Federico Zeri 
Daguerreotype, two Daguerre photo of the 1839-1840
March 11, 2009
difficult to establish a precise chronology, or rather a precise date of birth, for photography. Better to speak rather of a series of pre-photographic experiments, in which phases are being developed in stages in each procedure on the machine, support etc. .., they buy a significant acceleration in the 30s 800. takes place in Paris in 1839 a fact that leads to this date generally regarded as the birth of photography: the year of the first exhibition of Louis Daguerre, which includes several major plates, including a view of Paris with famous shoe .
should be emphasized that in this first period, the picture is meant as a discovery, rather than as a invention. The picture is conceived as a natural phenomenon that is, preexisting Man, that Man is limited just to find out: not as something entirely new, like a machine, a machine.
Outside the first machines tend to resemble each other: they are fairly simple wooden boxes with a hole for the lens, within which the plates were inserted that, coated by a photosensitive substance, react to light. In this first phase, the media can play really just a large amount of light. Resulting exposure times are lengthy, the order of several minutes, and therefore the preference for inanimate subjects, which do not move. From the beginning you think the application of the photo the art world, remember that the earliest daguerreotypes refer to urban realities, views of the major monuments such as Notre Dame. On a page of the "Messenger Torinese" of that 1839 is highlighted the importance dell’invenzione fotografica e della sua possibilità di applicazione al mondo dell’arte, che permetterà a tutti quanti di poter possedere una copia dei principali capolavori artistici conservati dei musei.
Le ricerche inglesi, in particolare quelle di Fox Talbot, anche nel nome chiamano in causa direttamente la Natura. The pencil of Nature , La matita della Natura , è il titolo di una sua celebre opera degli inizi degli anni Cinquanta. Si tratta di un album fotografico, che contiene la riproduzione di un disegno at the time attributed to an Italian artist of the seventeenth century, Pier Francesco Mola.
In the Fifties, photo reproduction, namely photographs of works of art and paintings in particular, begins to acquire an increasing impact in the lives of art historians and connoisseurs.
Please note that the photos did well before their appearance art historians used reproduction: the tools used were the drawings and more often the incisions. At the end of the eighteenth century German Senefelder had invented lithography, destined to dominate this special sector for half a century and beyond. The lithograph had proved particularly effective because he had basically broken down the costs, with the ability to run almost endless. But even in the relationship between the shore and the original play had not changed. The invention continued to be fully preserve the original, as certified by the initials Invenit . The translation, reproduction was the prerogative of the technician instead, that the engraver, the translator, as indicated by the initials delineavit . Example: In any of the many reproductions from a masterpiece, for example The Madonna of the chair still in Palazzo Pitti, the invention belongs to Raphael (and therefore Raphael Invenit ), the engraving Volpato ( Giovanni Volpato Invenit ). Entirely clear, in short, is seen by Raphael's hand, the translation of Volpato.
In the first phase of photography but this process is not clear at all, even without a substantial margin of ambiguity. If nature and only nature is in fact responsible to leave the sign above the plate, the term delineavit remains without authority. Right around this question, whether there is an actual translation work and who is responsible, in the 50s and 60s of the nineteenth century is to form a heated debate. Summary extreme. A first party believes that the work is not reproduced by the photo will change because it is a perfect reproduction. A second party argues that in the photo has a margin of interpretation and that interpretation is offered by the technician behind the goal. It goes without saying that today we have no difficulty in recognizing the second as the winner. Today we recognize the right of the author photo photo. But, I repeat, this does not happen at the beginning, there is a real difficulty for interpretation of the medium Photograph.
At this stage an important role is played by Jacob Burckhardt , Swiss art historian, an excellent relationship with the University of Berlin, an iconic figure that cover throughout the '800. In 1843, aged about 25 years, Burckhardt is located in Paris and takes pictures, episode very important if we take account of its being very static, so much so that it does not portray only very rarely. The fact therefore that we face is photographed in Paris to be a clear signal that goes to support the use Photograph. It is a voracious collector of photos, especially if we consider that early photos are extremely expensive. His whole background is about 10,000 photos, not many compared to a modern collection - that of Federico Zeri, for example, is about 80 times higher. But really really high for that time. The first thing that strikes you as a modus operandi is that the photos are mixed with recordings. But this does not mean that he will both face the same use. The engravings are regarded as fundamental to the educational aspects, following the belief that "when it comes to memorize something, that is all": even a knot in her handkerchief. But there comes a time in which incisions are made by the scholar on the table and there are only pictures, what happens when you have to give and build catalog a particular artist.
0 comments:
Post a Comment