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PR1158060
New Art: Photography and Impressionism
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New Art: Photography and Impressionism
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. The exhibition and catalogue examine these interactions and illuminate the development of the new medium from the 1850s to its establishment as an autonomous art form around 1900. AUTHORS: Ortrud Westheider is director of the Museum Barberini in Potsdam, Germany. Michael Philipp is chief curator of the Museum Barberini in Potsdam, Germany. Daniel Zamani is curator at the Museum Barberini in Potsdam, Germany. 180 colour illustrations
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. The exhibition and catalogue examine these interactions and illuminate the development of the new medium from the 1850s to its establishment as an autonomous art form around 1900. AUTHORS: Ortrud Westheider is director of the Museum Barberini in Potsdam, Germany. Michael Philipp is chief curator of the Museum Barberini in Potsdam, Germany. Daniel Zamani is curator at the Museum Barberini in Potsdam, Germany. 180 colour illustrations
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