A Photographer in Jerusalem, 1855
Auguste Salzmann and His Times
Bibliographic Data
| ID | 4300324 |
|---|---|
| Authors | Abigail Solomon-Godeau, Abigail Solomon‐godeau (corresponding author) |
| Year | 1981 |
| Volume | 18 |
| Pages | 90 |
| Publication date | 1981-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | October (JOURNAL) |
| Journal identifiers | ISSN: 0162-2870 • E-ISSN: 1536-013X |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/778413 |
| OpenAlex | W2315187073 |
| Language | EN |
| Citations received | 6 |
If ripeness is all, no better illustration could be found than in the trajectory photography has described from its simultaneous birth in the two most industrialized and powerful countries in the world. Engendered by science,' with ambitions to art, and popularly believed to incarnate the absolute measure of optical truth, its success was guaranteed. Indeed, it is significant that almost all of photography's eventual uses were foreseen at its very outset. And while the traumatic implications of photography constitute a largely suppressed discourse in the midnineteenth century, the general awareness of its magnitude and import was widely expressed. Histories of photography appeared as early as 1856, and in France alone there were by 1854 eight or nine photography journals in addition to coverage in the press.2 Photographic exhibitions were regularly held and widely attended, and there were at least two court cases in France which attempted to determine if photography was subject to art copyright law.3 The excitement and self-consciousness generated by photography in France reached a watershed of sorts in the period between 1850 and 1865. The decade of the fifties is thus a crucial one in the history of photography, having witnessed one of the highest levels of artistic achievement in the medium's history as well as the use of photography for the creation of new forms and structures for the organization of knowledge. The decline in both the level of quality and serious inquiry by the mid-sixties is traditionally linked to photography's evolution from an artisanal stage to an intensely commercialized and industrialized one
Art · Art history · Archaeological Research and Protection · Philosophy · Photography and Visual Culture · Visual Culture and Art Theory
| Citations per year | 0.15 |
|---|---|
| Citation span | 1987 - 2022 (36) |
| Highly cited | No |