DE LA SIZERANNE Robert.
Is photography an art?
Manucius
Regular price
€23,00
| N° d'inventaire | 30135 |
| Format | 15 x 19.5 |
| Détails | 130 p., numerous black and white photographs, paperback. |
| Publication | Paris, 2023 |
| Etat | Nine |
| ISBN | 9782845788053 |
"And if it happens that this image is beautiful, by what name shall we call it? Shall we say that it is not a work of art, because the vocabulary calls it a photograph instead of qualifying it as charcoal, lithograph or red chalk, and because instead of holding a small piece of charred wood between his fingers, the artist has in some way handled a ray of sunlight?" A famous art critic, Robert de la Sizeranne (1866-1932) published his articles as early as 1893 in La Revue des deux mondes.
As an art historian, he was particularly interested in 19th-century English painting, of which he became a recognized specialist. He also introduced Ruskin to the French public by supervising the translation of his writings. Robert de la Sizeranne's texts on photography contributed to the development of an interrogation of its quality as a work of art. Until 1880, photography enjoyed an indeterminate function.
How can we assess its qualities and its defects? If painting should not copy photographic realism, can photography, on the other hand, "artistize itself"? This is the question that the pictorialist movement will develop, which aims to establish the artistic legitimacy of photography by bringing it closer to charcoal, lithography or red chalk... Pictorialism only had a relatively brief existence (1890-1914), but it reflected the lively questioning that revolved around the status of photography.
Sizeranne was able to point out that his destiny was not entirely captive to his device. Each shot, by its very nature singular, had its own resources and testified to the decisive place of the artist's gesture in his production.
As an art historian, he was particularly interested in 19th-century English painting, of which he became a recognized specialist. He also introduced Ruskin to the French public by supervising the translation of his writings. Robert de la Sizeranne's texts on photography contributed to the development of an interrogation of its quality as a work of art. Until 1880, photography enjoyed an indeterminate function.
How can we assess its qualities and its defects? If painting should not copy photographic realism, can photography, on the other hand, "artistize itself"? This is the question that the pictorialist movement will develop, which aims to establish the artistic legitimacy of photography by bringing it closer to charcoal, lithography or red chalk... Pictorialism only had a relatively brief existence (1890-1914), but it reflected the lively questioning that revolved around the status of photography.
Sizeranne was able to point out that his destiny was not entirely captive to his device. Each shot, by its very nature singular, had its own resources and testified to the decisive place of the artist's gesture in his production.
As an art historian, he was particularly interested in 19th-century English painting, of which he became a recognized specialist. He also introduced Ruskin to the French public by supervising the translation of his writings. Robert de la Sizeranne's texts on photography contributed to the development of an interrogation of its quality as a work of art. Until 1880, photography enjoyed an indeterminate function.
How can we assess its qualities and its defects? If painting should not copy photographic realism, can photography, on the other hand, "artistize itself"? This is the question that the pictorialist movement will develop, which aims to establish the artistic legitimacy of photography by bringing it closer to charcoal, lithography or red chalk... Pictorialism only had a relatively brief existence (1890-1914), but it reflected the lively questioning that revolved around the status of photography.
Sizeranne was able to point out that his destiny was not entirely captive to his device. Each shot, by its very nature singular, had its own resources and testified to the decisive place of the artist's gesture in his production.