The Scenic Daguerreotype: Romanticism and Early Photography

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University of Iowa Press, 1995 - 222 pagine
Too often, photographic historians have given credit to the calotype for establishing our sense and standard of the photographic, when in reality it was the daguerreotype that first taught us how to see photographically, taking us beyond portraiture to a standard for scenic images that is still with us today.
Here is the first study of scenic daguerreotypes from around the world and the largest assemblage of them ever to be presented in book form. Contending that L. J. M. Daguerre was at the forefront of the romantic revolution, Wood discusses Daguerre's work in the context of John Constable, J. M. W. Turner, and Caspar David Friedrich. He also draws parallels between early landscape photography, the poetry of William Wordsworth, and William Gilpin's notions of the picturesque, which influenced both travel and the way nineteenth-century men and women began to view the landscape around them.
Wood's selection of more than a hundred images presents the best surviving examples of the scenic daguerreotype. They include views of the Acropolis, Egypt, and China, of mountains and Alpine scenery, of Pompeii, Venice, and the temples of Rome, of the California Gold Rush and other American scenes, plus daguerreotypes from Germany, Switzerland, Sweden, Martinique, and Brazil.

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The scenic daguerreotype: Romanticism and early photography

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Invented in 1839, daguerreotypes were small (the largest being 61/2" x 81/2") and could not be reproduced because there were no negatives. These two titles provide a visual reflection of the 19th ... Leggi recensione completa

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Chapter
13
Chapter Three
32
Chapter Four
50
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Informazioni sull'autore (1995)

John Wood holds a dual appointment at McNeese State University as professor of English and professor of photographic history.

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