Cultural Capital and Photographic Technologies at the Berlin Photographic Company in the USA

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2022-01-02 DOI:10.1080/03087298.2023.2175979
J. Codell
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引用次数: 0

Abstract

In this article I explore photogravure catalogues of the Berlin Photographic Company (BPC), a print publisher founded in 1862 specialising in reproductions of works of art, and in particular those published by its New York office from 1892 to 1916. In promoting its reproductions, the BPC connected social, aesthetic and technical knowledge, emphasising the quality of photogravure technologies while listing hundreds of images from diverse styles, historical periods, genres and subjects to appeal to a wide audience. The Company was sensitive to its customers’ cultural aspirations and recognised that the US market was different from that in Europe because of its less rigid class structure and a public motivated by ambitions for cultural knowledge and social mobility. With its wide range of reproductions from Old Masters, nineteenth-century popular and Academic artists, and later early twentieth-century modernists, the BPC appealed to these ambitions by providing photogravure prints – the company specialty – in different sizes, mounts and costs to a public of diverse tastes and economic means. The BPC’s innovations included its global locations in Berlin, Paris, London and New York and its creation of neologisms combining format and process tying the materiality of photogravures to a range of sizes and prices.
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美国柏林摄影公司的文化资本和摄影技术
在这篇文章中,我探讨了柏林摄影公司(BPC)的摄影作品目录,这是一家成立于1862年的印刷出版商,专门从事艺术品的复制,尤其是1892年至1916年由其纽约办事处出版的作品。在推广其复制品时,BPC将社会、美学和技术知识联系起来,强调照相凹版技术的质量,同时列出了数百幅来自不同风格、历史时期、流派和主题的图像,以吸引广大观众。该公司对客户的文化诉求很敏感,并认识到美国市场与欧洲市场不同,因为美国市场的阶级结构不那么僵化,公众对文化知识和社会流动性的追求也很强烈。BPC拥有来自老大师、19世纪流行艺术家和学术艺术家,以及后来的20世纪初现代主义者的广泛复制品,通过向品味和经济手段不同的公众提供不同尺寸、不同装帧和不同成本的照相凹版印刷品(该公司的专长)来吸引这些野心。BPC的创新包括其在柏林、巴黎、伦敦和纽约的全球办事处,以及结合格式和过程创造新词,将照相凹版的物质性与各种尺寸和价格联系起来。
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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