Scenes in a Library
MIT Press (Verlag)
978-0-262-01169-3 (ISBN)
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Today we are so accustomed to seeing photographs wedded to text--whether in the family album or daily newspaper--that the verbal framing of the photograph has become invisible. The text is internalized within the image, and the meaning of the photograph becomes clear and self-evident, as if by the evidence of the photograph itself. In Scenes in a Library, Carol Armstrong explores the experimental moment, at the inception of the new medium, when the word came to haunt the photographic image, and the forty or so years--roughly from the 1840s to the 1880s--during which the photographic image alternately resisted and became assimilated to the printed page. Armstrong's emphasis is on British books. Not only was it in an English book that the paper photograph was first described and published, but the range of subject matter of nineteenth-century British photographically illustrated books prior to the 1880s was as rich as it was peculiar and sometimes recalcitrant.
Armstrong focuses on one book about photography (Talbot's The Pencil of Nature); one "scientific" book (Anna Atkins's Photographs of British Algae); two travel narratives, one factual and one fictional (Francis Frith's Egypt and Palestine Photographed and Observed and his illustrated edition of Longfellow's novel Hyperion: A Romance); and one book of poetry (Julia Margaret Cameron's Illustrations to Alfred Lord Tennyson's Idylls of the King); as well as some miscellaneous books from the 1870s. According to Armstrong, art history has tended to remove the historic photograph from its printed and published context. Moving back and forth between close looking and equally close reading, she reinserts the photograph into the book from which it was taken.
Carol Armstrong is Doris Stevens Professor of Women's Studies in the Department of Art and Archaeology at Princeton University. She is the author of Scenes in a Library: Reading the Photograph in the Book, 1843-1875 (MIT Press, 1998).
Part 1 Looking forward to the 1870s - the natural method of photographic illustration: the book of nature, the book of man; "in the conduct of this verification" - succession and resemblance, or induction and the organon of proof; from microbes to the moon - experiments, instruments and photographs, 1; from the moon to man - experiments, instruments and photographs, 2. Part 2 A scene in a library - the first photographically illustrated book: "introductory remarks" - and "brief historical sketch of the invention of the art"; plates - a scene in a library; plates, 1 - two views through the camera obscura; plates, 2 - two inventories; plates, 3 - facsimiles; plates, 4 -cameraless photographers; plates, 5 - photographs like paintings; plates, 6 - Lacock Abbey and other places; plates, the end -variable prints. Part 3 Blueprints for (and against) scientific illustration - Anna Atkins's botanical albums: biotaxic negatives - a photographic botany; between the certificate and the code -from the natural illustration to the nature print; the remains of a ruined alliance - the rest of the cyanotypes. Part 4 Photographed and described - travelling in the footsteps of Francis Frith: Egypt and Palestine photographed and described; "in the footsteps of Paul Flemming". Part 5 Photographing literature -Julia Margaret Cameron's excerpts from Tennyson: the album's frontispiece - the photographer takes the poet, "From Life"; Cameron's women - Lynette, Enid, Vivien and Elaine; the pale nun and the dark queen; the end - a filmic postscript.
| Erscheint lt. Verlag | 4.1.1999 |
|---|---|
| Reihe/Serie | October Books |
| Zusatzinfo | 143 |
| Verlagsort | Cambridge, Mass. |
| Sprache | englisch |
| Maße | 178 x 229 mm |
| Gewicht | 1384 g |
| Themenwelt | Kunst / Musik / Theater ► Fotokunst |
| Kunst / Musik / Theater ► Kunstgeschichte / Kunststile | |
| ISBN-10 | 0-262-01169-7 / 0262011697 |
| ISBN-13 | 978-0-262-01169-3 / 9780262011693 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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