L’imaginaire pictural de la matière photographique (1850–1860) : la cuisine de l’art, du peintre au photographe
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2015
- doi: 10.7202/1032758ar
Ce document est lié à :
RACAR : Revue d'art canadienne ; vol. 40 no. 1 (2015)
Tous droits réservés © UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada), 2015
Sujets proches
Work, Method of Industry (Psychology) Method of work Socio-economic status Socioeconomic status Standing, Social Status, Social Social standing Service of process Service of papers Abuse of process Process Industrial development Understanding Western art (Western countries) Fine arts Iconography Arts, Fine Art, Occidental Arts, Visual Visual arts Occidental art Art, Visual Art, Western (Western countries) Food preparation Cookery Cuisine 50s (Nineteenth century decade) Fifties (Nineteenth century decade) 1850s ArtsCiter ce document
Érika Wicky, « L’imaginaire pictural de la matière photographique (1850–1860) : la cuisine de l’art, du peintre au photographe », RACAR: Revue d'art canadienne / RACAR: Canadian Art Review, ID : 10.7202/1032758ar
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Résumé
The writings on photography published in the 1850s reveal the emergence of a pictorial imaginary of photographic matter that grew in the margins of the amazement at a medium completely dominated by nature and the precise developments of the photographic technique. In some of these texts, photographers were likened to painters because of the application, in both techniques, of multiple layers of varied and more or less opaque substances. Inasmuch as it concerned the process of fabrication more than the image itself, the understanding of the work performed by photographers, of their action on matter, directly affected their social status. To reflect on the material imaginary of photography is then to interrogate the modalities of the joint emergence of the profession and of the figure of the photographer-artist at the very moment of the industrialization of photography.