Relevant bibliographies by topics / Daguerre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Daguerre'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 March 2023

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Journal articles on the topic "Daguerre"

1

Glogower, Abigail. "Speculating Daguerre: art and enterprise in the work of L.J.M. Daguerre." Early Popular Visual Culture 11, no. 1 (2013): 89–91. http://dx.doi.org/10.1080/17460654.2012.757908.

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Batchen, Geoffrey. "Speculating Daguerre: Art and Enterprise in the Work of L. J. M. Daguerre." History of Photography 37, no. 4 (2013): 459–62. http://dx.doi.org/10.1080/03087298.2013.808053.

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Collins, Kathleen. "Daguerre monument, 1890 Washington, DC." History of Photography 9, no. 4 (1985): 263–65. http://dx.doi.org/10.1080/03087298.1985.10443020.

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Keith I., Adamson P. "1839 — The year of Daguerre." History of Photography 13, no. 3 (1989): 191–202. http://dx.doi.org/10.1080/03087298.1989.10441188.

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Palenque, Marta. "El Álbum de las señoritas Daguerre. Mujeres (o)cultas entre la retórica del “Ángel del hogar” y la trama del poder político." SIGLO DIECINUEVE (Literatura hispánica), no. 25 (July 24, 2019): 91–118. http://dx.doi.org/10.37677/sigloxix.v0i25.5.

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Los álbumes decimonónicos son muestrarios de la poesía de salón o de circunstancias. Llegaron a ejercer una gran presión sobre los autores, que recibían numerosas solicitudes para escribir en ellos. Pero también fueron un medio para educar a las mujeres, a través de halagos y consignas sentimentales. Por otro lado, reflejan alianzas sociales y de poder político. En este artículo se da a conocer un álbum sevillano, que perteneció a la familia Gestoso-Daguerre, el Álbum de las señoritas Daguerre.
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Davidson, Michael W. "Pioneers in Optics: Louis Daguerre and George Eastman." Microscopy Today 18, no. 2 (2010): 48–49. http://dx.doi.org/10.1017/s1551929510000118.

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Born near Paris, France on November 18, 1787, Louis-Jacques-Mandé Daguerre was to become both a painter and the inventor of the first successful form of photography. Originally trained as an architect, Daguerre later became a pupil of E. M. Degotti at the Paris Opera and a thriving scene painter. In 1822, working with Charles Boulton, Daguerre helped develop the Diorama, a Paris illusionistic exhibition that contained paintings on large translucent screens, which seemed to come to life with skillful light manipulation.From humble beginnings, George Eastman revolutionized the field of photograp
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Leśniak, Kamila Katarzyna. "Technika, sztuka, „filozoficzny sen”? Początki fotografii a pytanie o naturę i historię medium." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (2018): 21. http://dx.doi.org/10.17951/l.2017.15.2.21.

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<p>Za datę wynalezienia fotografii przyjmuje się rok 1839, w którym François Arago ogłosił proces dagerotypii Louisa Daguerre’a. Jednakże początki fotografii są zagadnieniem złożonym. W najbardziej rozpowszechnionym ujęciu określa je historia technologicznej rywalizacji o prymat pierwszeństwa, w której prócz Daguerre’a ważne miejsce zajęli m.in. Nicéphor Niépce czy William Henry Fox Talbot.</p><p>Niniejszy artykuł dotyczy rozmaitych ujęć początków fotografii, pojmowanych jako alternatywne bądź uzupełniające się opowieści. Szczególna uwaga poświęcona została koncepcji „idei fo
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Clark, Catherine E. "Speculating Daguerre: Art and Enterprise in the Work of L. J. M. Daguerre by Stephen Pinson." Technology and Culture 54, no. 4 (2013): 977–78. http://dx.doi.org/10.1353/tech.2013.0125.

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Nickel, Douglas R. "Speculating Daguerre: Art and Enterprise in the Work of L. J. M. Daguerre: Stephen C. Pinson." Photography and Culture 6, no. 3 (2013): 365–68. http://dx.doi.org/10.2752/175145213x13638599213795.

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Agüero, Ana Clarisa. "Manfredo Tafuri, Fernando Aliata, Anahi Ballent, Alejandro Crispiani, Mercedes Daguerre, Adrián Gorelik, Jorge Francisco Liernur, Graciela Silvestri, Tafuri en Argentina." Prismas - Revista de historia intelectual 24, no. 1 (2020): 348–51. http://dx.doi.org/10.48160/18520499prismas24.1160.

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Manfredo Tafuri, Fernando Aliata, Anahi Ballent, Alejandro Crispiani, Mercedes Daguerre, Adrián Gorelik, Jorge Francisco Liernur, Graciela Silvestri, Tafuri en Argentina, Santiago de Chile, ARQ ediciones, 2019, 274 páginas
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Dissertations / Theses on the topic "Daguerre"

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Frade, Pedro 1960. "A fotografia antes da sua cultura-aventuras do olhar e desventuras da razão no século de Daguerre." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1989. http://dited.bn.pt:80/29910.

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Boetcher, Derek Nicholas. "The Art-Union and Photography, 1839-1854: The First Fifteen Years of Critical Engagement between Two Cultural Icons of Nineteenth-Century Britain." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84178/.

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This study analyzes how the Art-Union, a British journal interested only in the fine arts, approached photography between 1839 and 1854. It is informed by Karl Marx’s materialism-informed commodity fetishism, Gerry Beegan’s conception of knowingness, Benedict Anderson’s imagined community, and an art critical discourse that was defined by Roger de Piles and Joshua Reynolds. The individual chapters are each sites in which to examine these multiple theoretical approaches to the journal’s and photography’s association in separate, yet sometimes overlapping, periods. One particular focus of this s
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Hughes, Sabrina Lynn. "Empty Streets in the Capital of Modernity: Formation of Lieux de Mémoire in Parisian Street Photography From Daguerre to Atget." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1662.

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This study proposes the existence of lieux de mémoire in the photographs of Eugene Atget (1857-1927). My framework is based on historian Pierre Nora's definition: a lieu de mémoire is an object or idea which has become a symbolic stand-in for a community's memorial heritage. I suggest that Atget's photographs of the streets of old Paris, in concert with an empty-street aesthetic function as lieux de mémoire for their primary audience, antiquarians and professional archivists who specialized in old Paris. According to Nora's structure, identification of a lieu de mémoire requires first the esta
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Hauf, Jessica. "De l' "image-alchimie" et de l' "image consommatrice": Le sie'cle de la photographie a' travers le regard de Nadar, Baudelaire et Delacroix." Thesis, Universita' degli Studi di Catania, 2011. http://hdl.handle.net/10761/395.

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Cette étude se base sur lâ analyse dâ images et de textes à travers des Å uvres littéraires et des photographies dans les années 1850-1870 en France. Ces années ont été caractérisées par un rapport contradictoire à la photographie naissante ; à la fois mirage économique, produit artistique, produit uniquement industriel, un peu mythe et magie, cette invention ne laissa aucun indifférent. Plusieurs procès pour le droit à la propriété artistique des photographies ont été intentés et des figures célèbres, comme Baudelaire ou Ingres, ont pris des positions autant pour que
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Books on the topic "Daguerre"

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RUE DAGUERRE. Editions L'Harmattan, 2010.

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Louis Daguerre. Rourke Pub., 2006.

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Louis Daguerre. Rourke Pub., 2006.

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Speculating Daguerre: Art and enterprise in the work of L. J. M. Daguerre. London : The University of Chicago Press, 2011.

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Gábor, Szilágyi. Daguerre: A fényképezés felfedezésének története. Gondolat, 1987.

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Pimienta, Alexis Díaz. Yo también pude ser Jacques Daguerre. Diputación Provincial, Centro Cultural de la Generación del 27, 2001.

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Yo también pude ser Jacques Daguerre. Editorial Letras Cubanas, 2005.

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The mercury visions of Louis Daguerre: A novel. ATRIA Books, 2006.

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Potonniée, Georges. Histoire de la découverte de la photographie ; et Daguerre, peintre et décorateur. J.-M. Place, 1989.

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London, Lise. La mégère de la rue Daguerre: Souvenirs de Résistance : l'écheveau du temps. Seuil, 1995.

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Book chapters on the topic "Daguerre"

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Lipton, Lenny. "Daguerre’s Photography." In The Cinema in Flux. Springer US, 2021. http://dx.doi.org/10.1007/978-1-0716-0951-4_7.

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Howie, Elizabeth. "Proof of the Forgotten: A Benjaminian Reading of Daguerre’s Two Views of the Boulevard du Temple." In Walter Benjamin and the Aesthetics of Change. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277960_7.

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"Louis Jacques Mandé Daguerre." In Neues Licht. Wilhelm Fink Verlag, 2014. http://dx.doi.org/10.30965/9783846757369_004.

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Rooseboom, Hans. "What’s Wrong with Daguerre?" In Photography and its Origins. Routledge, 2014. http://dx.doi.org/10.4324/9781315740096-3.

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Haug, Steffen. "III.2. Daguerre ou les panoramas." In Une collecte d’images. Éditions de la Maison des sciences de l’homme, 2022. http://dx.doi.org/10.4000/books.editionsmsh.51650.

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Zawojski, Piotr. "Kiedy nadszedł Daguerre. Charles Baudelaire wobec fotografii." In Okno na przeszłość. Szkice z historii wizualnej t. 2. Wydawnictwo_Ksiegarnia_Akademicka, 2020. http://dx.doi.org/10.12797/9788381382816.02.

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"No room for doubt? Daguerre and his first critics." In Photography and Doubt. Routledge, 2016. http://dx.doi.org/10.4324/9781315690537-9.

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Cruz, Gabriela. "Gaslight and Phantasmagoria at the Opéra." In Grand Illusion. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915056.003.0003.

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Phantasmagoric, evanescent figurations began competing for attention on the operatic stage following the introduction of gas lighting to the Salle Le Peletier in 1822. Gaslight provided a new environment for the creation of optical illusions in the theater, introducing darkness as a dramaturgical means of facilitating dreamlike perceptivity. In this environment, opera was re-mediated in light of phantasmagoria, the eighteenth-century art of conjuring ghosts developed by Paul Philidor and Etienne Robertson, to become a medium for the production of illusions. Louis Daguerre deployed his new art of the diorama at the Opéra beginning in the 1820s.
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"11. Delacroix, Daumier, and Daguerre: A "3-D" View of Art." In The Parisian Worlds of Frédéric Chopin. Yale University Press, 1999. http://dx.doi.org/10.12987/9780300236460-011.

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Triarhou, Lazaros C., and Manuel del Cerro. "Colour Under the Microscope: Santiago Ramón y Cajal Does ‘Histology’ on Lippmann Heliochromes." In Gabriel Lippmann's Colour Photography. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728553_ch03.

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This paper highlights Gabriel Lippmann’s discovery of colour photography and the microscopic analyses performed upon the photographs by Santiago Ramón y Cajal (1852–1934), professor of anatomy and histology in Madrid, acknowledged “father of modern neuroscience”, and avid photographer, in a historic and a modern perspective. Cajal placed sections of Lippmann photographs under the microscope to study the structure of their materiality. He focused on the laminae of Zenker, which produced mixed colours, especially white. His technical studies culminated in a 1908 article in the Annual Report of the Board of Regents of the Smithsonian Institution and in his subsequent Spanish classic monograph, Photography in Colours, expounding upon the theoretical physicochemical principles and practical applications of the “art of Daguerre.” The authors thus explore Lippmann’s reception in Spain.
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Conference papers on the topic "Daguerre"

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Gil Bell Mutell, Rebecca. "Una suerte de visión. La concepción de la fotografía como una conclusión experimental entre el arte y la ciencia." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6757.

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Cuando hablamos de fotografía o de su precedente la heliografía nos situamos ante un imaginario que nacía vinculado al sol; una iconología lumínica que había sido construida a lo largo de siglos por sombras y proyecciones de luz que facilitaron el camino hacia la aparición del fenómeno fotográfico. Un imaginario perceptivo que nos ha llevado directamente a considerar un campo enormemente amplio de la visión que nos hace pensar en lo que Ralph Waldo Emerson dijo: “Con mucho, la mejor parte de cada mente no es aquella que él conoce, sino la que flota delante de él en los destellos, en las sugest
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