Photographic Theory - An Historical Anthology

Informationen zum Autor Andrew E. Hershberger is Associate Professor of Contemporary Art History and Chair of Art History at Bowling Green State University, Ohio. He has published numerous journal articles in History of Photography, Art Journal, Early Popular Visual Culture, Analecta Husserliana, Journal on Excellence in College Teaching, Academe, and Arts of Asia . Klappentext Winner of a 2015 Insight Award from the Society for Photographic Education!Photographic Theory: An Historical Anthology presents a compendium of readings spanning ancient times to the digital age that are related to the history, nature, and current status of debates in photographic theory.* Offers an authoritative and academically up-to-date compendium of the history of photographic theory* Represents the only collection to include ancient, Renaissance, and 19th-, 20th-, and 21st-century writings related to the subject* Stresses the drama of historical and contemporary debates within theoretical circles* Features comprehensive coverage of recent trends in digital photography* Fills a much-needed gap in the existing literature Zusammenfassung This anthology offers contemporary readers a comprehensive resource of pertinent articles and information spanning the history of photographic theory. Inhaltsverzeichnis Introduction 1 1 Before Photography to Invention: c. 380  B . C . E . -1839 9 Camera/Vision  11 1.1 Excerpts from the Allegory of the Cave. In  The Republic  12 Plato, c. 380  B . C . E . 1.2 The Function of the Eye, As Explained by the Camera Obscura 17 Leonardo da Vinci, c. 1520 1.3 Description of the Camera Lucida 19 William H. Wollaston, 1807 Art/History  23 1.4 Excerpts on Linear Perspective. In  On Painting  24 Leon Battista Alberti, 1540 1.5 Account of the late Mr. [Robert] Barker 29 Anonymous, 1806 1.6 Description of the Process of Painting and Effects of Light Invented by Daguerre, and Applied by Him to the Pictures of the Diorama 31 Louis-Jacques-Mandé Daguerre, 1839 2 Invention to Pictorialism: 1839-c. 1880 35 What is Photography?  37 2.1 Some Account of the Art of Photogenic Drawing 38 William Henry Fox Talbot, 1839 [March] 2.2 The Pencil of Nature. A New Discovery 44 Nathaniel Parker Willis and Timothy O. Porter, eds., 1839 [April] 2.3 Report [on the Daguerreotype to the Chamber of Deputies] 48 François Arago, 1839 [July] Art/History  55 2.4 Upon Photography in an Artistic View, and in Its Relations to the Arts 56 Sir William J. Newton, 1853 2.5 La Photographie 59 Antoine Joseph Wiertz, 1855 2.6 Photography 61 Eastlake, Lady (Elizabeth) 1857 Camera/Vision  67 2.7 The Stereoscope and the Stereograph 68 Oliver Wendell Holmes, 1859 2.8 Combination Printing. In  Pictorial Effect in Photography  72 Henry Peach Robinson, 1869 2.9 Annals of My Glass House 76 Julia Margaret Cameron, 1874 3 Pictorialism to/and/vs. Modernism: c. 1880-c. 1920 81 Camera/Vision  83 3.1 Focussing. In  Naturalistic Photography for Students of the Art  84 Peter Henry Emerson, 1890 3.2 The Death of Naturalistic Photography 88 Peter Henry Emerson, 1890 3.3 The Hand Camera - Its Present Importance 91 Alfred Stieglitz, 1896 Interdisciplinary Approaches  95 3.4 Photo-Chemical Investigations and a New Method of Determination of the Sensitiveness of Pho...

List of contents

Introduction
 
I. Before Photography to Invention: c. 380 B.C.E.-1839
 
Camera/Vision
 
1.1 Excerpts from the Allegory of the Cave. In The Republic
Plato, c. 380 B.C.E.
 
1.2 The Function of the Eye, As Explained by the Camera Obscura
Leonardo Da Vinci, c. 1520
 
1.3 Description of the Camera Lucida
William H. Wollaston, 1807
 
Art/History
 
1.4 Excerpts on Linear Perspective. In On Painting.
Leon Battista Alberti, 1540
 
1.5 Account of the late Mr. [Robert] Barker
Anonymous, 1806
 
1.6 Description of the Process of Painting and Effects of Light Invented by Daguerre, and Applied by Him to the Pictures of the Diorama
Louis-Jacques-Mandé Daguerre, 1839
 
II. Invention to Pictorialism: 1839-c. 1880
 
What is Photography?
 
2.1 Some Account of the Art of Photogenic Drawing
William Henry Fox Talbot, 1839 [March]
 
2.2 The Pencil of Nature. A New Discovery
Nathaniel Parker Willis and Timothy O. Porter eds., 1839 [April]
 
2.3 Report [on the Daguerreotype to the Chamber of Deputies]
François Arago, 1839 [July]
 
Art/History
 
2.4 Upon Photography in an Artistic View, and in Its Relations to the Arts
Sir William J. Newton, 1853
 
2.5 La Photographie
Antoine Joseph Wiertz, 1855
 
2.6 Photography
Eastlake, Lady (Elizabeth) 1857
 
Camera/Vision
 
2.7 The Stereoscope and the Stereograph
Oliver Wendell Holmes, 1859
 
2.8 Combination Printing. In Pictorial Effect in Photography
Henry Peach Robinson, 1869
 
2.9 Annals of My Glass House
Julia Margaret Cameron, 1874
 
III. Pictorialism to/and/vs. Modernism: c. 1880-c. 1920
 
Camera/Vision
 
3.1 Focussing. In Naturalistic Photography for Students of the Art
Peter Henry Emerson, 1890
 
3.2 The Death of Naturalistic Photography
Peter Henry Emerson, 1890
 
3.3 The Hand Camera--Its Present Importance
Alfred Stieglitz, 1896
 
Interdisciplinary Approaches
 
3.4 Photo-Chemical Investigations and a New Method of Determination of the Sensitiveness of Photographic Plates
Ferdinand Hurter and Vero C. Driffield, 1890
 
3.5 Logic as Semiotic: The Theory of Signs
Charles Sanders Peirce, c. 1900
 
3.6 Intuition and Art. In Æsthetic: As Science of Expression and General Linguistic
Benedetto Croce, 1902
 
3.7 The Cinematographical Mechanism of Thought and the Mechanistic Illusion...In Creative Evolution
Henri Bergson, 1907
 
What Should Photographs Look Like?
 
3.8 On the Straight Print
Robert Demachy, 1907
 
3.9 What is a "Straight Print"?
Frederick H. Evans, 1907
 
3.10 Photography and Artistic-Photography
Marius De Zayas, 1913
 
IV. Modernism to Postmodernism: c. 1920-c. 1960
 
Camera/Vision
 
4.1 Photography and the New God
Paul Strand, 1922
 
4.2 Light: A Medium of Plastic Expression
László Moholy-Nagy, 1923
 
4.3 Seeing Photographically
Edward Weston, 1943
 
4.4 The Camera's Glass Eye
Clement Greenberg, 1946
 
What Should Photographs Look Like?
 
4.5 Aims
Albert Renger-Patzsch, 1927
 
4.6 A Personal Credo
Ansel Adams, 1943
 
4.7 Our Illustrations
Frank R. Fraprie, 1943
 
4.8 Photography at the Crossroads
Berenice Abbott, 1951
 
Art /History
 
4.9 Excerpts from Perspective as Symbolic Form
Erwin Panofsky, 1927
 
4.10 The Age of the World Picture
Martin Heidegger, 1938/52
 
4.11 Excerpts from Museum Without Walls
André Malraux, 1947
 
Interdisciplinary Approaches
 
4.12 Photography and Typography
Jan Tschichold, 1928
 

Report

"Overdue, and thus all the more welcome, is Andrew E. Hershberger s Photographic Theory: An Historical Anthology , a gathering more akin to a boisterous mixer than to a staid reunion." ( Taylor & Francis Online , 1 June 2015)

"This chronologically (and, to a lesser extent, thematically) organized selection of key contributions to photographic theory display both the highly exciting diversity of theoretical questions raised by the emergence, development, triumph, and eventual metamorphosis of photography and the amazing possibility to organize the sometimes savage heterogenity of this material along unobtrusive and simple art-historical lines." - Leonardo Online (1 February 2014)

Product details

• Authors: Ae Hershberger, Andrew E Hershberger, Andrew E. Hershberger, Andrew E. (Bowling Green State Univer Hershberger, HERSHBERGER ANDREW E, Hershberger Andrew E.
• Assisted by: Andrew E. Hershberger (Editor)
• Publisher: Wiley, John and Sons Ltd
• Languages: English
• Product format: Hardback
• Released: 12.07.2013
• EAN: 9781405198462
• ISBN: 978-1-4051-9846-2
• No. of pages: 448
• Subjects: Humanities, art, music > Art > Photography, film, video, TV; Fotografie, Art & Applied Arts, Kunst u. Angewandte Kunst, Kunstgeschichte u. -theorie, Geschichte u. Theorie der Fotografie, Art History & Theory, Photography History & Theory