (16 5/8 x 21 5/16 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Birds of Japan' 1994

 

Hiroshi Sugimoto (Japanese, born 1948)
Birds of Japan
1994
Gelatin silver print
38.7 x 58.4 cm (15 1/4 x 23 in.)
The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Cheetah' 1980

 

Hiroshi Sugimoto (Japanese, born 1948)
Cheetah
1980
Gelatin silver print
36.5 x 58.7 cm (14 3/8 x 23 1/8 in.)
Courtesy Fraenkel Gallery, San Francisco
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'White Rhinoceros' 1980

 

Hiroshi Sugimoto (Japanese, born 1948)
White Rhinoceros
1980
Gelatin Silver Print
34.1 x 58.6 cm (13 7/16 x 23 1/16 in.)
Courtesy Fraenkel Gallery, San Francisco
© Hiroshi Sugimoto

 

 

“Since the mid-1970s, Hiroshi Sugimoto (Japanese, born 1948) has used photography to investigate how history pervades the present. Featuring photographs of habitat dioramas, wax portraits, and early photographic negatives, Hiroshi Sugimoto: Past Tense, on view February 4 – June 8, 2014 at the J. Paul Getty Museum, Getty Center, brings together three separate bodies of work that present objects of historical and cultural significance in the collections of various museums. By photographing subjects that reimagine or replicate moments from the distant past and diverse geographical locations, Sugimoto critiques the medium’s presumed capacity to portray history with accuracy.

“This exhibition presents work that inventively reframes objects from the collections of a variety of museums, including from our extensive holdings of prints from the early days of photography,” explains Timothy Potts, director of the J. Paul Getty Museum. “Mr. Sugimoto has generously donated eighteen prints from his recent Photogenic Drawings series, which reprise a selection of important experiments by William Henry Fox Talbot that are in the Getty Museum’s collection.”

Sugimoto’s meticulously crafted prints are the result of a rigorous working method that includes extensive preparatory research, the use of a large-format view camera, and long exposures. Each of his projects is rooted in a sustained exploration of a singular motif and often carried out over many years. The exhibition will present a selection of prints from three bodies of work, Dioramas (1975-1994), Portraits (1999) and, his newest series, Photogenic Drawings (2008-present).

.
Dioramas 

The diorama was first introduced in Paris in 1822 by the stage designer Jacques Louis Mandé Daguerre (French, 1787-1851), who later developed the daguerreotype photographic process. Situated in a darkened room, the first diorama consisted of a large painted scene on a semi-transparent curtain that was illuminated by the opening and closing of skylights and the constant shifting or dimming of lamps to create the impression of movement. In the early 20th century, habitat dioramas in natural history museums became popular, staging creatures in their faithfully replicated “natural” environments.

Sugimoto first encountered elaborate animal dioramas at the American Museum of Natural History after moving to New York in 1974, and began to focus his camera on individual scenes shortly thereafter. Omitting the educational text surrounding each display, the works heighten the illusion that animals such as manatees, wapiti, and sea lions were photographed in their natural habitats. While each photograph appears to be a candid moment captured by an experienced nature photographer, the subjects are – in actuality – depicted in poses they hold indefinitely.

.
Wax Portraits 

While waxworks have a long history, contemporary wax museums can be traced to the French sculptor Marie Grosholz (French, 1761-1850), who achieved success in the Parisian entertainment market by creating waxworks of popular politicians and cultural figures. After moving to London in 1802, she established a commercial enterprise under the name Madame Tussaud, specializing in the production and display of full-length wax figures modeled after commissioned portraits.

Posed against pitch-black backdrops and framed by the camera in a manner suggesting old master portrait-painting traditions, each of Sugimoto’s subjects was captured with a nine-minute exposure that illuminates the finely modeled expressions and the sumptuous costumes. These life-size photographs record likenesses that have been distilled through multiple reproductions of the original sitter. The source material for the wax figures of Henry VIII and his wives is based on 16th-century panel paintings, while the portrait of Queen Victoria’s likeness is taken from a photograph of her from the 1890s, around the time of her Diamond Jubilee celebration.

“Hiroshi Sugimoto’s photographic practice is deeply rooted in a tradition of image making that was developed and perfected during the 19th century,” explains Arpad Kovacs, assistant curator in the Department of Photographs at the J. Paul Getty Museum and curator of the exhibition. “By employing century-old techniques and turning his lens to subjects and compositions that recreate or simulate moments from the past, Sugimoto intimately connects himself to the historical moments depicted.”

.
Photogenic Drawings 

In the early 1830s, William Henry Fox Talbot (English, 1800-1877) began trying to create pictures without the aid of a pencil. After coating small pieces of writing paper with a salt solution and silver nitrate, he successfully captured the outlines of leaves and lace placed on the paper and exposed to sunlight. He continued his experiments with a camera obscura, placing a sheet of paper in this precursor to the camera to produce the first negatives, with highlights and shadows reversed. Talbot called the results of these experiments photogenic drawings.

In 2007, Hiroshi Sugimoto visited the J. Paul Getty Museum to study the earliest photographs in the collection. After photographing some of Talbot’s photogenic drawing negatives, he produced large-scale prints and colored them with toning agents during the processing to replicate the often-bright hues of the original sheets. The scale of the enlarged prints reveals the fibers of the original writing paper, which create subtle and delicate patterns embedded in the images.

The artist’s gift of eighteen gelatin silver prints from his Photogenic Drawings series significantly enhances the Museum’s holdings of work by Sugimoto. His photographic practice, rooted in a serial approach and primarily concerned with the medium’s relationship to the passage of time, has long been an important source of influence for a younger generation of artists. The prints greatly enhance the Getty Museum’s growing collection of contemporary photographs.

Hiroshi Sugimoto: Past Tense is on view February 4 – June 8, 2014 at the J. Paul Getty Museum, Getty Center. The exhibition will run concurrently in the Center for Photographs with A Royal Passion: Queen Victoria and Photography, an exhibition featuring rare private and public photographs from the Victoria era.”

Press release from the J. Paul Getty Museum website

 

Hiroshi Sugimoto (Japanese, born 1948) 'Henry VIII' 1999

 

Hiroshi Sugimoto (Japanese, born 1948)
Henry VIII
1999
Gelatin silver print
148.9 x 119.1 cm (58 5/8 x 46 7/8 in.)
Solomon R. Guggenheim Museum, New York, Commissioned by Deutsche Bank AG in consultation with the Solomon R. Guggenheim Foundation for the Deutsche Guggenheim, Berlin
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Queen Victoria' 1999

 

Hiroshi Sugimoto (Japanese, born 1948)
Queen Victoria
1999
Gelatin silver print
148.9 x 119.1 cm (58 5/8 x 46 7/8 in.)
Fraenkel Gallery, San Francisco
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Anne Boleyn' 1999

 

Hiroshi Sugimoto (Japanese, born 1948)
Anne Boleyn
1999
Gelatin silver print
148.9 x 119.1 cm (58 5/8 x 46 7/8 in.)
Solomon R. Guggenheim Museum, New York, Commissioned by Deutsche Bank AG in consultation with the Solomon R. Guggenheim Foundation for the Deutsche Guggenheim, Berlin
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Asplenium Halleri, Grande Chartreuse 1821 - Cardamine Pratensis, April 1839' 2008

 

Hiroshi Sugimoto (Japanese, born 1948)
Asplenium Halleri, Grande Chartreuse 1821 – Cardamine Pratensis, April 1839
2008
Toned gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
The J. Paul Getty Museum, Los Angeles,
Gift of the Artist
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Roofline of Lacock Abbey, circa 1835-1839' 2008

 

Hiroshi Sugimoto (Japanese, born 1948)
Roofline of Lacock Abbey, circa 1835-1839
2008
Gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Artist
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Bust of Venus, November 26, 1840' 2009

 

Hiroshi Sugimoto (Japanese, born 1948)
Bust of Venus, November 26, 1840
2009
Gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Artist
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'A Stem of Delicate Leaves of an Umbrellifer, circa 1843-1846' 2009

 

Hiroshi Sugimoto (Japanese, born 1948)
A Stem of Delicate Leaves of an Umbrellifer, circa 1843-1846
2009
Gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Artist
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Arrangement of Botanical Specimens, 1839' 2008

 

Hiroshi Sugimoto (Japanese, born 1948)
Arrangement of Botanical Specimens, 1839
2008
Toned gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Artist
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Nicolaas Henneman, circa 1841' 2008

 

Hiroshi Sugimoto (Japanese, born 1948)
Nicolaas Henneman, circa 1841
2008
Toned gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Artist
© Hiroshi Sugimoto

 

Hiroshi Sugimoto (Japanese, born 1948) 'Bust of Patroclus, September 8, 1841' 2009

 

Hiroshi Sugimoto (Japanese, born 1948)
Bust of Patroclus, September 8, 1841
2009
Toned gelatin silver print
93.7 x 74.9 cm (36 7/8 x 29 1/2 in.)
The J. Paul Getty Museum, Los Angeles, Gift of the Artist
© Hiroshi Sugimoto

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 9 pm
Monday closed

The J. Paul Getty Museum website

LIKE ART BLART ON FACEBOOK

Back to top




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: ‘Padlocks/People’ 1994-96

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,678 other followers

If you would like to unsubscribe from the email list please email Marcus at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

August 2020
M T W T F S S
 12
3456789
10111213141516
17181920212223
24252627282930
31  

Archives

Categories