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Gabriel Almeida

Modern Painting in France: 1848-1871

Annotated Bibliography:

1. Benjamin, Walter. The Arcades Project. Cambridge, Mass: Harvard University


Press, 2002.
Collection of primary sources written of the 19th and early 20th century. I find particularly useful the
Convolutes in photography and social and political history. Additionally, it contains provocative
insights about the relationship between society and photography both as art and technology from
Walter Benjamin.

2. Brunet, François. La Naissance De L'idée De Photographie. Paris: Presses


Universitaires De France, 2000.

Brunet’s book contains a detailed study of the development of the ideas about photography as the
medium progresses through the century. It is a geneology of the idea of photography, presented by
different personalities (Arago, Emerson, Taine, Freud, Bergson, etc), as it becomes evident in the
specific technical changes in the medium. The first part coincides with the time Nadar worked and it
provides helpful opinions about the philosophico-ideological notions through which society
responded to the specific qualities of photography.

3. Font-Réaulx, Dominique de. Painting And Photography, 1839-1914. Paris:


Flammarion, 2012.

It investigates the relationships between photography and painting in the period in question. It
usually seems to approach it from the changes generated by the understanding of photography, and
the ideological contradictions that emerged, in painting; however, particular aesthetical points are
remarked and its organization (chapters are divided according to genre: portrait, landscape, among
others) makes it specially useful for connecting Nadar’s portraits to the practice of painting on his
time.

4. Hambourg, Maria Morris. Heilbrun, Françoise. Néagu, Philippe. Nadar, Félix,


Nadar. New York: Metropolitan Museum Of Art, 1995.

Catalogue of an exhibition organized in the Museé d’Orsay from June 7-Sept 11, 1994; and the
Metropolitan Museum of Art, New York, from April 14-July 9, 1995. It contains 99 photographs as
plates (with another 112 smaller figures). Catalogue entries give short biographies of the subjects of
Nadar’s portraits, while essays explore Nadar's diverse activities.

5. Hershberger, Andrew E. Eds. Photographic Theory: A Historical Anthology.


Chichester, UK: Wiley-Blackwell, 2014.

Anthology of 19th and 20th century responses to photography: it contains, among others, Arago,
Emerson, Taine, Freud, Bergson, Daguerre texts discussed in Brunnet’s and other of the
aforementioned sources. It is my collection of primary sources as it relates to the idea of photography
in the 19th century.
6. McCauley, Elizabeth Anne. Industrial Madness: Commercial Photography In
Paris, 1848-1871. New Haven: Yale University Press, 1994.

7. McCauley, Elizabeth Anne. A.A.E. Disdéri And The Carte De Visite Portrait
Photograph. New Haven: Yale University Press, 1985.
Mccauley’s two books contain specific information about the development of industrial photography
on the 19th century. The first book is divided between a general review of the forces (industry, art,
politics) which shaped the practices of photography after the 1848 revolution, but indicating the
impressive growth and changes it experienced from its beginnings in the 1840’s. The second part
comprises a series of papers on Nadar, Braquehais, and other specific photographers. Disderi’s book
is a complement, and at the same time a more detailed investigation, of the second part of Industrial
Madness. It is specificly about the work of André-Adolphe-Eugène-Disderi and it provides extremely
insightful remarks about specific forms and ideas created around the medium at this time.

8. Nadar, Félix. Quand J'étais Photographe. New York: Arno Press, 1979.

Nadar memoires related to his time as photographer. Primary source as it reveals his own
understanding of his practice and his approach to the specific qualities of photography. Additionally,
it contains his ideas about the relationship between photography and painting.

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