OTHER WORDS FOR PAINTING A PICTURE SERIES
La Havre’s Auguste Autin’s photographic series of atmospheric effects may have influence a young man from his same town- Claude Monet-to paint the series of paintings that would found Impressionism. Placed on a page facing a seascape photo by Le Gray, Courbet’s 1869 painting The Wave clearly owes a debt to the photograph’s ability to capture the fleeting moment for the painter to capture once more. “Photographic depictions played a key role-though one little noticed and commented on at the time-in a newfound attention to novel motifs and to the transience of the atmosphere,” de Font-Réaulx argues. Slowly, however, photography found a place alongside painting. Charges of commercialism, industrialism, and the banality of reproducing quotidian life in all its ugliness clung to photography and even became smears against “photographic” realist painters such as Gustave Courbet. Photography shown at those fairs by Gustave Le Gray, Henri Le Secq, Hippolyte Bayard, and others argued for the new medium’s status as fine art just as many photographers literally argued for exhibition space at Salons and museums. Photography’s big break came at the very first two World’s Fairs: 1851 in London and 1855 in Paris. “Intimately linked to painting, through its choice of subject matter, its representational idiom, but also through the multiplication of the image brought by its dissemination,” de Font-Réaulx writes, “photography gave rise to a new relationship to reality and its representation, which then boomeranged on its elder sister.” From there, photography continued to grow in influence, not only in popular culture, but also in painting itself. Daguerre, thanks to the help of Francois Arago (who anointed Daguerre the father of photography over other contenders such as Nicéphore Niépce and William Henry Fox Talbot), assumed the mantle of artist-hero with his “magical” means of capturing images through light onto his eponymous creation. “The requirement that an artwork should extol-in the service of God or king-was gradually being overlaid by a desire to communicate feelings and effects,” she writes. Photography enters just as the influence of the Paris Salon declines and the Romantic ideal of the “artist as hero” rises. “oncentrating less on immediate links between a photo and a given work of painting or drawing,” de Font-Réaulx instead focuses “on the manner in which photography gave rise to a paradigm of representation at once original yet familiar.” Painting and Photography: 1839-1914 outlines how what started as competition soon became an alliance of vision that changed the way we see forever.ĭe Font-Réaulx, chief curator at the Musée du Louvre in Paris and senior coordinator in the Louvre Abu Dhabi project, masterfully sets up the pre-1839 scene first, allowing you to step back in time and appreciate just how revolutionary and challenging photography first was. Dominique de Font-Réaulx’s simply titled Painting and Photography: 1839-1914 tells the not so simple story of how photography came to influence the world of painting, and vice versa. The art world quickly took notice of the new kid on the block, both negatively and positively. When painter and showman Louis-Jacques-Mandé Daguerre burst onto the scene in 1839 with his Daguerreotype-one of the earliest forms of photography-“Daguerreotypemania” quickly ensued.
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