Antiquity and Photography: Early Views of Ancient by Claire L. Lyons, John K. Papadopoulos, Lindsey S. Stewart,

By Claire L. Lyons, John K. Papadopoulos, Lindsey S. Stewart, Andrew Szegedy-Maszak

Following the discovery of the daguerreotype and calotype procedures in 1839, perspectives of ruins, classical statuary, and the antiquities of the Mediterranean and the Orient have been one of the first photos produced through pioneer photographers. the original accuracy and immediacy of pictures essentially replaced aesthetic and scholarly ways to the artifacts of the past.
This groundbreaking e-book explores the highbrow underpinnings of the connection among antiquity and images within the interval 1840-1880. Drawing at the large collections of the Getty Museum and the Getty study Institute, this richly illustrated quantity offers an advent to the topic, via a close dialogue of the impression of images on archaeology, an research of the methods antiquity is depicted, and biographical reports of 2 significant photographers, Joseph-Philibert Girault de Prangey and William James Stillman. Portfolios of works by means of Maxime Du Camp, John B. Greene, Francis Frith, Robert Macpherson, Adolphe Braun, and others seem among the essays.

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Extra resources for Antiquity and Photography: Early Views of Ancient Mediterranean Sites

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For us, the photo­ fulness of the temple but added that, "a very ugly roof of red graphs A few foreigners dissented from the general Because they are both art and evidence, they can brighten our imaginations and cast light on a past, whether defined by cen­ J. C. Hare. "The modern overhanging roof has been much objected t o , " he wrote, "but artists admire the exquisite play of light and shadow caused by its rugged tiles and, finding i t a per­ INTRODUCTION 27 have acquired the patina of antiquity.

By contrast w i t h photographs made today, "There is time, when the medium was in its infancy, writers frequently considerably less of the colonnade visible in this view, and con­ alluded to the evocative power of the photographic image, to siderably more of the building is lying in the mounds of rubble which long habituation has dulled our response. " Fully exploiting the daguerreotype's almost hallucina­ Figure 5. writer describes the effect of this picture as "mournful and tory wealth of detail, Girault de Prangey seems to have intuited The Acropolis of imposing," due to the evidence it provides of the destruction the relation between the status of the photograph as a fragment that has occurred over time.

Government as Daguerre was, Talbot retained the THE ART AND SCIENCE OF ANTIQUITY 33 the difficulty of obtaining and storing pre-prepared paper on supply sources — made the production of daguerreotypes and long journeys, such as the one he was about to embark upon in paper photographs an uncertain and often counterproductive Egypt. D u r i n g a stay in England just prior to his departure at affair. The difficulties that discouraged Lepsius's team also pre­ the end of July 1842, he apprenticed w i t h the inventor.

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