no Portugal Oitocentista

O presente artigo trata da fotografia oitocentista em Portugal, focando-se na figura ímpar de Carlos Relvas. Este artigo é iniciado com breves considerações sobre a história da fotografia, realçando as figuras de Joseph Nicéphore Niépce, Louis Jacques Mandé Daguerre, William Henry Fox Talbot e George Eastman, os inventores da fotografia, passando pelo enquadramento da introdução da fotografia na cultura portuguesa oitocentista. Carlos Augusto de Mascarenhas Relvas e Campos desempenhou um papel tutelar na fotografia portuguesa a partir da década de 1870, foi no seu tempo, o fotógrafo português mais bem-sucedido, pelas suas ligações a várias figuras da cena científica ligadas à prática fotográfica, pelo ao seu atelier, pela introdução do processo da fototipia em Portugal, mas sobretudo pela sua participação em exposições nacionais e internacionais que trouxeram o reconhecimento da fotografia portuguesa.

Héliogravures : the unpublished photogravure process of Édouard Baldus

This thesis project uses an incomplete set of twenty six héliogravure prints by Édouard Baldus (1813-1889) from the publication "Les Principaux Monument de la France, reproduit en héliogravure par E. Baldus 1869-70", which are held at the Art Gallery of Ontario. The prints are utilized as a primary means of analysis in an attempt to understand Baldus' working method, as he never published his photogravure process, and about which little is known. The thesis is composed of five sections: 1) a discussion of Baldus' place in photographic history; 2) an examination of the compete set of forty five héliogravures in the publication based on the copy at the Canadian Centre for Architecture; 3) a case study looking at the relationship between Baldus' albumen prints and his héliogravures; 4) a second case study analyzing and comparing the physical nature of the photogravure works of William Henry Fox Talbot, Charles Nègre, Peter Henry Emerson and Alfred Steiglitz; with the intension of, 5) deciphering the method Baldus could have used in printing his héliogravures.

Héliogravures : the unpublished photogravure process of Édouard Baldus

This thesis project uses an incomplete set of twenty six héliogravure prints by Édouard Baldus (1813-1889) from the publication "Les Principaux Monument de la France, reproduit en héliogravure par E. Baldus 1869-70", which are held at the Art Gallery of Ontario. The prints are utilized as a primary means of analysis in an attempt to understand Baldus' working method, as he never published his photogravure process, and about which little is known. The thesis is composed of five sections: 1) a discussion of Baldus' place in photographic history; 2) an examination of the compete set of forty five héliogravures in the publication based on the copy at the Canadian Centre for Architecture; 3) a case study looking at the relationship between Baldus' albumen prints and his héliogravures; 4) a second case study analyzing and comparing the physical nature of the photogravure works of William Henry Fox Talbot, Charles Nègre, Peter Henry Emerson and Alfred Steiglitz; with the intension of, 5) deciphering the method Baldus could have used in printing his héliogravures.

The making of Sun Pictures in Scotland : influences and themes in Talbot's second photographic book

William Henry Fox Talbot, an amateur scientist known for his invention of the calotype process, published two photographic books in his lifetime. The first, The Pencil of Nature, has received a lot of scholarly attention while Sun Pictures in Scotland, his second, has been largely ignored. There is little to account for this oversight, yet Sun Pictures has hardly registered in academic discourse. This thesis is primarily aimed at describing the contents of Sun Pictures in Scotland, but also considers the subjects photographed in light of the numerous biographical resources published on the character and artistic personality of Talbot. It is apparent Talbot had an artistic purpose in undertaking Sun Pictures in Scotland. He photographed subjects that reflected his own interpretation of the popular picturesque style, and he attempted to assemble his book in a manner that resembled the current fashion in art book production.

The making of Sun Pictures in Scotland : influences and themes in Talbot's second photographic book

William Henry Fox Talbot, an amateur scientist known for his invention of the calotype process, published two photographic books in his lifetime. The first, The Pencil of Nature, has received a lot of scholarly attention while Sun Pictures in Scotland, his second, has been largely ignored. There is little to account for this oversight, yet Sun Pictures has hardly registered in academic discourse. This thesis is primarily aimed at describing the contents of Sun Pictures in Scotland, but also considers the subjects photographed in light of the numerous biographical resources published on the character and artistic personality of Talbot. It is apparent Talbot had an artistic purpose in undertaking Sun Pictures in Scotland. He photographed subjects that reflected his own interpretation of the popular picturesque style, and he attempted to assemble his book in a manner that resembled the current fashion in art book production.

Nineteenth-Century Foundations of Modern Epigraphy

Through the efforts of Egyptologists like J. G. Wilkinson, Auguste Mariette, and Georges Legrain, early modern epigraphy developed through the course of the nineteenth century’s political shifts and technological advances, loosening its ties to the classical world to become an independent scholarly discipline. The invention of the positive-negative photographic process by William Henry Fox Talbot allowed for improved recording and publication of hieroglyphic texts and their accompanying images, as Talbot’s work demonstrates, alongside that of Félix Teynard and Francis Frith. Throughout the course of the century, epigraphy and epigraphic publications served to make Egypt increasingly accessible to those beyond Egypt, building an audience with an interest in ancient Egypt.

Technika, sztuka, „filozoficzny sen”? Początki fotografii a pytanie o naturę i historię medium

<p>Za datę wynalezienia fotografii przyjmuje się rok 1839, w którym François Arago ogłosił proces dagerotypii Louisa Daguerre’a. Jednakże początki fotografii są zagadnieniem złożonym. W najbardziej rozpowszechnionym ujęciu określa je historia technologicznej rywalizacji o prymat pierwszeństwa, w której prócz Daguerre’a ważne miejsce zajęli m.in. Nicéphor Niépce czy William Henry Fox Talbot.</p><p>Niniejszy artykuł dotyczy rozmaitych ujęć początków fotografii, pojmowanych jako alternatywne bądź uzupełniające się opowieści. Szczególna uwaga poświęcona została koncepcji „idei fotografii” przed 1839 rokiem, zjawisku tzw. „protofotografów”, a także związkowi owych postaw z przemianami w obszarze sztuk plastycznych, literatury czy zjawisk para-teatralnych. Przede wszystkim jednak omówiono konsekwencje rozmaitych ujęć początków fotografii – narodowego, kulturowego, estetycznego – dla pojmowania historii i natury medium na przestrzeni niemal dwóch stuleci.</p><p> </p><strong> Technology, Art, “Philosophical Dream”? The Beginnings of Photography and the Question about the Nature and History of the Medium </strong><p>SUMMARY</p><p>The date of the invention of photography is commonly recognized to be the year 1839, in which François Arago announced the daguerreotype process of Louis Daguerre. However, the beginnings of photography are a complex problem. In the most common approach they are defi ned by the history of technological rivalry for primacy, in which, apart from Daguerre, an important position was occupied by inter alia Nicéphor Niépce or William Henry Fox Talbot. The present article discusses various approaches to the beginnings of photography, understood as alternative or complementary narratives. Special attention is devoted to the conception of “the idea of photography” before 1839, the phenomenon of the so-called “proto-photographers”, and the connection between these attitudes and transformations in the area of plastic arts, literature, or para-theatrical phenomena. The article fi rst of all discusses the consequences of various approaches to the beginnings of photography – national, cultural, or esthetic approaches to the understanding of the history and nature of the medium over the period of almost two centuries.</p>