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Eugène Cuvelier
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Eugene Cuvelier: Legend of the Forest
"Eugene Cuvelier already belonged to the second generation of painter-photographers who sought their motifs in nature and whose photographs were sold as albums, "Etudes d'apres nature", and circulated widely as study material and pictorial models for artists. In 1859, in the presence of his artist friends Jean-Francois Millet, Theodore Rousseau and Camille Corot, Eugene Cuvelier married Louise Ganne, the daughter of the owner of the well-known Auberge in Barbizon, and there he settled. Thus he could study the landscape in its diverse forms of appearance, changing during the day and from one season to another. He was not only interested in the classic sights, however, but undertook a kind of ...
Encyclopedia of Nineteenth-Century Photography
The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
The Book Buyer
A review and record of current literature.
The Thrill of the Chase
Samuel J. Wagstaff Jr. (1921–1987) amassed an extraordinary collection of 26,000 photographs between 1973 and 1984, recognizing that photography was an undervalued art form on which he might have a profound impact as a collector. He was mainly attracted to photographs that stimulated his imagination, and his taste ran toward the idiosyncratic—images that surprised him chiefly because he had never seen them before. In choosing the 147 works reproduced in this volume, Paul Martineau selected masterpieces as well as images from obscure sources: daguerreotypes, cartes-de-visite, and stereographs, plus mug shots, medical photographs, and works by unknown makers. The latter category contains s...
