Decoding the Cipher of Reality: Fox Talbot in His Time
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Copy number Shelfmark Shelf mark R073345 Ned. Fotomuseum Ned. fotomuseum
TitleDecoding the Cipher of Reality: Fox Talbot in His Time
Author
Edition[nummer] 125
[tijdschrift; titel] APERTURE
[tijdschrift; maand] Fall
[tijdschrift; pagina] 2-15
Year of publication1991
Materialartikel
Document TypeArticle
SubjectGeschiedenis van de fotografie, Geschiedenis van de fotografie: F (Frankrijk), Geschiedenis van de fotografie: GB (Groot-Britannië), Schilderkunst en fotografie, Photogenic Drawings
Abstract
The author points out that Talbot invented photography in part
as a result of his frustration at being unable to draw. The
author's more general conclusion: ""In the late 18th C. drawing
in its 3 principal types had become mechanical and formulaic.
Perspective drawing had become mechanical in the extreme,
because of advances in mathematics and the increasingly precise
metal drawing instruments, but figure and landscape drawing had
also become anti-intuitive and anti-spontaneous. The advent of
photography invited the reintroduction of observation and
intuition back into the process of representation. In the early
years of photography it was impossible to make a photograph
without observing the subject closely, and the process of close
observation that from the beginning was one of the identifying
characteristics of drawing was also inherent to photography.
Thus it is not surprising that the earliest photographs were not
only called 'drawings', but were tested by the same yardstick of
truthfulness that was used as the measure of drawing.''
Citaten:
Buckland, G.: Fox Talbot and the Invention of Photography (1980)
Gernsheim, H.: L.J.M. Daguerre (1968)
Hayter, C.: An Introduction to Perspective ... (1825)
Ivins, W.M.: On the Rationalization of Sight (1938)
Kemp, M.: The Science of Art (1990)
as a result of his frustration at being unable to draw. The
author's more general conclusion: ""In the late 18th C. drawing
in its 3 principal types had become mechanical and formulaic.
Perspective drawing had become mechanical in the extreme,
because of advances in mathematics and the increasingly precise
metal drawing instruments, but figure and landscape drawing had
also become anti-intuitive and anti-spontaneous. The advent of
photography invited the reintroduction of observation and
intuition back into the process of representation. In the early
years of photography it was impossible to make a photograph
without observing the subject closely, and the process of close
observation that from the beginning was one of the identifying
characteristics of drawing was also inherent to photography.
Thus it is not surprising that the earliest photographs were not
only called 'drawings', but were tested by the same yardstick of
truthfulness that was used as the measure of drawing.''
Citaten:
Buckland, G.: Fox Talbot and the Invention of Photography (1980)
Gernsheim, H.: L.J.M. Daguerre (1968)
Hayter, C.: An Introduction to Perspective ... (1825)
Ivins, W.M.: On the Rationalization of Sight (1938)
Kemp, M.: The Science of Art (1990)
| Copy number | R073345 |
| Institution name | |
| Shelf mark | Ned. fotomuseum |