Art 150 Slide List for Test #1

For unstarred pictures, you need to know general information about what is special about the work (which could include an invention, the technique, artist, style, purpose, subject matter, etc.) and/or what it reflects about its time.

For starred pictures, you need to know that general information plus the approximatedate, photographic method, artist, and title.

Origins of Photography (to 1839)

  1. Table Camera Obscura. 1769 engraving. Fig. 1.6
  1. Artist Sketching with a Wollaston Camera Lucida, 1839. Fig. 1.8
  1. *Joseph Nicephore NIEPCE. View from the Window at Gras, 1826. Heliograph. Fig. 1.12. First permanent photograph.
  1. *Louis-Jacques-Mande DAGUERRE. Still Life (Interior of a cabinet of curiosities). 1837. Daguerreotype. Fig. 1.14.
  1. *Hippolyte BAYARD. Self-Portrait as a Drowned Man, 1840. Direct paper positive. Fig. 1.16.
  1. William Henry Fox TALBOT. Leaf with Serrated Edge, c. 1839. Photogenic drawing negative. Fig. 1.20.

The Second Invention of Photography (1839-1854)

7. * William Henry Fox TALBOT. The Open Door, 1844. Salt print from calotype negative. Fig. 2.7. From The Pencil of Nature book.

  1. William Henry Fox TALBOT. Articles of China, 1844-46. calotype. Fig. 2.8. From The Pencil of Nature.
  1. William Henry Fox TALBOT. The Haystack. Fig. 2.9 and 2.10. Print and negative. From The Pencil of Nature.
  1. * Hippolyte BAYARD. Self-Portrait with Plaster Cast, 1850. Gelatin silver print. Fig. 2.10.
  1. Andreas Ritter Von Ettinghausen. Section of Clematis, March 4, 1840. Daguerreotype with lens magnification. Fig. 2.13.
  1. Anna Atkins, Poppy, c.1852. Cyanotype. Fig. 2.16.
  1. Hugh Welch Diamond, Seated Woman with Bird, c. 1855. Albumen print. Fig. 2.19.
  1. Illustration of an ambrotype as positive and negative. 1858. Fig. 2.20.
  1. Albert Sands SOUTHWORTH & Josiah Johnson HAWES. Early Operation Using Ether for Anesthesia, 1847, Daguerreotype. Fig. 2.27.
  1. N. M. P. LEREBOURS. Portail de Notre Dame de Paris. 1840-44. Engraving after daguerreotype. Fig. 2.38.
  1. John B. GREENE, The Banks of the Nile at Thebes, 1854. Salted paper print from a waxed paper negative. Fig 2.44.
  1. * Edouard BALDUS. Cloister of Saint-Trophime, Arles. 1851. partly hand-painted paper print. Fig. 2.46.
  1. Henry LE SECQ. Farmyard Scene (near St. Leu-d’Esserent), c. 1852. cyanotype print from paper negative. Fig. 2.48.
  1. Charles NEGRE. Chimney Sweeps Walking, 1851. Salted paper print. Fig. 2.49.
  1. * Gustave LE GRAY, Mediterranean Sea at Sete. 1856-59. Albumen silver print from two glass negatives. Fig. 2.51.
  1. J. F. A. CLAUDET. The Geography Lesson, 1851. Stereoscopic daguerreotype. Fig. 2.56. (See Fig. 3.2 for stereoscope in use.)
  1. UNKNOWN. Brother and Sister. C. 1850. Daguerreotype. Hand-colored. Fig. 2.58.
  1. * Albert Sands SOUTHWORTH. Self-Portrait. C. 1858. Daguerreotype. Fig. 2.67.
  1. * David Octavius HILL and Robert ADAMSON. Dr. Alexander Keith. C. 1843. Paper print, calotype process. Fig. 2.68.

The Expanding Domain (1854-1880)
Chapter Three: Popular Photography and the Aims of Art

  1. Andre Adolphe Eugene DISDERI. Princess Buonaparte Gabrielli, c. 1862. Uncut carte-de-visite cards. Fig. 3.4.
  1. NADAR and Adrien TOURNACHON. Pierot the Photographer. 1854-55. Fig. 3.8
  2. NADAR. Theophile Gautier. 1854-55. Albumen salted paper print. Fig. 3.9.
  3. Oscar REJLANDER. The Two Ways of Life. 1857. albumen print. Combination print with more than 30 negatives. Fig. 3.13.
  4. Henry Peach Robinson. Group with Recumbent Figure (Sketch with cut-out). 1860. albumen print and pastel collage on paper. Fig. 3.14
  5. Henry Peach ROBINSON. Fading Away. 1858. albumen composite print. Fig. 3.15
  6. Lady Filmer. Untitled. 1864. Collaged photographs with watercolor additions. 3.18
  7. Julia Margaret CAMERON. Herschel. 1867. albumen print. Fig. 3-19. See also 3-20 for Cameron’s style.
  8. Lady Hawarden. Girl in Fancy Dress. 1860. collodion print.
    Fig. 3-21.
    Chapter 4: Imaging of the Social World
  9. Timothy O’SULLIVAN. Ancient Ruins in the Canon de Chelly. 1873. albumen print. Fig. 4.1.
  1. Roger FENTON. The Valley of the Shadow of Death. 1855. Fig 4.3
  1. Matthew BRADY. Abraham Lincoln, 1860. salted paper print (carte-de-visite). Fig. 4.21
  1. Matthew BRADY (printed by Alexander GARDNER). Soldiers on the Battlefield. 1862. albumen silver print. Fig 4.17
  1. Alexander GARDNER. Home of a Rebel Sharpshooter, Gettysburg. 1863. wet collodion print. Fig. 4.18
  2. JOHN MURRAY. Panormana of the West Face of The Taj Majal. C. 1850s-60s. 4.30
  1. Felice A. BEATO. Beato’s Artist. C. 1868. albumen print. Fig. 4.40
  1. Andrew J. RUSSELL. Meeting of the Rails, Promontory Summit, Utah, 1869. albumen print. Fig. 4.52
  1. Carleton E. WATKINS. From the “Best General View,” Mariposa Trail, 1865-66. stereograph. albumen print.
    Fig. 4.57
  1. William Henry JACKSON. Mud Geyser in Action. Fig. 4.59

Chapter 5: Science and Social Science

  1. Thomas ANNAN. Close No. 37, High Street, Glasgow. 1868. Fig. 5.10 From Old Closes and Streets of Glasgow from Photographs Taken for the City of Glasgow Improvement Trust
  2. John THOMSON. The Crawlers, 1877-78. 5.11
  1. G.B.DUCHENNE de Boulogne. Electrical contraction of the eyelids…terror. From Duchenne’s book analyzing electro-physiological facial expressions. 1876. Fig. 5.13
  1. James NASMYTH & James CARPENTER. Moon, Crater of Vesuvius. 1864. From The Moon, Considered as a Planet, a World, and a Satellite. Fig. 5.21

Photography and Modernity (1880-1918)

Chapter 6: The Great Divide

  1. Frances Benjamin JOHNSTON. Self-Portrait (as the New Woman). C. 1896. Gelatin silver print. 6.1
  1. Peter Henry EMERSON. Poling the Marsh-Hay. 1886. Platinum print (platinotype). Fig. 6.8
  1. Robert DEMACHY. Struggle. 1904/1908. Gum print, photogravure. Pictorialist. See Fig. 6.11
  2. Heinrich KUHN. On the Hillside, 1910. gum bichromate print. Pictorialist & Linked Ring member. Fig. 6.12
  3. Frank EUGENE. Adam and Eve. 1910. photogravure with etching needle marks. Pictorialist. Fig 6.13
  4. Clarence H. WHITE. Morning. 1908. Photogravure print. Linked Ring member. Pictorialist. Fig. 6.19
  5. Frederick H. EVANS. Steps to Chapter House: A Sea of Steps, Wells Cathedral, 1903. platinum print. Linked Ring member. Fig. 6.22
  6. Alfred STIEGLITZ. The Steerage. 1907. photogravure. (from Camera Work, Photo-Secessionist magazine). Photo-Secessionist. Fig. 6.24
  7. Edward J. STEICHEN. Self-Portrait. 1902. Photo-Secessionist (and Linked Ring member). Fig. 6.25
  8. Alfred STIEGLITZ. Equivalent. 1930. gelatin silver print. Photo-Secessionist. Fig. 6.27
  9. Gertrude KASEBIER. Blessed Art Thou Among Women. 1899. platinum print on Japanese tissue. Fig. 6.34
  10. Edward S. CURTIS. Photograph and article “Vanishing Indian Types” from Scribner’s Magazine. 1906. Fig. 6.38
  11. Edgar DEGAS. Berthe Morisot’s Salon: Auguste Renoir and Stephane Mallarme. 1890. albumen print. Fig. 6.40
  12. J. H. LARTIGUE. My Cousin Bichonnade. 1905. Fig. 6.41
  13. Alvin Langdon COBURN. Wapping. 1909. From London. Fig. 6.42
  14. Alvin Langdon COBURN. Vortograph. 1917. Fig. 6.43
  15. Paul STRAND. Abstractions, Porch Shadows, Connecticut. 1915. gelatin silver print. Fig. 6.45

Chapter 7: Modern Life

  1. Jacob RIIS. Bandits’ Roost, New York, 1888. gelatin silver print from original negative. Fig. 7.5
  2. Lewis W. HINE. Child in Carolina Cotton Mill, 1908. gelatin silver print on masonite. Fig. 7.9
  3. Eadweard MUYBRIDGE. Untitled (Sequence of trot and gallop). 1878. Fig. 7.12