The Arcades Project - Operi

like Paul Del.roche in his painting The Death oi the Due de Guise?" At the world
exhibition of 1855, there were some photographs of this sort produced in England.
[Y4a,l]
The paintings of Delacroix escape the competition with photography, not only
because of the impact of their colors, but also (in those days, there was no instant
photography) because of the stormy agitation of their subject matter. And so a
benevolent interest in photography was possible for him. [Y 4a,2]
VVhat makes the first photographs so incomparable is perhaps this: that they
present the earliest image of the encounter of machine and man. [Y 4a,3]
One of the-often unspoken-objections to photography: that it is impossible
for the human countenance to be apprehended by a machine. Tills the sentiment
ofDelacroix in particular. [Y4a,4]
"Yvon, ... pupil of Delaroche, . .. decided, one day, to reproduce the Battle of
Solferino . ... Accompanied by the photographer Bisson, he goes to the Tuileries,
gets the emperor to strike the right sort of pose, has him turn his head, and bathes
everything in the light he wishes to reproduce. The painting that resulted in the
end was acclaimed under the title The Emperor in a Kepi." Following this, a
courtroom battle between the painter and Bisson, who had put his photo on the
market. He is convicted. Gisela Freund, La Photographie au point de vue soeiologique"
(manuscript, p. 152). [Y4a,5]
Passing by the house of Disderi Napoleon III halts a regiment he is leading down
the boulevardl goes upstail's and has himself photographed. [Y4a,6]
In his capaeity as president of the Sochte des Gens de Lettres, Balzac proposed
that all of the works of the twelve greatest living French authors should automatically
be bought by the state. (Compare Daguerre.) [Y4a,7]
At the Cafe Hamelin, ... some photographers and night owls." Alfred Delvau,
Les Heures parisiennes (Paris, 1866)l p. 184 CUne Henre du matin"). [YS,l]
On Nepomucene Lemercier: The man who spoke this pedantic absurd, and bombastic
idiom certainly never understood the age in which he lived . ... Could anyone
have done a better job of distorting contemporary events with the aid of
outmoded images and expressions?l' Alfred Michielsl Histoire des iclees litteraires
en France au XIX" s;.eele (Paris, 1863), vol. 2, pp. 36-37. [Y5,2]
On the rise of photography.-Communications technology reduces the informational
merits of painting. At the same time, a new reality unfolds, in the face of
which no one can take responsibility for personal decisions. One appeals to the
lens. Painting, for its part, begins to emphasize color. [Y5,3]