"From the first daguerreotypes of the late 1830s and, especially, after the subsequent discovery of photographic printing techniques on paper, the relationship between photography and painting was very close. The artificial eye of the camera, wielded by photographers such as Le Gray, Cuvelier, Nadar, and Disderi, to name a few, stimulated Manet, Degas, and the young Impressionists to develop a new way of seeing the world. Photography served Impressionism not only as an iconographic source but also as a technical inspiration, both in the scientific observation of light and in the representation of an asymmetrical and truncated space, as well as in the exploration of spontaneity and visual ambiguity. Likewise, influenced by the new Impressionist technique, some photographers began to focus on the materiality of their images and to seek ways to make their photographs less precise and more painterly."
The pivotal role photography has acquired in the contemporary art scene has revived interest in art history regarding the impact of its invention on the visual arts. The exhibition "The Impressionists and Photography ," and this accompanying catalogue, contribute to this historiographical approach, offering a critical reflection on the affinities and mutual influences between photography and painting, while also considering the fruitful debate among critics and artists that its emergence sparked in France during the second half of the 19th century.
Text by Paloma Alarcó, Head of Modern Painting Conservation, Thyssen-Bornemisza National Museum.
Dimensions: 200 x 275 mm (width x height)
288 pages
Language: English.
Hardcover binding.
ISBN: 9788417173340
This publication was produced in collaboration with the Community of Madrid, JTI, and Samsung The Frame.
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