Patrizia di Bello - Sculptural Photographs: From the Calotype to Digital Technologies
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- Book:Sculptural Photographs: From the Calotype to Digital Technologies
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Sculptural Photographs: From the Calotype to Digital Technologies: summary, description and annotation
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This is the first monograph exploring how, throughout its history, sculpture has provided a model to conceptualize photography as an art of mechanical reproduction. While there is a growing body of work examining how photography has contributed to the development of a Western sculptural imagination by disseminating works, facilitating the investigation of the medium, or changing sculptural aesthetics, this study focuses on how sculpture has provided not only beautiful and convenient subject matter for photographs, or commercial and cultural opportunities for photographers in the market for art reproductions, but also an exemplar for thinking about photography as a medium based on mechanical means of production. In both media, processes from conception to realization involve apparatus that bypass the touch of the artist - so important to enduring notions of the value of works of art.
The book closely analyses a number of case studies, from 1847 to the present, selected both to explicate the conceptual and technological continuities between the two media, and also because of how they illuminate the materiality of photographic objects. The final chapter considers the convergence of the two media in contemporary sculptural practices that use forms of 3D photography and computer-operated sculpting machines.
Rooted in an understanding of the practical, social and aesthetic implications of photographic as well as sculptural technologies, this volume demonstrates how photographs of sculpture are particularly useful in revealing how photographys changing materialities shape the meaning of images as they are made, circulated, looked at, written about and handled at different historical moments.
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SCULPTURAL PHOTOGRAPHS
SCULPTURAL PHOTOGRAPHS
From the Calotype to Digital Technologies
PATRIZIA DI BELLO
Contents
I have tried to be more careful than usual in signaling in my captions the presence of a photographer in making all of the images included here, not just the photographs I address specifically in the book. This means that Unknown photographer features more than usual in the captions, even those that would normally just refer to the author, title, and date of the object being photographed. I decided, however, not to point to all the anonymous people who must have been involved in preparing the digital files all of these illustrations have been printed from (I myself scanned all the photographs from my collection).
This book is dedicated to anonymous operators.
Photographer unknown, statuette of Eve at the Fountain (1818) by Edward Hodges Baily, after 1851. Albumen print from collodion plate negative (one section of a stereoscopic photograph). Collection of the author. |
William Henry Fox Talbot, undated reduced version of Three Graces (181417) by Antonio Canova, 1840s. Salted paper print from paper negative. Sheet: 18.6 15.8 cm. Image: 15.1 15.8 cm. Metropolitan Museum Art of, New York. Bequest of Maurice B. Sendak, 2012. |
Photographer unknown, (attributed to William Henry Fox Talbot and Nicolaas Henneman), The Reading Establishment, 1846. Salted paper prints from paper negatives. Overall sheet 19.9 49.1 cm. Metropolitan Museum of Art, New York. Gilman Collection, Gift of The Howard Gilman Foundation, 2005. |
Photographer unknown, for the Boston firm Southworth & Hawes, The Greek Slave, by Hiram Powers, 1848. Daguerreotype. Size (excluding cover) 8.3 6.5 cm. J. Paul Getty Museum, Los Angeles. |
(Photographer unknown), Reducing Machine designed by Benjamin Cheverton, 1826, patented 1844. Science Museum/Science & Society Picture Library, London. |
Photographer unknown, Jabez Hogg photographing Mr Johnson in Richard Beards studio in London, 1843. Daguerreotype. Royal Photographic Society/Science & Society Picture Library. |
Hiram Powers, pointing model of The Greek Slave , 1843. Plaster and metal pins, 168.6 54.6 46.6 cm. (Photographer unknown) Smithsonian American Art Museum, Museum Purchase in Memory of Ralph Cross Johnson. |
Photographer unknown, undated statuette (after 1852) of The Greek Slave (184348), second half of the nineteenth century. Albumen print from collodion plate negative (one section of a stereoscopic photograph). Collection of the author. |
Engraver unknown, Hiram Powers, Sculptor. The Greek Slave . Daguerreotyped by Mayall, 1851. Steel engraving from a drawing from a daguerreotype. Tipped-in plate in Talliss History and Description of the Crystal Palace, and the Exhibition of the Worlds Industry in 1851 (London: John Tallis & Co., 1852). British Library Board, 7955.e.11. |
Hugh Owen, Greek Slave . Marble. Powers, 1851. Salted paper print from paper negative. Tipped-in plate in Exhibition of the Works of Industry of All Nations, 1851: Reports by the Juries , ed. Her Majestys Commissioners for the Exhibition of 1851 (London: Spicer Brothers, 1852), vol. 4, facing p. 1585. (Photographer unknown) Senate House Library, University of London. |
Hugh Owen, Greek Slave . Marble. Powers, 1851. Salted paper print from paper negative. Image: (21.3 16.1 cm; mount: 35 25 cm. Metropolitan Museum of Art, New York. Purchase, Emanuel Gerard Gift, 1982. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 93.State Ceremonial Trophy. (United States.) 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. SCAN. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 100.The Bride. Bust, by R. Monti . 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 8.Venus, by Gibson. 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 61.The Sleep of Sorrow and the Dream of Joy, by R. Monti. 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 68.The Reading Girl. P. Magni, Sculp. 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 60.Venus, by Conova [sic] , from the original Statue. 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 93.State Ceremonial Trophy. (United States.) , 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 92.Zenobia captive, by Miss Hosmer. 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 159.View in the Swedish Courtthe Grapplers. 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, for the London Stereoscopic and Photographic Company , The International Exhibition of 1862, No. 83.Daphn, by Marshall Wood. 1862 . Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.4 17.4 cm. Collection of the author. |
Photographer unknown, The Belvedere Apollo. From the Vatican [as written on the plinth, suggesting this is might be a cast]. Second half of the nineteenth century. Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.3 17.1 cm. Collection of the author. |
Giorgio Sommer, No. 815. Apolino. Firenze . Second half of the nineteenth century. Stereoscopic photograph (two albumen prints from collodion negative plates mounted on card). Overall size 8.5 17.5 cm. Collection of the author. |
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