Fotogra'a como Arte
Gustave Le Gray, The Great Wave, 1856
Gustave Le Gray, Mediterranean Sea, 1856
Gustave Le Gray, View of the Sea: The Brig, 1856
Oscar Rejlander, Two Ways of Life, 1857
The Juggler, 1855-‐61
Damn East, 1856
The Scholar s Mate, 1857-‐59
The Bible Reader, 1858
The Wanderer, 1858-‐59
Hard Times, 1860
The Bachelor s Dream, c.1860
Poor Joe, antes del 1862
Henry Peach Robinson, Fading Away, 1858
She Never Told Her Love, 1858
To set forth the laws which govern – as far as laws can be applied to a subject which depends in some measure on taste and feeling – the arrangement of a picture, so that it shall have the greatest amount of pictorial effect, and to illustrate by examples those broad principles without regard to which imitaZon, however minute or however faithful, is not picturesque, and does not rise to the dignity of art. -‐Henry Peach Robinson
1860
Autumn, 1863
Henry Peach Robinson, Figures in Landscape, c. 1880
Henry Peach Robinson, A Merry Tale, 1882
She Never Told Her Love, 1858
Julia Margaret Cameron, Call, I follow, I follow, let me die!, 1867
1867
Maude, 1875
JBC Corot, Cliché-‐verre, 1854
JBC Corot, Cliché-‐verre, 1856
JBC Corot, Cliché-‐verre, 1857
JBC Corot, Cliché-‐verre, c. 1860
Pictorialismo  (internacional) Â
Linked Ring (anteriormente de Photographic Society) – 1893 Bernard Alfieri, Tom Bright, Arthur Burchef, H.H. Hay Cameron, Lyonel Clark, George Davidson, A. Horsley Hinton, Alfred Maskell, HP Robinson, Ralph Robinson, H. Van der Weyde, William Willis
Peter Henry Emerson -‐ Gathering Water Lilies, 1886
Peter Henry Emerson -‐ Coming Home from the Marshes, 1886
Ricking the Reed, 1886
Peter Henry Emerson -‐ At Plough, The End Of The Furrow, 1887
Peter Henry formó el Camera Club de Londres y estaba parte del consejo de la Photographic Society Paul Ray at the Hospital: a Picture of Student Life (1882, privately published) Life and Landscape on the Norfolk Broads (1886) Pictures from Life in Field and Fen (1887) The Compleat Angler, or, The ContemplaBve Man's RecreaBon. Being a Discourse of Rivers, Fish-‐Ponds, Fish, and Fishing by Izaak Walton with photogravures by Emerson (1888) Idylls of the Norfolk Broads (1888) Pictures of East Anglian Life (1888) NaturalisBc Photography for Students of the Art (1889) Wild Life on a Tidal Water (1890) On English Lagoons (1893) Birds, Beasts and Fishes of the Norfolk Broadland (1895) Marsh Leaves (1895) Caóba, the Guerilla Chief. A Real Romance of the Cuban Rebellion (1897) The English Emersons, a genealogical historical sketch to the end of the 17th century (1898) Suggested Amended Billiard Rules for Amateur Players (1908)
William Willis, A SZff Pull, c.1886
Heinrich Kuhn
Photo-‐Secession (anteriormente The Camera Club of New York) – 1896/1902 Alfred SZeglitz, John G Bullock. William Dyer, Frank Eugene, Dallet Fuguet, Gertrude Käsebier, Joseph Keiley, Robert Redfield, Eva Watson Schütze, Eduard Steichen, Edmund SZrling, John Francis Strauss, Clarence White. 1. To advance photography as applied to pictorial expression 2. To draw together those Americans pracZcing or otherwise interested in art 3. To hold from Zme to Zme, at varying places, exhibiZons not necessarily limited to the producZons of the Photo-‐Secession or to American work
Camera Work #2 (Steichen), 1903 (1903-‐17)
Gertrude Kasebier
Clarence White
Clarence White, Mother & Child, c. 1915
Edward Steichen
Edward Steichen – The Pond -‐ Moonlight, 1904
Alfred Steiglitz, Winter on Fiph Avenue, New York, 1893
291 Gallery, 1906
Alvin Langdon Coburn
Frank Eugene
• Textura en los papeles, algodón • Rayaduras, experimientación • Imagen difusa • Revelado Combinado • Trabajo sobre el negaZvo • Parecido a la pintura • Recortes, marcos, bajos contrastes