Pictorial Portrait by Robert Demachy

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Robert Demachy via

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Impressive Pioneer Photography by Hill & Adamson (1843 – 1848)

In 1843 artist David Octavius Hill joined engineer Robert Adamson in partnership at Rock House on Calton Hill, Edinburgh, Scotland.

During their brief four year partnership, between 1843-1848, Hill & Adamson produced the first substantial body of self-consciously artistic work using the newly invented medium of photography.

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David Octavius Hill, Hill & Adamson (Scottish, active 1843 – 1848), 1843 via

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Miss Matilda Rigby, Hill & Adamson (Scottish, active 1843 – 1848) via

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The bird-cage, Hill & Adamson (Scottish, active 1843 – 1848)  via

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A Discussion,  Hill & Adamson (Scottish, active 1843 – 1848), via

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The Letter, Hill & Adamson (Scottish, active 1843 – 1848) via

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Mr Laing or Laine, Hill & Adamson (Scottish, active 1843 – 1848) via

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Piper and Drummer of the 92nd Gordon Highlanders, Edinburgh Castle, Hill & Adamson (Scottish, active 1843 – 1848) via

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The Scott Monument,  Hill & Adamson (Scottish, active 1843 – 1848), about 1845 via

Pictorialism from the Turn-of the-Century Photo-Secession Movement

The Photo-Secession was an early-20th-century movement that promoted photography as a fine art.

A group of photographers, led by Alfred Stieglitz and F. Holland Day in the early 1900s, held the then controversial viewpoint that what was significant about a photograph was not what was in front of the camera but the manipulation of the image by the artist/photographer to achieve his or her subjective vision.

The movement helped to raise standards and awareness of art photography. Proponents of Pictorialism, which was the underlying value of the Photo-Secession, argued that photography needed to emulate the painting and etching of the time. Pictorialists believed that, just as a painting is distinctive because of the artist’s manipulation of the materials to achieve an effect, so too should the photographer alter or manipulate the photographic image. Among the methods used were soft focus; special filters and lens coatings; burning, dodging and/or cropping in the darkroom to edit the content of the image; and alternative printing processes such as sepia toning, carbon printing, platinum printing or gum bichromate processing.

The “membership” of the Photo-Secession varied according to Stieglitz’s interests and temperament but was centered around the core group of Stieglitz, Edward Steichen, Clarence H. White, Gertrude Käsebier, Frank Eugene, F. Holland Day, and later Alvin Langdon Coburn.

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 Mending Nets by Alfred Stieglitz. Carbon print (1894) via

 

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 “A Study” by Gertrude Käsebier. Platinum print (ca. 1898) via

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By Clarence H. White (1871) via

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Actress Minnie Maddern Fiske by Fred Holland Day (created 1895-1912) via

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The Brass Bowl by Edward Steichen. Photogravure on tissue-thin Japan paper. Literature: Camera Work 14 (1906) via

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Minuet by Frank Eugene, Photogravure on tissue-thin Japan paper. Literature: Camera Work 30 (1910) via

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 The Bubble by Alvin Langdon Coburn. Gum bichromate over platinum print (1908) via 

Maiden at the Well (Lilian Greuze). Photogravures by Léopold-Émile Reutlinger, early 1900s

French stage actress, model, and later, film actress Mlle. Lilian Greuze, was associated with both Sarah Bernhardt and Polaire. She appeared in several silent films, and went on to appear in the talkies as well.

Here she is in a series of “woman at the well” postcards; a theme that easily can be counted as a sub-genre of turn of the century picture postcards. The Photogravures are by French photographer Leopold Reutlinger (1863-1937).

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Maiden at the Well Photogravure of Lilian Greuze by Leopold Reutlinger.

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Maiden at the Well Photogravure of Lilian Greuze by Leopold Reutlinger.

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Maiden at the Well Photogravure of Lilian Greuze by Leopold Reutlinger.

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Maiden at the Well. Photogravure of Lilian Greuze by Leopold Reutlinger.

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Beautiful Victorian Portraits by Lady Clementina Hawarden

Lady Clementina Hawarden (1822 – 1865) was a noted portrait photographer of the Victorian Era.

She turned to photography in late 1857 or early 1858, whilst living on the estate of her husband’s family in Dundrum, Co. Tipperary, Ireland. A move to London in 1859 allowed her to set up a studio in her elegant home in South Kensington.

The furniture and characteristic decor of an upper-class London home was removed in order to create mise-en-scène images and theatrical poses within the first floor of her home – Hawarden’s characteristic portraits include her daughters Isabella Grace, Clementina, and Florence Elizabeth.

Hawarden produced albumen prints from wet-plate collodion negatives, a method commonly used at the time. Her work was widely acclaimed for its “artistic excellence”. Hawarden was considered an amateur photographer and while appreciated for her work, never became widely known as a photographer. Her photographic years were brief but prolific. Hawarden produced over eight hundred photographs from 1857-1864 before her sudden death. she died after suffering from pneumonia for one week, aged 42. It has been suggested that her immune system was weakened by constant contact with the photographic chemicals.

Her work is likened to Julia Margaret Cameron, another Victorian female photographer.

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A photograph that is possibly a self-portrait of Clementina, Lady Hawarden, taken in about 1862.

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Isabella by Clementina, Lady Hawarden

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Isabella by Lady Clementina Hawarden

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Clementina reading while sitting at the window wearing some kind of fancy dress or theatrical costume, ca. 1862-63 by Lady Clementina Hawarden.

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Clementina, reading a book by Clementina, Lady Hawarden

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France, Turn of the Century, by The Seeberger Brothers


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By Fréres Seeberger (Jules, Louis et Henri)

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By Fréres Seeberger (Jules, Louis et Henri)

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By Fréres Seeberger (Jules, Louis et Henri)

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By Fréres Seeberger (Jules, Louis et Henri)

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By Fréres Seeberger (Jules, Louis et Henri)

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