Genre of Photography that encompasses both practical documentation of Architecture and aesthetic expression. The scope of the genre has been broad, including exterior and interior views of élite, industrial, or vernacular buildings, and groups of structures in urban or rural settings. Although the beginnings of architectural photography date back to the origins of photography, the study of its history and a critical discourse are more recent developments. Study and discourse accompanied the emergence of an art market for photographs in the 1970s, the collection of architectural photographs by museums, and the ensuing publication of scholarship that investigated the intellectual significance and cultural contingency of photographers’ points of view when their lenses have focused upon architectural subjects.
revised by Stephanie Spencer and Sophie Gordon
(b London, Aug 13, 1815; d London, May 15, 1894).
English printmaker and photographer. His first known works are architectural drawings exhibited at the Royal Academy in the 1840s, which documented buildings designed by his architect father Francis Octavius Bedford (1784–1858). He quickly turned to engraving, design, and lithography, working for Standidge & Co., and later Day & Son. He continued to produce lithographs until c. 1858, contributing to many significant publications on British design and manufacturing. He took up photography around 1853 initially to assist with the accuracy of his lithographic work, photographing works of art in the Marlborough House museum (later the South Kensington Museum) for Henry Cole. In 1854 he exhibited for the first time in the Photographic Society of London exhibition. Bedford continued to exhibit widely in British and international exhibitions throughout the 1850s and 1860s. He concentrated primarily on landscape and architectural scenes, often made during annual tours of southern England and Wales (...
(b New Orleans, LA, March 15, 1873; d New Orleans, 1949).
American photographer. Bellocq is known to have worked as a commercial photographer in New Orleans from 1895 to 1940 and to have photographed for local shipbuilders and in the Chinese sector of New Orleans, although none of this work apparently survives. His photography is known only through prints made by Lee Friedlander from the 89 gelatin dry plate negatives found after Bellocq’s death. These negatives date from c. 1912 and are sympathetic portraits of prostitutes of New Orleans and interior views of their workplaces. Known as the Storyville Portraits, 34 were shown by MOMA, New York, in a travelling exhibition in 1970–71. Bellocq’s life was the subject of Pretty Baby (1978), a film by Louis Malle.E. J. Bellocq: Storyville Portraits: Photographs from the New Orleans Red-light District, circa 1912 (exh. cat. by J. Szarkowski and L. Friedlander, New York, MOMA, 1970)G. Badger: ‘Viewed’, British Journal of Photography...
(b Hobitza, Gorj, Feb 19, 1876; d Paris, March 16, 1957).
French sculptor, draughtsman, painter, and photographer of Romanian birth. He was one of the most influential 20th-century sculptors, but he left a relatively small body of work centred on 215 sculptures, of which about 50 are thought to have been lost or destroyed.
The fifth of seven children of a family of peasants, he left his tiny village c. 1887 for Slatina, after which he made his way to Craiova, the provincial capital of Oltenia. There he became a student at the School of Arts and Crafts in 1894. Mechanical technology, industrial design, mathematics, and physics figured prominently on his syllabus with some theoretical studies. He did not, therefore, receive a traditional academic training in sculpture; in fact he began studying at the newly founded Academy of Fine Arts in Bucharest, but even there instruction was still at an experimental stage, particularly in sculpture.
Brancusi is thought to have been prolific in his student years in Craiova. Various objects subsequently discovered on the premises of his old school have been attributed to him, some of them perhaps as collaborations with other fellow students, including a walnut casket (Craiova, Maria C. S. Nicolǎescu-Plopşor priv. col., see Brezianu, ...
(b Rotterdam, Sept 12, 1857; d Amsterdam, June 5, 1923).
Dutch painter and photographer. He trained as a painter and draughtsman at the academy in The Hague. Although the Dutch painter Charles Rochussen taught the students history and landscape painting, Breitner’s interests did not lie in this area. In 1880 he worked for a year in the studio of Willem Maris after his academy training. Maris belonged to the Hague school of painters, who worked in the plein-air tradition of the French Barbizon school. Breitner painted outdoor life with them, although it was not the picturesqueness of the landscape or the Dutch skies that appealed to him. With Van Gogh he roamed the working-class districts of The Hague and through the dockyards of Rotterdam. Both artists recorded the vitality of city life in their sketchbooks. Breitner consciously chose these themes and motifs: he wanted to paint people going about their daily lives, and on his trips through the towns and docks he was constantly in search of motifs and impressions that he could use in his paintings....
[Karrik, Vil’yam; Karrik, Vasily (Andreyevich)]
(b Edinburgh, Dec 31, 1827; d St Petersburg, Nov 1878).
Scottish photographer, active in Russia. He was the son of a Scottish timber merchant living in St Petersburg. He studied architecture and painting at the Academy of Arts in St Petersburg from 1844 to 1853, when he went to Rome to further his studies in painting. On his return to St Petersburg in spring 1856 he had already decided to take up photography for financial reasons, and he became the assistant to a portrait photographer named Hoch. In 1857 he travelled to Edinburgh, where he studied photography briefly with James Good Tunny and met the photographer John McGregor (d 1872). McGregor agreed to travel to St Petersburg, and the two opened a portrait studio there in September 1859, making albumen prints using wet collodion plates. Their photographs received approval from the imperial household, and Carrick developed a relationship with the court painter Mihály Zichy, with whom he embarked on a project of photographing the works of artists (e.g. Zichy’s watercolour of the ...
(b Bologna, Sept 8, 1852; d Venice, March 18, 1924).
Italian painter, photographer, architect and illustrator. He trained initially as a musician and only later became a painter, studying (1872–8) at the Accademia di Belle Arti in Bologna under the history and portrait painter Antonio Puccinelli (1822–97). He made several short trips to Paris and London before moving to Rome where he became friends with Vincenzo Cabianca (1827–1902), a plein-air painter, and joined the group founded by Nino Costa, In Arte Libertas (see Rome, §III, 7). He made his name in 1885 when he exhibited 18 paintings at the group’s first exhibition. In the 1880s he experimented with photography, and in certain cases photographs acted as preliminary stages for his paintings. In 1892 he settled definitively in Venice and two years later adopted the pseudonym ‘Marius Pictor’. His work expressed the romantic and literary climate of the fin-de-siècle, and his painting is linked with the work of such writers as Charles Baudelaire and Edgar Allan Poe. De Maria’s work derives from flower painting and from the painting of Alexandre-Gabriel Decamps; brushstrokes are carefully built up, and rough, chalky colour is thickly applied. He was extremely skilful in his manipulation of colour and light to express the richness of his imagination. He liked to create evocative images and to represent the most fantastic and unusual aspects of nature, as in the famous painting the ...
(b Verdun, Feb 14, 1838; d Bois-Colombes, nr Paris, March 12, 1917).
French photographer. He was one of the most accomplished architectural photographers of his time, and much of his work was devoted to constructions and monuments in France. He shared a studio in Paris until 1862 with Hyacinthe-César Delmaet (1828–62), and on the death of Delmaet that same year Durandelle married his widow, Clémence, who kept the surname Delmaet and became his partner. Their prints continued to be signed
(b Langres, Haute-Marne, 1804; d Courcelles, nr Paris, 1892).
French photographer and draughtsman. A wealthy landowner and scholar who travelled widely, he made numerous sketches of Islamic architecture (untraced; engravings, Granada, Casa Tiros) and he took many very fine landscape photographs. During his travels in Italy, Asia Minor, Greece, Lebanon and Egypt (1841–5) he produced more than 900 daguerreotypes, which were used to illustrate his book on the Arabic monuments of the Middle East; he also photographed French monuments (e.g. La Tour St-Jacques, Paris, 1841; see Berger-Levrault, pl. 72). His work remained completely unknown until the plates (London, H. and A. Gernsheim priv. col.) were rediscovered in 1952. One of the earliest French landscape photographers, he devoted much of his time to his home at Courcelles, where he became a recluse after 1846. His only known contemporary exhibition was in Granada in 1833.Monuments arabes et mauresques de Cordoue, Séville et Grenade (Paris, 1836)Monuments arabes d’Egypte, de Syrie et d’Asie Mineure...
(b Dresden, Oct 16, 1813; d Stellenbosch, Oct 8, 1898).
German architect, builder, painter and photographer, active in South Africa. He showed a talent for drawing at an early age. In 1825 he entered the Akademie der Künste, Dresden, to study architecture, qualifying in 1829. He emigrated to Cape Town in 1838. His first commission in 1840 was the new Roman Catholic Cathedral of St Mary, Cape Town, undertaken with his partner Carel Sparmann, which was an unsuccessful venture. Hager then moved to Stellenbosch living principally by portrait painting (examples in Stellenbosch Mus.). It was not until 1854 that his next building, the Lutheran Church, Dorp Street, Stellenbosch, was built. Only in 1863, however, did he receive his first major commission, the remodelling of the Dutch Reformed Church, Stellenbosch. This involved the addition of a large nave, aisles and tower to the existing cruciform church. All the additions were strongly Gothic Revival in character, and the rest of the church was given a Gothic appearance. It would be an exaggeration to claim that it was Hager who introduced the Gothic style into Dutch Reformed churches, but it can be said that he introduced a purer strain of the Revival, although this was still far from ‘correct’. The church at Stellenbosch differs most from previous attempts to Gothicize Dutch Reformed churches in the tower, which has triple-stage base tracery windows surmounted by a broach spire. The open Gothic trussed roof marks its first appearance in Dutch Reformed churches. In ...
(b Shkodër, Aug 15, 1860; d Shkodër, Dec 12, 1939).
Albanian painter, architect, sculptor and photographer. His grandfather Andrea Idromeno was a painter and a doctor of theology; his father, Arsen Idromeno, was a furniture designer and painter. Kol Idromeno took private lessons in painting (1871–5) at the studio of the photographer and painter Pietro Marubi (1834–1903). In 1875 he won a competition and began studies at the Accademia di Belle Arti, Venice. However, due to arguments with his teacher, he abandoned the school and continued his studies in one of the large studios in Venice (1876–8).
At first Idromeno produced works with both religious and secular themes that were noted for their highly realistic rendering of the human form (e.g. St Mary Magdalene, oil on canvas, 1877; Shkodër Mus.). Many of his biblical works were executed in churches within the Shkodër district, with perhaps his best work being the frescoes of the Orthodox Church in Shkodër, especially the fragment depicting ...
(b Conflans-sur-Anille, Sarthe, ?1819; d Conflans-sur-Anille, March 4, 1882).
French photographer, engineer and chemist. He began photographic research in 1842 while studying civil engineering at the Ecole Centrale, Paris, and continued during his career as a chemical engineer in government service. He is regarded as the practical founder of the carbon print process, photolithography and the collotype process. His inventions included methods for photochemical engraving and daguerreotype plates (c. 1842–8), gelatin negatives on glass (c. 1850–51), photolithography (1855), photoelectrotyping (‘hélio-plastie’, patented 1855) and direct paper positives and negatives in colour (results published 1859). From c. 1849 and during the 1850s he photographed his fellow workers at saltworks in the French Jura and landscapes near his family home, using a paper negative process (see Jammes and Parry Janis, pl. xiii).
See also Lithography §I and Photography §I.Traité des impressions photographiques (Paris, 1883)R. Colson: Mémoires originaux des créateurs de la photographie...
Jean A. Follett
(b Boston, MA, 1842; d Boston, MA, 1910).
American architect, stained-glass designer, furniture designer, and photographer. Preston was the son of Jonathan Preston (1801–88), a successful builder in Boston. William completed a year’s study at the Lawrence Scientific School in Cambridge, MA (later incorporated into Harvard University), and then went to Paris where he enrolled briefly in the Atelier Douillard. He returned to Boston in 1861 to work with his father, with whom he remained in partnership until the latter’s death. William then practised independently until his own death.
Preston was a prolific architect, designing over 740 buildings in the course of a career spanning 50 years. His early work was in the French Renaissance style, as seen in his Boston Society of Natural History building (1861–4), a tripartite structure with its floor levels arranged to equate with the proportions of the base, shaft, and capital of a Classical column. It has monumental Corinthian columns and pilasters and a central pediment flanked by a balustraded parapet. He worked in a typically eclectic manner during the 1870s and became an extremely fine designer in the Queen Anne Revival style in the 1880s and early 1890s. The varied massing, stained-glass windows, terracotta, moulded brick, and carved-wood detail of the John D. Sturtevant House (...
(b Saint-Flour, Cantal, Jan 14, 1817; d Saint-Martin-le-Vinoux, nr Grenoble, Aug 28, 1892).
French photographer and civil engineer. He was fascinated by Egyptology from an early age and visited Egypt from 1851 to 1852. He returned there in 1869 with an official invitation to the opening of the Suez Canal. He brought a number of calotypes back to France after his first trip, and these made up his album Egypte et Nubie. Sites et monuments les plus intéressants pour l’étude de l’art et de l’histoire. Atlas photographique accompagné de plans et d’une table explicative servant de complément à la grande ‘description de l’Egypte’. This sumptuous work, illustrated by 160 large-format plates printed by H. de Fonteny, was published from 1853 to 1858 by Goupil. The views shown were varied and included ancient monuments such as the Temple of Abu Simbel, the Pyramid of Chephren and the Ruins of Aswan as well as modern ones such as the Town of Asyut, the banks of the Nile and local people going about their daily business, as in ...
Culture of images and visuality that creates meaning in our world today. This includes media forms such as photography, film, television, and digital media; art media such as painting, drawing, prints, and installations; architecture and design; comic books and graphic novels; fashion design, and other visual forms including the look of urban life itself. It also encompasses such social realms as art, news, popular culture, advertising and consumerism, politics, law, religion, and science and medicine. The term visual culture also refers to the interdisciplinary academic field of study that aims to study and understand the role that images and visuality play in our society; how images, gazes, and looks make meaning socially, culturally, and politically; how images are integrated with other media; and how visuality shapes power, meaning, and identity in contemporary global culture.
The emergence of the concept of visual culture as a means to think about the role of images in culture and as an academic field of study is a relatively recent phenomenon, emerging in the late 1980s and becoming established by the late 1990s. There were numerous factors that contributed to the idea that images should be understood and analysed across social arenas rather than as separate categories, including the impact of digital media on the circulation of images across social realms, the modern use of images from other social arenas (such as news and advertising) in art, and the cross-referencing of cultural forms displayed in popular culture and art. It was also influenced by the increasingly visible role played by images in political conflict and a general trend toward interdisciplinarity in academia....
(b Lansdown, nr Bath, c. 1860; d Elstree, 1939).
English photographer and scientist . He studied architecture but took up photography before completing his studies. John Wellington collaborated with George Eastman of the Kodak Company, Rochester, NY, in the 1880s and became the first manager of the Kodak works in Harrow, Middx (1891–3). He then moved to Elliot and Sons, Barnet, Greater London, and later, with his brother-in-law H. H. Ward, he founded the company of Wellington and Ward, manufacturers of photographic plates, films and papers, of which he was scientific and technical Director. As a photographer he made all his own cameras, printing frames and emulsions, and coated his own plates. Wellington cannot be identified with any particular school of aesthetics, since his work varied greatly from pictorial landscapes to the period between c. 1912 and 1929 when he produced sensitive studies of his young family (e.g. Mother’s Jewels) and pictorial photographs of domestic scenes of family and friends. Some of his later works could have been photographs taken for publicity purposes....
(b Besançon, 1812; d Paris, 1882).
French photography critic and writer. After preparing for a life in engineering and business at the Ecole des Arts et Manufactures in Paris, Wey soon abandoned his studies to enter the literary world. With patronage from Charles Nodier (1783–1844), a luminary of the Parisian literary community, Wey obtained a position as an archivist, which helped to supplement his writing career. He is known to the art historians today primarily for his writings on photography published as a series of articles in the journal La Lumière throughout 1851. In this journal, Wey contributed commentaries on photographic portraiture; the art of making lithographic prints from photographs; and the relative value of different photographic methods (where he argued for the calotype process over the daguerreotype). Wey also advocated strongly for the use of photography as a tool to record, reproduce, and transport paintings, sculptures, and other three-dimensional art objects; these reproductions, he argued, would allow the study and appreciation of art objects to extend beyond the home and museum. Unlike some of his contemporaries at the British Museum, such as Roger Fenton, who argued for a similar use of the camera as recording device, Wey himself never practised photography. He nevertheless weighed in on the debate over authorial priority in photography, which was framed by the ongoing legal battle in England over William Henry Fox Talbot’s claim to the invention of the positive–negative photographic process. These writings by Wey were influenced in part by his relationship with the French Realist painter Gustave Courbet, who shared Wey’s critical engagement with the supposed verisimilitude of photography....