The Arcades Project - Operi

tographie au point de vue sociologique (manuscript, p. 39), in reference to Victor
Fouque, Niepce: I.-a Verite sur l'invention de la photog,.apIHe (Chfilons sur Saone,
1867). [Y3a,3]
Following Arago's report to the Chamher: "A few hours later opticians' shops
were hesieged; there were not enough lenses, not enough camera ohscuras to satisfy
the zeal of so many eager amateurs. Thcy watched with regretful eye the
setting sun on the horizon, as it carried away the raw material of the exp{riment.
But on thc morrow, during the first hours of the day, a great number of these
experimenters could he seen at their windows, striving, with all sorts of anxious
preealltions, to capture on a prepared plate the image of a dormer-window opposite,
or the view of a group of chimneys." Louis l i'iguier, La Photographie: Exposition
et histoire des principales c/ecouvertes scientijiqnes modernes (Paris, 1851);
cited, without page reference, hy Gisela Freund (manuscript, p. 46). [Y4,1]
In 184,0, Maurisset puhlished a caricature of photography. [Y4,2]
"In the area of portraiturc, a concern with "situation' and t.he "position' of a man,
a concern t.hat demands from the artist. the represent.at.ion of a "social condit.ion'
and an 'attitude,' can he satisfied, in the end, only with a full-length portrait."
Wilhelm Watzold, Di,e Kunst des Portrii.ts (Leipzig. 1908), p. 186; cited in Gisela
Freund (manuscript, p. 105). [Y4,3]
Photography in the age of Disderi: "The characteristic accessories of a photo­
graphic studio in 1865 are the pillar, the curtall, and the pedestal table. Posed
there, leaning, seated, or standing np, is the subject to be photographed: full­
length, half-length, or bust. The background is filled, according to the social rank
of the model, with other paraphernalia, symbolic and picturesque." Further on
comes a very characteristic extract (without page reference) from L'Art de fa
f)hotogmjJhie (Paris, 1862), by Disderi, who says, among other things : "In making
a portrait, it is not a question only , . , of reproducing, with a n1athenlatical
accuracy, the f011ns and proportions of the individual; it is necessary also, and
above all, to grasp and represent, while justifying and embellishing, ... the inten­
tions of nature toward this individual:' Gisela Freund, "La Photographie au
point de vue sociologique" (manuscript, pp. 106, 108).-The pillars : emblem of
a "well-rounded education;' UHaussmannization D [Y4,4]
Gisela Freund (manuscript, pp. 116-117) provides the follomng citation from Disded's
L 'Art de la photographie: " Could not the photographer who was a master of'
all the effects of lighting, who hall at his disposal a large and perfectly equipped
studio with hlinders and reflectors, who was pt'ovided with hackdrops of all kinds,
with settings, properties, costumes-could he not, given intelligent and skillfully
dressed models, compose tableaux d( gem'e, historical scenes? Could he not aspire
to sentiment, like Scheffer, or to style, like Ingres? Could he not treat of history,