Art 150 Slide List for Test #1

Art 150 Slide List for Test #1

Art 150 Slide List for Test #1

For unstarred pictures, you need to know general information about what is special about the work (which could include an invention, the technique, artist, style, purpose, subject matter, etc.) and/or what it reflects about its time.

For starred pictures, you need to know that general information plus the approximatedate, photographic method, artist, and title.

Origins of Photography (to 1839)

  1. Table Camera Obscura. 1769 engraving. Fig. 1.5
  1. Artist Sketching with a Wollaston Camera Lucida, 1839 engraving. Fig. 1.7
  1. *Joseph Nicephore NIEPCE. View from the Window at Gras, 1826. Heliograph. Fig. 1.10. First permanent photograph.
  1. *Louis-Jacques-Mande DAGUERRE. Still Life (Interior of a cabinet of curiosities). 1837. Daguerrotype. Fig. 1.12.
  1. *Hippolyte BAYARD. Self-Portrait as a Drowned Man, 1840. Direct paper positive. Fig. 1.14.
  1. William Henry Fox TALBOT. Leaf with Serrated Edge, c. 1839. Photogenic drawing negative. Fig. 1.17.

The Second Invention of Photography (1839-1854)

7. * William Henry Fox TALBOT. The Open Door, 1844. Salt print from calotype negative. Fig. 2.6. From The Pencil of Nature book.

  1. William Henry Fox TALBOT. Articles of China, 1844-46. calotype. Fig. 2.7. From The Pencil of Nature.
  1. * Hippolyte BAYARD. Self-Portrait with Plaster Cast, 1850. Gelatin silver print. Fig. 2.10.
  1. Andreas Ritter Von Ettinghausen. Section of Climatis, March 4, 1840. Daguerrotype with lens magnification. Fig. 2.11.
  1. Anna Atkins, Poppy, c.1852. Cyanotype. Fig. 2.14.
  1. Hugh Welch Diamond, Seated Woman with Bird, c. 1855. Albumen print. Fig. 2.17.
  1. Albert Sands SOUTHWORTH & Josiah Johnson HAWES. Early Operation Using Ether for Anesthesia, 1847, Daguerreotype. Fig. 2.24.
  1. N. M. P. LEREBOURS. Portail de Notre Dame de Paris. 1840-44. Engraving after daguerreotype. Fig. 2.35.
  1. John B. GREENE, The Banks of the Nile at Thebes, 1854. Salted paper print from a waxed paper negative. Fig 2.41.
  1. * Edouard BALDUS. Cloister of Saint-Trophime, Arles. 1851. partly hand-painted paper print. Fig. 2.43.
  1. Henry LE SECQ. Farmyard Scene (near St. Leu-d’Esserent), c. 1852. cyanotype print from paper negative. Fig. 2.45.
  1. Charles NEGRE, The Chimney Sweeps Walking, 1851. Salted paper print. Fig. 2.46.
  1. J. F. A. CLAUDET. The Geography Lesson, 1851. Stereoscopic daguerreotype. Fig. 2.51. (See Fig. 3.1 for stereoscope in use.)
  1. * Albert Sands SOUTHWORTH. Self-Portrait. C. 1858. Daguerreotype. Fig. 2.62.
  1. * David Octavius HILL and Robert ADAMSON. Dr. Alexander Keith. C. 1843. Paper print, calotype process. Fig. 2.63.
  1. * Gustave LE GRAY, Mediterranean Sea at Sete. 1856-59. Albumen silver print from two glass negatives. Fig. 2.70.

The Expanding Domain (1854-1880)

  1. Andre Adolphe Eugene DISDERI. Princess Buonaparte Gabrielli, c. 1862. Uncut carte-de-visite cards. Fig. 3-3
  1. NADAR and Adrien TOURNACHON. Pierot the Photographer. 1854-55. Fig. 3-7
  2. NADAR. The Sewers of Paris, 1864-65. Modern print from glass negative. Fig. 3-9.
  3. Oscar REJLANDER. The Two Ways of Life. 1857. albumen print. Combination print with more than 30 negatives. Fig. 3-12.
  4. Henry Peach Robinson. Group with Recumbent Figure (Sketch with cut-out). 1860. albumen print and pastel collage on paper. Fig. 3-13
  5. Henry Peach ROBINSON. Fading Away. 1858. albumen composite print. Fig. 3-14
  6. Lady Filmer. Untitled. 1864. Collaged photographs with watercolor additions.
  7. Julia Margaret CAMERON. Herschel. 1867. albumen print. Fig. 3-17. See also 3-18 for Cameron’s style.
  8. Lady Hawarden. Girl in Fancy Dress. 1860. collodion print.
    Fig. 3-19.
  9. Roger FENTON. The Valley of the Shadow of Death. 1855. Fig 3-21.
  1. Matthew BRADY. Abraham Lincoln, 1860. salted paper print (carte-de-visite). Fig. 3-31
  1. Matthew BRADY (printed by Alexander GARDNER). Soldiers on the Battlefield. 1862. albumen silver print. Fig 3-35.
  1. Alexander GARDNER. Home of a Rebel Sharpshooter, Gettysburg. 1863. wet collodion print. Fig. 3-36.
  1. Felice A. BEATO. Beato’s Artist. C. 1868. albumen print. Fig. 3-56.
  1. Francis FRITH. First Pylon View of the GratTemple, 1850s. wet collodion paper print. Fig. 3-59.
  2. Andrew J. RUSSELL. Meeting of the Rails, Promontory Summit, Utah, 1869. albumen print. Fig. 3-69.
  1. Timothy O’SULLIVAN. Ancient Ruins in the Canon de Chelly. 1873. albumen print. Fig. 3-73.
  1. Carleton E. WATKINS. From the “Best General View,” Mariposa Trail, 1865-66. stereograph. albumen print.
    Fig. 3-75.
  1. William Henry JACKSON. Mud Geyser in Action. Fig. 3-78.
  1. James Nasmyth & James Carpenter. Back of Hand, Wrinkled Apple, 1864. Fig. 3-89.
  1. G.B.DUCHENNE de Boulogne. Electrical contraction of the eyelids…terror. From Duchenne’s book analyzing electro-physiological facial expressions. 1876. Fig. 3-92.
  2. Thomas ANNAN. Close No. 37, High Street, Glasgow. 1868. Fig. 3-102.

Photography in the Modern Age (1880-1918)

  1. Peter Henry EMERSON. Poling the Marsh-Hay. 1886. Platinum print (platinotype). Fig. 4-5.
  2. Robert DEMACHY. Struggle. 1908. Gum print, photogravure. Pictorialist. Fig. 4-8.
  3. Heinrich KUHN. On the Hillside, 1910. gum bichromate print. Pictorialist & Linked Ring member. Fig. 4-9.
  4. Frank EUGENE. Adam and Eve. 1910. photogravure with etching needle marks. Pictorialist. Fig 4-10.
  5. Clarence WHITE. Morning. 1908. Photogravure print. Linked Ring member. Pictorialist. Fig. 4-16
  6. Frederick H. EVANS. Steps to Chapter House: A Sea of Steps, Wells Cathedral, 1903. platinum print. Linked Ring member. Fig. 4-19.
  7. Alfred STIEGLITZ. The Steerage. 1907. photogravure. (from Camera Work, Photo-Secessionist magazine). Photo-Secessionist. Fig. 4-21.
  8. Edward J. STEICHEN. Self-Portrait. 1902. Photo-Secessionist (and Linked Ring member).
  9. Alfred STIEGLITZ. Equivalent. 1930. gelatin silver print. Photo-Secessionist. Fig. 4-25.
  10. Gertrude KASEBIER. Blessed Art Thou Among Women. 1899. platinum print on Japanese tissue. Fig. 4-32.
  11. Edward S. CURTIS. Photograph and article “Vanishing Indian Types”. 1906. Fig. 4-36.
  12. Edgar DEGAS. Berthe Morisot’s Salon: Auguste Renoir and Stephane Mallarme. 1890. albumen print. Fig. 4-38.
  13. J. H. LARTIGUE. My Cousin Bichonnade. 1905. Fig. 4-39.
  14. Alvin Langdon COBURN. Wapping. 1909. Fig. 4-40.
  15. Alvin Langdon COBURN. Vortograph. 1917. Fig. 4-41.
  16. Paul STRAND. Abstractions, Porch Shadows, Connecticut. 1915. gelatin silver print. Fig. 4-43.
  17. Jacob RIIS. Bandits’ Roost, New York, 1888. gelatin silver print from original negative. Fig. 4-46
  18. Lewis W. HINE. Child in Carolina Cotton Mill, 1908. gelatin silver print on masonite. Fig. 4-49.
  19. Eadweard MUYBRIDGE. Untitled (Sequence photographs of the trot and gallop), Dec 1878. gravures. Fig. 4-52.
  20. Etienne-Jules MAREY. Joinville Soldier Walking, 1883.
    Fig. 4-53.
  21. Thomas EAKINS. The Pole Vaulter, 1884-85. multiple exposure gelatin silver print. Fig. 4-56.
  22. Anton Guilio BRAGAGLIA. The Futurist Painter Giacomo Balla, 1912. Photo-dynamism (connected to Futurism).
    Fig. 4-57.
  23. Photographer Unknown. Untitled (Soldiers in World War I trenches). 1914-1918. Fig. 4-74.
  24. William RIDER-RIDER. Untitled (Devastation on the battlefield of Passchendaele taken with a panoramic camera). 1917. Fig. 4-75.
  25. Franz BOAS and George HUNT. Untitled. (Anthropologist Boas and photographer George Hunt hold up a backdrop for a photograph of a Kwakiutl woman in the process of cedar-bark weaving). n.d. Fig. 4-77.
    A New Vision (1918-1945)
  26. Zeppelin Blast Kills Thirty-Five, from Los Angeles Times, Friday, May 7, 1937. newsprint. Fig. 5-4.
  27. El Lissitzky. The Constructor. 1924. Photomontage.

Fig. 3-5.

  1. Alexander RODCHENKO. Untitled (Walking Figure). 1928. gelatin silver print. Fig. 5-8.
  2. Hannah HOCH. Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany. 1919. photomontage. Fig. 5-10.
  3. Raoul HAUSMANN. Tatlin at Home, 1920. Collage. Fig. 5-13.
  4. Charles SHEELER. Industry. 1932. gelatin silver print, triptych. Fig. 5-20.
  5. MAN RAY. Untitled, from Minotaure, 1936. Surrealist. 5-23.
  1. BRASSAI (Gyula Halasz). Bijou of Montmartre, from Paris de Nuit (Paris by Night). 1933. 5-28. Surrealist.
  1. Andre KERTESZ. Distortion #102. 1933. Surrrealist. 5-29.
  1. Andre KERTESZ. Meudon. 1928. 5-30.
  1. Henri CARTIER-BRESSON. Behind the Gare St. Lazare. 1932. 5-31. (“the decisive moment”)
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