Art and Photography History of Photography C. Jabez Hughes � : photography into three classes •  1) Mechanical photography •  2) Art photography •  3) A photograph that can “instruct, purify and ennoble.” •  Depiction vs imagination •  Objective description vs moral uplift •  Entertainment vs. Education (textbook 3.6) Etienne Carjat, Charles Baudelaire, c. 1862. Woodburytype. Nadar (Gaspard-Félix Tournachon), Portrait of Charles Baudelaire, c. 1863. 3.7. Nadar, Panthéon Nadar, 1854. Lithographic print, George Eastman House, Rochester, New York. Nadar, “Revolving” Self-Portrait, c. 1865. Nadar, pseudonym of Gaspard-Félix Tournachon, (1820 - , 1910), French writer, caricaturist and photographer. -best known for his photographic portraits. Nadar, Paris from above in 1858. 3.9. Nadar, Theophilie Gautier, 1854-55. Albumen salted paper print, mounted on Bristol board, Musee d’Orsay, Paris. *Gautier: proponent of art for art’s sake and author of the novel about Parisian bohemian life, Mademoiselle de Maupin (1835) *the writer’s antagonism toward the bourgeois. *Nadar’s photographic studio became a fashionable intellectual salon. 3.10. Nadar, The Sewers of Paris, 1864-65. Modern print from a glass negative. Nadar, Catacombs, c. 1860. Nadar, Sarah Bernhardt, c. 1860. Nadar, Victor Hugo at Deathbed. 1885. Tableaux Vivants (living pictures) William Lake Price, An Interior, 1858. High Art Photography Tableux vivants 3.12. William Lake Price, Don Quixote in His Study. Early 1850s. Albumen print from a wet collodion negative. [Miguel de Cervante] Tableux vivants High Art Photography (textbook 3.13) Oscar Rejlander, The Two Ways of Life, 1857. Combination Albumin print. High Art Photography Raphael, School of Athens 1509-1511, Vatican City Thomas Couture, The Romans of Decadence, 1855. (see also your textbook for the scale of this painting, page 461. 13.31. Thomas Struth, Musee d’Orsay, Paris, 1989) 3.14. Henry Peach Robinson, Group with Recumbent Figure (Sketch with cut-out), 1860. Albumen print and pastel collage on paper. Gernsheim Collection. Henry Peach Robinson (1830 – 1901) Self-portrait, 1895. Henry Peach Robinson, When Day’s Work is Done, 1877. A combination print made from six different negatives. Henry Peach Robinson, Figures in Landscape, early 1890s, Combination albumen print 3.15. Henry Peach Robinson, Fading Away, 1858, Albumen composite print (Combination Print), Science Museum, London. •  Robinson, Henry Peach: “Pictorial Effect In Photography: Being Hints On Composition And Chiaroscuro For Photographers.” Piper & Carter, 1869 •  Robinson, Henry Peach: “The Elements of a Pictorial Photograph”. Lund, 1896. •  Video: combination printing darkroom techniques. Julia Margaret Cameron (1815 – 1879) Henry Hersschel Hay Cameron, Julia Margaret.

1. Art and Photography
History of Photography
C. Jabez Hughes �
: photography into three classes
• 1) Mechanical photography
• 2) Art photography
• 3) A photograph that can “instruct, purify and
ennoble.”
• Depiction vs imagination
• Objective description vs moral uplift
• Entertainment vs. Education

2. (textbook 3.6) Etienne Carjat, Charles Baudelaire, c. 1862.
Woodburytype.
Nadar (Gaspard-Félix Tournachon), Portrait of Charles
Baudelaire, c. 1863.
3.7. Nadar, Panthéon Nadar, 1854. Lithographic print, George
Eastman House,
Rochester, New York.
Nadar, “Revolving” Self-Portrait, c. 1865.
Nadar, pseudonym of
Gaspard-Félix Tournachon,
(1820 - , 1910),
French writer, caricaturist
and photographer.
-best known for his
photographic portraits.
Nadar, Paris from above in 1858.
3.9. Nadar, Theophilie Gautier, 1854-55. Albumen salted paper
print, mounted on Bristol

3. board, Musee d’Orsay, Paris.
*Gautier: proponent of art
for art’s sake and author
of the novel about
Parisian bohemian life,
Mademoiselle de Maupin
(1835)
*the writer’s antagonism
toward the bourgeois.
*Nadar’s photographic
studio became a
fashionable intellectual
salon.
3.10. Nadar, The Sewers of Paris, 1864-65. Modern print from a
glass negative.
Nadar, Catacombs, c. 1860.
Nadar, Sarah Bernhardt, c. 1860.
Nadar, Victor Hugo at Deathbed. 1885.

4. Tableaux Vivants (living pictures)
William Lake Price, An Interior, 1858.
High Art Photography
Tableux vivants
3.12. William Lake Price, Don Quixote in His Study. Early
1850s.
Albumen print from a wet collodion negative. [Miguel de
Cervante]
Tableux vivants
High Art Photography
(textbook 3.13) Oscar Rejlander, The Two Ways of Life, 1857.
Combination Albumin print.
High Art Photography
Raphael, School of Athens 1509-1511, Vatican City

5. Thomas Couture, The Romans of Decadence, 1855.
(see also your textbook for the scale of this painting, page 461.
13.31. Thomas Struth, Musee d’Orsay, Paris, 1989)
3.14. Henry Peach Robinson, Group with
Recumbent Figure (Sketch with cut-out),
1860. Albumen print and pastel collage on
paper. Gernsheim Collection.
Henry Peach Robinson
(1830 – 1901)
Self-portrait, 1895.
Henry Peach Robinson, When Day’s Work is Done, 1877.
A combination print made from six different negatives.
Henry Peach Robinson, Figures in Landscape, early 1890s,
Combination albumen print
3.15. Henry Peach Robinson, Fading Away, 1858, Albumen
composite print
(Combination Print),

6. Science Museum, London.
• Robinson, Henry Peach: “Pictorial Effect In Photography:
Being Hints On Composition And Chiaroscuro For
Photographers.” Piper & Carter, 1869
• Robinson, Henry Peach: “The Elements of a Pictorial
Photograph”. Lund, 1896.
• Video: combination printing darkroom techniques.
Julia Margaret Cameron (1815 – 1879)
Henry Hersschel Hay Cameron, Julia Margaret Cameron, c.
1870, Victoria and Albert Museum.
Julia Margaret Cameron, Julia Jackson, 1867. Albumen silver
print.
3.19. Julia Margaret Cameron, Herschel, 1867. Albumen print,
Victoria & Albert Museum,
London.
Julia Margaret Cameron, King Lear allotting his Kingdom to his
three
daughters by Julia Margaret Cameron, 1872, with her husband

7. Charles Hay
Cameron, staff in hand, cast as King Lear
3.20. Julia Margaret Cameron, Ophelia, Study no.2, 1867.
Albumen print, Geroge
Eastman House, Rochester, New York.
video
Early Modern Photography
History of Photography
6.2. John D. Howe, The front
page of William Randolph
Hearst’s New York American,
April 24, 1906. With a photograph
of San Francisco in flames on
April 16, 1906, New York Public
Library, New York.
• Half-tone process

8. allowed publications
to reproduce
photographic images
directly rather than
through engravings.
• Invention of Dry
Plates: faster and
easier; worked well
with new, smaller,
portable cameras
(hand-held cameras)
• By 1880s,
photography has its
place in the everyday
life.
VIDEO
(left) No.1. Kodak Camera, 1889.
(right) Kodak Menual, 1889.
The company’s slogan “You press the button - we do the rest.”
First Eastman Kodak camera
• In 1888, Eastman Dry Plate Company in
Rochester, NY began to manufacture the Kodak
camera, intended for casual use by middle class

9. consumers.
• Camera had a fixed focus.
• Camera came loaded with a roll of paper coated
with light sensitive material.
• Video: Before the Brownie: the first Eastman
Kodak camera (circa 1888)
(left) a photograph taken from No.1. Kodak camera.
(right) Robert W. Reford, Chinese seamstress,
1888,
albumen print
PA-118195
Using a Kodak No. 1 camera, Reford, an amateur photographer,
documented the
activities of the settlers in British Columbia.
6.5. Photographer Unknown, Untitled, c. 1888. Early Kodak
print, Eastman Kodak Co.
Rochester, New York.

10. (left) Eastman Kodak
No. 2 Brownie Camera and Original Box, circa 1910
(right)Detail from the end-flap of the carton used to market
the No. 2 Brownie Camera to children
6.33. Advertisement for
Kodak Cameras, c. 1910.
Poster. George Eastman
House, Rochester, New
York.
6.37. Advertisement
for Pond’s Cold
Cream, from New
York Times, February

11. 8, 1925.
(textbook plate. 6.1)
Frances Benjamin
Johnston, Self-
Portrait (as New
Woman), c. 1896.
Gelatin silver print,
Library of Congress,
Washington, D.C.
6.31. Photographer Unknown, Untitled (Is your wife a
Suffragette?), postmarked 1908.
Postcard.
6.32. Photographer Unknown, “Mrs. How Martyn Maks Jam,”
from Suffragettes at Home,
n.d. Postcard, Museum of London.
Photography for Social Aims
History of Photography

12. (Textbook Plate 6.24) Alfred Stieglitz, The Steerage, 1907,
from Camera Work,
no.34. Photogravure. Museum of Modern Art, New York.
Henry Mayhew, London Labour and London Poor (1851)
5.10. Thomas Annan, Close No.37, High Street, 1868. from the
Old Closes and Streets
of Glasgow, from Photographs Taken for the City of Glasgow
Improvement Trust, 1900.
“Haussmannization” of Paris during the last third of the 19th C.
(Second Empire Period)
- modernization of the city named after Baron Haussmann;
Innovation of the city planning,
including wide Boulevards, new sewer system, railway stations,
new apt blocks, installation of
gas street lamps [à leading to nightlife of outdoor cafes and
street theaters]
- benefited wealthy people and foreign tourists, driving poor
Parisians to the outskirts of the
city.
-Karl Marx criticized Haussmannization for razing Paris for the
sightseer

13. Elevation of apartment building at 39 Rue Neuve-des-
Mathurins, 1860.
Architectural drawing. [Beaux-Arts style buildings in Paris]
Avenue de l Opéra. Paris, France.
5.1. Charles Marville, Intersection in Old Paris,
one of 425 views of old Paris, c. 1865-9. [14 Rue des
Marmousets (destroyed); View
from the East, At left, Rue de Glatigny (destroyed, replaced by
the hotel-Dieu).
(textbook plate, 4.36). John Thomson, The Cangue, 1871-72,
from China and its
People, 1874.
5.11. John Thomson, The Crawlers, 1877-78. Victoria & Albert
Museum, London.
Collaborated with writer/social activist Adolphe Smith
Headingly on Street life in
London. ; documenting objectively without omission or
exaggeration.

14. John Thomson, The Independent Shoe-black, c. 1876.
Victoria & Albert Museum, London.
-The background was included to show people in their authentic
surroundings.
-The pictures were accompanied by detailed commentaries on
the individual subjects.
-a more analytical approach than mere identification of
picturesque types
5.12. Photographer Unknown, Before and After Photographs of
Young Boys, c. 1875.
Albumen prints. Thomas Barnardo Photographic Archive, Iford,
England.
Dr. Barnardo s homes (orphanage): used photographs in a
functional way for public
relations and as a source of income for his charitable work.
before and after photograph, Dr. Thomas Barnardo archive.
C.1875.
-Barnardo s staged before-and-after photographs of the children
who entered his homes
and training programs, the overly dramatized images of the
children were criticized.
• “compassion fatigue”?
- repeated images of people in squalid

15. conditions, which bolstered
stereotypes of the poor as inferior à as
photographic coverage increased,
public response declined.
Jacob Riis, Home of an Italian Ragpicker, c. 1890. Museum of
the City of New York.
Social Reform Photography in the U.S.
Jacob Riis, In Poverty Gap: An English Coal-Heaver s Home,
1889.
Jacob Riis, "Lodgers in a Crowded Bayard Street Tenement--
'Five Cents a Spot' , 1889.
Jocob Riis, The Man slept in this cellar for four years, about
1890.
7.5. Jacob Riis, Bandits Roost, Mulberry Street, New York,
1888.
-Riis wrote an expose for NY Tribune and wrote a book How
the Other Half Lives (1892)
-took an advantage of hand-held camera and flash.

16. -NYC enacted many reforms as a result of Riis s work.
Lewis Hine, Climbing into America, 1908.
Lewis Hine taught at Ethical Culture School of New York,
trained as a Socialist, used the
camera as a means of gathering research information.
--critical of social, political, economic climate in the U.S. for
immigrants.
Lewis Hine, Italian Family Seeking Lost Baggage, Ellis Island,
1905.
Lewis W. Hine, Ten-Year-Old Spinner, North Carolina Cotton
Mill, 1908-09.
One of the spinners in Whitnel Cotton Mill. She was 51 inches
high. Has been in the mill one year.
Sometimes works at night. Runs 4 sides - 48 cents a day. When
asked how old she was, she
hesitated, then said, "I don't remember," then added
confidentially, "I'm not old enough to work, but
do just the same." Out of 50 employees, there were ten children
about her size. Whitnel, N.C.

17. Lewis Hine –free-lanced for National Child labor Committee
(NCLC) ;
he made a concrete contribution to legislative reforms on child
labor
7.79. Lewis Hine, Child in Carolina Cotton Mill, 1908.
The overseer said apologetically, "She just happened in." She
was working steadily. The
mills seem full of youngsters who "just happened in" or "are
helping sister." Newberry, S.C.
Lewis W. Hine, Breaker Boys in a Coal Mine, South Pittston,
Pa., 1911.
Gelatin silver print, Private Collection.
6.44.
Paul Strand,
Photograph- New York
(Woman with sign that
reads Blind ), from
Camera Work, June
1917. Photogravure.
Paul Strand, Wall Street, New York, 1915.

18. 6.45. Paul Strand,
Abstractions, Porch
Shadows, Connecticut,
1915. Gelatin silver print by
Richard Benson, MoMA,
New York.
Counterpart in literature in social reform
• Theodor Dresier, An American Tragedy, 1925. –
portrays life as a struggle against ungovernable
forces. Protagonist, Clyde Griffith – Roberta vs
Sandra, based on a real story, Chester Gillette –
Grace Brown.
• Upton Sinclair, The Jungle, 1908. –exposed
corruption in government and business.
Exposure of health violations and unsanitary
practices in the U.S. meat packing industry in
early 20th C. based on an investigation he did for
a socialist newspaper.
Final Exam
Spring 2020
History of Photography
VA 2520

19. **Plagiarism: If I detect direct lifting from Internet sources or
textbooks, there will be severe penalties. Write your answers in
your own words to express your knowledge and understanding.
Due Date: 11:59pm Monday, May 11th on Blackboard (PDF,
DOC file)
1. Characterize the works by these artists and what their goals
were. Include the term that describes their work.
3
2. Identify and compare the following two images and discuss
the intent of each photographer.
3. What are the characteristics of the three images below? What
are the names of the techniques employed? How were the
images created and for what purpose?
4. Throughout the 1920s and ‘30s, photographers and
filmmakers in the Soviet Union embraced many of the same
radical social theories about the visual arts and used similar
techniques to challenge preconceptions. Discuss the techniques

20. that both photographers and filmmakers used in their work.
Hint: Think about the homework exercise you did.
5. Identify the two photographs below and discuss the purpose
of each image. What issues were addressed in these works? Can
you link the issues to the current political environment?
7
6. In 1955, a large photography exhibition was mounted in New
York’s Museum of Modern Art. Discuss the theme of the
exhibition and the critical reception of the curator’s choices of
display and arrangement of works. Identify the title of the
exhibition.
7. The following photographers employed specific formal
practice called “____________.” Fill in the blank and explain
what it is.
8. Compare the following two works. Identify them, then
discuss the theme of the works and the medium each artist
employed, and the ways in which each artist constructed the
space.

21. 9. Identify the following two images, and then discuss the
methods each photographer employed.
10. Discuss at least three examples from the categories of Street
Photography and Social Landscape in the 1960s in the US.
Indifferent to social reform, these artists focused on other
themes. What were the interests of these photographers?