Light, clouds, water. A gnarled oak, sunbursts on boulders in the light forest. In the mid-19th century, photography was a condescendingly ridiculed craft that tried to keep up with painting, that wanted to use machines to depict the world. And an art that performed the miracle of seeing the world in black and white gray.
A life like from a novel that serves all the usual romantic artist clichés. Frenchman, artist, bon vivant, inventor, tinkerer ... Gustave Le Gray (1820-1884) fits there, in his time and in France, where he was born and learned painting, in Rome and Italy, where the young man, as in the classical Bildungsroman and like Byron or Stendhal, approached the "great art", fell in love with the Italian Palmira Maddalena Gertrude Leonardi (whom one imagines involuntarily like Sophia Loren; in fact, she looks rather shyly cute in the photograph preserved of her), married her and fathered six children with her. He fits in Paris in the middle of the 19th century, where he turns to the brand-new photography, develops technical procedures as one of its pioneers, is a successful court photographer of the French king, of European nobility and bourgeoisie, opens a "photo studio", goes bankrupt with it - the cliché of an artist - and - the life cliché does not stop! - leaves his wife and children, flees from creditors to the south, travels around the Mediterranean with Alexandre Dumas and works as a war photographer for the French in Syria. His wife struggles to earn 50 francs a month in alimony. How does one imagine the last twenty years, his time in Cairo? A - in Le Gray's imaginary world - modest existence as an art teacher and photographer, past the "great" time as a celebrated photo artist, a few commissions from the Egyptian Viceroy, a liaison with nineteen-year-old Anaïs Candounia, the son of the two is born a year before Le Gray's death.
He became internationally famous for his photographs of the sea: Surf, waves, piers, sailing ships under and in front of a sky streaked with clouds and broken by sunlight, sun glow on the sea - photographs that could not really have existed at the time. Le Gray photographed with collodion wet plates, a precursor to analog celluloid film. The wet glass plate, coated with a collodion compound and dipped in a silver nitrate solution, was placed in a cassette in the camera. Color fidelity and light sensitivity were very limited. Anyone photographing a ship at sea in the mid-19th century would usually find the sky overexposed, blurred, and almost white. For his marine images, Le Gray invented photo montage, in which he developed several combined negatives into one photograph. Sea and sky photos were often not even taken in the same place or at the same time. By 1868, these images were so famous that they were included in the collection of the Victoria and Albert Museum. Although today only insiders know Gustave Le Gray's name, his photographs - including the gnarled beauties of Fontainebleau, the forest that is both jungle and park - fetch top prices of up to 700,000 euros.
Light, clouds, water. A gnarled oak, sunbursts on boulders in the light forest. In the mid-19th century, photography was a condescendingly ridiculed craft that tried to keep up with painting, that wanted to use machines to depict the world. And an art that performed the miracle of seeing the world in black and white gray.
A life like from a novel that serves all the usual romantic artist clichés. Frenchman, artist, bon vivant, inventor, tinkerer ... Gustave Le Gray (1820-1884) fits there, in his time and in France, where he was born and learned painting, in Rome and Italy, where the young man, as in the classical Bildungsroman and like Byron or Stendhal, approached the "great art", fell in love with the Italian Palmira Maddalena Gertrude Leonardi (whom one imagines involuntarily like Sophia Loren; in fact, she looks rather shyly cute in the photograph preserved of her), married her and fathered six children with her. He fits in Paris in the middle of the 19th century, where he turns to the brand-new photography, develops technical procedures as one of its pioneers, is a successful court photographer of the French king, of European nobility and bourgeoisie, opens a "photo studio", goes bankrupt with it - the cliché of an artist - and - the life cliché does not stop! - leaves his wife and children, flees from creditors to the south, travels around the Mediterranean with Alexandre Dumas and works as a war photographer for the French in Syria. His wife struggles to earn 50 francs a month in alimony. How does one imagine the last twenty years, his time in Cairo? A - in Le Gray's imaginary world - modest existence as an art teacher and photographer, past the "great" time as a celebrated photo artist, a few commissions from the Egyptian Viceroy, a liaison with nineteen-year-old Anaïs Candounia, the son of the two is born a year before Le Gray's death.
He became internationally famous for his photographs of the sea: Surf, waves, piers, sailing ships under and in front of a sky streaked with clouds and broken by sunlight, sun glow on the sea - photographs that could not really have existed at the time. Le Gray photographed with collodion wet plates, a precursor to analog celluloid film. The wet glass plate, coated with a collodion compound and dipped in a silver nitrate solution, was placed in a cassette in the camera. Color fidelity and light sensitivity were very limited. Anyone photographing a ship at sea in the mid-19th century would usually find the sky overexposed, blurred, and almost white. For his marine images, Le Gray invented photo montage, in which he developed several combined negatives into one photograph. Sea and sky photos were often not even taken in the same place or at the same time. By 1868, these images were so famous that they were included in the collection of the Victoria and Albert Museum. Although today only insiders know Gustave Le Gray's name, his photographs - including the gnarled beauties of Fontainebleau, the forest that is both jungle and park - fetch top prices of up to 700,000 euros.
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