Download Camille Silvy River Scene, France by Mark Haworth-Booth PDF

By Mark Haworth-Booth

The topic of this publication, the 1st to be dedicated to a unmarried picture, is Camille Silvy’s striking River Scene. Hailed as a masterpiece while it was once first exhibited in France in 1858, the picture is observed right here through newly commissioned colour images via famous photographer Stephen Shore. In a provocative essay the writer discusses the historical past of the picture within the context of attitudes of the day towards images and photographic exhibitions, outlines the affects on Silvy, and examines his eventual impression on others. this is often the 3rd e-book within the Getty Museum stories on artwork (GMSA) sequence which seeks to introduce person works of observe or small teams of heavily comparable works to a large public with an curiosity within the background of paintings and similar disciplines. every one monograph contains a shut dialogue of its topic in addition to a close research of the wider context during which the paintings was once created, contemplating appropriate ancient, cultural, chronological, and different questions. desk of Contents Foreword Weston J. Naef Debut: Edinburgh and London Paris Nogent-le Rotrou and l. a. Croix-du-Perche Paris—London—La Croix-du-Perche Reflections Notes chosen Bibliography Acknowledgments

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Extra resources for Camille Silvy River Scene, France

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There is much more to the picture than the conjunction of two negatives. Look closely at the band of somewhat muddy tone along the horizon (fig. 28), a zone that continues across that level of the picture. Silvy drew his handsome cloud 55 Figure 24. Museum. CAMILLE SILVY. River Scene, France (State 1). London, Victoria and Albert line along i t freehand as a means of disguising this somewhat leaden area of the com­ position, as a means of suggesting atmosphere, perspective. Even Le Gray had prob­ lems in that zone of his marines at which restless seas meet—sometimes abruptly— the flat tone of the lower sky {beneath the dancing clouds).

Malibu, J . Paul Getty ification of what was already widespread photographic practice—used by AdamSalomon i n portraiture and Aguado in landscape, for example. A negative was placed securely between the worker and the light so that it was as transparent as possible: W i t h very finely applied india ink, i t is extremely easy to carry out delicate work on the negative that w i l l be shown on the positive exactly as i f i t had been obtained purely photographically. I f there are trees i n the background, one can lightly stipple i n leaves of any shape desired.

Adams concluded: " I t is pretty good optically. The 'old boys' did some remarkable 'cut-and-paste' jobs; I am surprised that the green foliage comes through so well. . " 101 Silvy, like Adams, is recognized as one of the great craftsmen of photographic printing. He used the generally preferred materials of the time—the wet collodionon-glass negative and albumen printing paper—and, at least at the beginning of his career, there are grounds for thinking that he used gold chloride, or sei d'or, toning.

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