A New Art: Photography and Impressionism
Hardcover | 24.77 x 3.05 x 30.78 cm | 248 pp
Prestel | 2022 | 9783791379401
This lavishly illustrated volume looks at the myriad ways in which the burgeoning art of photography dialogued with Impressionist painting.
In the 19th century, numerous photographers chose the same motifs as Impressionist painters: the forest of Fontainebleau, the cliffs of Étretat or the modern metropolis of Paris. They, too, studied the changing light, seasons and weather conditions. From its inception, photographers pursued artistic ambitions, as evidenced by their experimentation with composition and perspective, by means of various technical procedures. Until the First World War, the relationship between photography and painting was characterised both by competition and mutual influence.
This book examines these interactions and illuminates the development of the new medium from the 1850s to its establishment as an autonomous art form around 1900. With contributions from Dominique De Font-Réaulx, Monika Faber, Matthias Krüger, Ulrich Pohlmann, Esther Ruelfs, Helene Von Saldern, Bernd Stiegler, and Daniel Zamani.
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Hardcover | 24.77 x 3.05 x 30.78 cm | 248 pp
Prestel | 2022 | 9783791379401
This lavishly illustrated volume looks at the myriad ways in which the burgeoning art of photography dialogued with Impressionist painting.
In the 19th century, numerous photographers chose the same motifs as Impressionist painters: the forest of Fontainebleau, the cliffs of Étretat or the modern metropolis of Paris. They, too, studied the changing light, seasons and weather conditions. From its inception, photographers pursued artistic ambitions, as evidenced by their experimentation with composition and perspective, by means of various technical procedures. Until the First World War, the relationship between photography and painting was characterised both by competition and mutual influence.
This book examines these interactions and illuminates the development of the new medium from the 1850s to its establishment as an autonomous art form around 1900. With contributions from Dominique De Font-Réaulx, Monika Faber, Matthias Krüger, Ulrich Pohlmann, Esther Ruelfs, Helene Von Saldern, Bernd Stiegler, and Daniel Zamani.
