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HIPPOLYTE BAYARD. [Windmills, Montmartre]

[Windmills, Montmartre]. Artist: Hippolyte Bayard (French, 1801-1887). Dimensions: Image: 9.3 × 10.6 cm (3 11/16 × 4 3/16 in.), irregularly trimmed. Date: 1839. Even before the detailed processes of Talbot and Daguerre were revealed, a third inventor had successfully obtained photographic images using a process of his own creation. Hippolyte Bayard, experimenting in the hours left free from his civil service job, had brought his process from conception to fruition in the short space of a few months early in 1839. Like Daguerre's technique, Bayard's was a direct-positive process; like Talbot's, it produced photographs on paper. Each picture required some thirty minutes of exposure.This photograph, inscribed on the verso "Essai de 1839 Avril Mai," is one of Bayard's earliest surviving prints and among the rarest of photographic incunabula. Its chemical stains and slight discoloration only heighten the modern viewer's sense of bearing witness to the magic that first enabled sensitized paper to retain an image thrown by the lens of a camera obscura.The picturesque windmills of Montmartre, the outlying suburb that was becoming the bohemian quarter of Paris, were a frequent subject of Bayard's earliest photographs, and likely figured in some of the thirty pictures shown by the artist in the first public exhibition of photographs, held in Paris in July 1839. Remembering that occasion a dozen years later, the critic Francis Wey wrote of the exhibited works, "They resembled nothing I had ever seen. ... One contemplates these direct positives as if through a fine curtain of mist. Very finished and accomplished, they unite the impression of reality with the fantasy of dreams: light grazes and shadow caresses them.".
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Título:
[Windmills, Montmartre]
Descripción:
Traducción automática: [Molinos de viento, Montmartre]. Artista: Hippolyte Bayard (Francés, 1801-1887). Dimensiones: Imagen: 9,3 × 10,6 cm (3 11/16 x 4 3/16 pulg.), irregularmente recortado. Fecha: 1839. Incluso antes de que se revelaran los procesos detallados de Talbot y Daguerre, un tercer inventor había obtenido con éxito imágenes fotográficas utilizando un proceso de su propia creación. Hippolyte Bayard, experimentando en las horas que le quedaban libres de su trabajo en el servicio civil, había llevado su proceso desde la concepción hasta la realización en el corto espacio de unos pocos meses a principios de 1839. Al igual que la técnica de Daguerre, la de Bayard fue un proceso directo-positivo; como el de Talbot, produjo fotografías en papel. Cada imagen requirió unos treinta minutos de exposición. Esta fotografía, inscrita en el verso "Essai de 1839 Avril Mai", es una de las primeras impresiones supervivientes de Bayard y se encuentra entre los incunables fotográficos más raros. Sus manchas químicas y su ligera decoloración solo aumentan la sensación del espectador moderno de ser testigo de la magia que primero permitió que el papel sensibilizado retuviera una imagen proyectada por la lente de una cámara oscura. Los pintorescos molinos de viento de Montmartre, el suburbio periférico que se estaba convirtiendo en la bohemia. barrio de París, fueron un tema frecuente de las primeras fotografías de Bayard, y probablemente figuraron en algunas de las treinta imágenes mostradas por el artista en la primera exposición pública de fotografías, celebrada en París en julio de 1839. Recordando esa ocasión una docena de años más tarde, el El crítico Francis Wey escribió sobre las obras expuestas: "No se parecían a nada que yo haya visto antes... Uno contempla estos positivos directos como a través de una fina cortina de niebla. Muy acabados y logrados, unen la impresión de realidad con la fantasía de sueños: la luz los roza y la sombra los acaricia?.
[Windmills, Montmartre]. Artist: Hippolyte Bayard (French, 1801-1887). Dimensions: Image: 9.3 × 10.6 cm (3 11/16 × 4 3/16 in.), irregularly trimmed. Date: 1839. Even before the detailed processes of Talbot and Daguerre were revealed, a third inventor had successfully obtained photographic images using a process of his own creation. Hippolyte Bayard, experimenting in the hours left free from his civil service job, had brought his process from conception to fruition in the short space of a few months early in 1839. Like Daguerre's technique, Bayard's was a direct-positive process; like Talbot's, it produced photographs on paper. Each picture required some thirty minutes of exposure.This photograph, inscribed on the verso "Essai de 1839 Avril Mai," is one of Bayard's earliest surviving prints and among the rarest of photographic incunabula. Its chemical stains and slight discoloration only heighten the modern viewer's sense of bearing witness to the magic that first enabled sensitized paper to retain an image thrown by the lens of a camera obscura.The picturesque windmills of Montmartre, the outlying suburb that was becoming the bohemian quarter of Paris, were a frequent subject of Bayard's earliest photographs, and likely figured in some of the thirty pictures shown by the artist in the first public exhibition of photographs, held in Paris in July 1839. Remembering that occasion a dozen years later, the critic Francis Wey wrote of the exhibited works, "They resembled nothing I had ever seen. ... One contemplates these direct positives as if through a fine curtain of mist. Very finished and accomplished, they unite the impression of reality with the fantasy of dreams: light grazes and shadow caresses them.".
Técnica/material:
Salted paper print
Museo:
Metropolitan Museum of Art, New York, USA
Crédito:
Album / Metropolitan Museum of Art, NY
Autorizaciones:
Modelo: No - Propiedad: No
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Tamaño imagen:
3608 x 3270 px | 33.8 MB
Tamaño impresión:
30.5 x 27.7 cm | 12.0 x 10.9 in (300 dpi)
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