{"title":"摄影和1851年伟大的展览","authors":"Ella Ravilious","doi":"10.1080/03087298.2021.2079233","DOIUrl":null,"url":null,"abstract":"Photography and the 1851 Great Exhibition aims to provide the first comprehensive study of the role of photography at the Exhibition of the Work of Industry of All Nations held at Hyde Park in 1851 and the impact this event had on the burgeoning medium. Given the frequency with which photographic research collides with the ‘Great Exhibition’ – as it became known – or its many key players, both famous and obscure, this book certainly is a worthwhile endeavour. It gathers together twenty years of research by the author, whose previous book, ‘A Higher Branch of the Art’: Photographing the Fine Arts in England 1839–1880, has proved to be a foundational text for researching photography in museums. In this new volume Hamber succeeds in providing the researcher with a thorough guide to the photographs and photographic equipment exhibited at the exhibition, providing insight into how they were selected and by whom. The seminal photographically illustrated Exhibition of the Work of Industry of All Nations, 1851: Reports by the Juries – specially commissioned volumes which comprise the official photographic record of the exhibition and document prize-winning or notable exhibits – are systematically illustrated, analysed and explained for the first time. New research also details where each extant copy is now. This section on such reports is perhaps destined to be one of the most widely used parts of the publication, as it identifies and discusses the exhibited objects portrayed in each image – ranging from sculpture to paintings, machinery and products – as well as the photographers involved and the methods they used, thereby bringing together different disciplines and supporting wider scholarship beyond the photographic. Anyone studying material histories of photography, histories of display and exhibition, and histories of industry will therefore also find much to interest them in this work. This volume adds to the significant body of research on the exhibition of photographs in nineteenth-century Britain, such as the online databases Photographs Exhibited in Britain 1839–1865 and Exhibitions of the Royal Photographic Society 1870–1915. However, what this book brings is narrative, analysis and illustrations to the available data. The interest Hamber demonstrates in photographic equipment shown at the exhibition supports a deeper understanding of the business of photography. His knowledge of the practicalities and technicalities in turn furnishes a more grounded and accurate analysis of the photographic negatives and prints. In bringing this technical understanding to bear on the photographs in the Reports by the Juries, Hamber helps us determine which aesthetic effects were deliberately chosen and which were by-products of the many practical or technical compromising circumstances with which the photographers had to contend. Chapters setting the scene in the photographic milieu of the time and introducing the key players are meticulously researched and offer extensive detail. Photographers are described alongside firms making cameras, opticians making lenses and chemists selling chemicals for the photographic industry, which allows the reader to explore closely connected threads between the practitioners and the trade. Although there was a section of the Great Exhibition dedicated to photography, photographs and photographic equipment were spread among many different ‘classes’ within the building. The work Hamber has done to consolidate everything photographic together for this volume has been considerable and makes this book a definitive reference resource. The chapter that discusses illustrations and reproductions of the Exhibition helpfully guides the reader through the myriad different techniques at play in visually representing and disseminating the event. This chapter reminds us how deeply entangled photography was with engraving and chromolithography during this period. It consequently contributes to the study of printmaking history as well as providing valuable context for the place of photography in 1851. This book is at its best when discussing the Reports by the Juries, the four-volume, photographically illustrated catalogues of the exhibits compiled for a select group of VIPs and dignitaries. This has clearly been a labour of love for the author to research, and it is easy for us to share in his excitement as he discovers new information by comparing across","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"196 - 197"},"PeriodicalIF":0.3000,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Photography and the 1851 Great Exhibition\",\"authors\":\"Ella Ravilious\",\"doi\":\"10.1080/03087298.2021.2079233\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Photography and the 1851 Great Exhibition aims to provide the first comprehensive study of the role of photography at the Exhibition of the Work of Industry of All Nations held at Hyde Park in 1851 and the impact this event had on the burgeoning medium. Given the frequency with which photographic research collides with the ‘Great Exhibition’ – as it became known – or its many key players, both famous and obscure, this book certainly is a worthwhile endeavour. It gathers together twenty years of research by the author, whose previous book, ‘A Higher Branch of the Art’: Photographing the Fine Arts in England 1839–1880, has proved to be a foundational text for researching photography in museums. In this new volume Hamber succeeds in providing the researcher with a thorough guide to the photographs and photographic equipment exhibited at the exhibition, providing insight into how they were selected and by whom. The seminal photographically illustrated Exhibition of the Work of Industry of All Nations, 1851: Reports by the Juries – specially commissioned volumes which comprise the official photographic record of the exhibition and document prize-winning or notable exhibits – are systematically illustrated, analysed and explained for the first time. New research also details where each extant copy is now. This section on such reports is perhaps destined to be one of the most widely used parts of the publication, as it identifies and discusses the exhibited objects portrayed in each image – ranging from sculpture to paintings, machinery and products – as well as the photographers involved and the methods they used, thereby bringing together different disciplines and supporting wider scholarship beyond the photographic. Anyone studying material histories of photography, histories of display and exhibition, and histories of industry will therefore also find much to interest them in this work. This volume adds to the significant body of research on the exhibition of photographs in nineteenth-century Britain, such as the online databases Photographs Exhibited in Britain 1839–1865 and Exhibitions of the Royal Photographic Society 1870–1915. However, what this book brings is narrative, analysis and illustrations to the available data. The interest Hamber demonstrates in photographic equipment shown at the exhibition supports a deeper understanding of the business of photography. His knowledge of the practicalities and technicalities in turn furnishes a more grounded and accurate analysis of the photographic negatives and prints. In bringing this technical understanding to bear on the photographs in the Reports by the Juries, Hamber helps us determine which aesthetic effects were deliberately chosen and which were by-products of the many practical or technical compromising circumstances with which the photographers had to contend. Chapters setting the scene in the photographic milieu of the time and introducing the key players are meticulously researched and offer extensive detail. Photographers are described alongside firms making cameras, opticians making lenses and chemists selling chemicals for the photographic industry, which allows the reader to explore closely connected threads between the practitioners and the trade. Although there was a section of the Great Exhibition dedicated to photography, photographs and photographic equipment were spread among many different ‘classes’ within the building. The work Hamber has done to consolidate everything photographic together for this volume has been considerable and makes this book a definitive reference resource. The chapter that discusses illustrations and reproductions of the Exhibition helpfully guides the reader through the myriad different techniques at play in visually representing and disseminating the event. This chapter reminds us how deeply entangled photography was with engraving and chromolithography during this period. It consequently contributes to the study of printmaking history as well as providing valuable context for the place of photography in 1851. This book is at its best when discussing the Reports by the Juries, the four-volume, photographically illustrated catalogues of the exhibits compiled for a select group of VIPs and dignitaries. This has clearly been a labour of love for the author to research, and it is easy for us to share in his excitement as he discovers new information by comparing across\",\"PeriodicalId\":13024,\"journal\":{\"name\":\"History of Photography\",\"volume\":\"45 1\",\"pages\":\"196 - 197\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2021-04-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"History of Photography\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/03087298.2021.2079233\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"History of Photography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/03087298.2021.2079233","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
摘要
摄影和1851年大展览旨在提供摄影在1851年在海德公园举行的所有国家工业工作展览中的作用的第一个全面研究,以及这一事件对新兴媒介的影响。鉴于摄影研究经常与“伟大的展览”发生冲突——正如它被称为的那样——或者它的许多关键人物,无论是著名的还是不知名的,这本书当然是值得一试的。它汇集了作者20年的研究,他的上一本书“艺术的高级分支”:1839-1880年英国的美术摄影,已被证明是研究博物馆摄影的基础文本。在这本新书中,汉伯成功地为研究人员提供了在展览中展出的照片和摄影设备的全面指南,提供了他们是如何被选择的以及由谁选择的见解。开创性的摄影插图展览的所有国家的工业工作,1851年:陪审团的报告-特别委托的卷,其中包括展览的官方摄影记录和文件获奖或著名的展品-被系统地说明,分析和解释了第一次。新的研究还详细说明了每个现存的副本现在的位置。关于这些报告的这一部分可能注定是出版物中最广泛使用的部分之一,因为它确定并讨论了每张图像中描绘的展出对象-从雕塑到绘画,机械和产品-以及涉及的摄影师和他们使用的方法,从而汇集了不同的学科,并支持摄影以外的更广泛的学术研究。因此,任何研究摄影材料史、展示和展览史以及工业史的人都会对这部作品感兴趣。本卷增加了对19世纪英国照片展览的重要研究,如在线数据库1839-1865年英国展出的照片和1870-1915年皇家摄影学会的展览。然而,这本书带来的是对现有数据的叙述、分析和插图。Hamber在展览中展示的对摄影设备的兴趣支持了对摄影业务的更深层次的理解。他对实用性和技术性的知识反过来又为摄影底片和印刷品提供了更有根据和准确的分析。在把这种技术上的理解运用到评审团报告中的照片上时,汉伯帮助我们确定哪些审美效果是故意选择的,哪些是摄影师不得不面对的许多实际或技术妥协情况的副产品。章节设置场景在当时的摄影环境和介绍关键球员是精心研究和提供广泛的细节。摄影师被描述为制造相机的公司,制造镜头的光学商和为摄影行业销售化学品的化学家,这使读者能够探索从业者和行业之间紧密相连的线索。虽然大展览有一个专门用于摄影的部分,但照片和摄影设备分布在建筑内的许多不同“类别”中。Hamber所做的工作是将所有照片整合在一起,使这本书成为一个明确的参考资源。这一章讨论了展览的插图和复制品,有助于引导读者了解在视觉上表现和传播事件的无数不同的技术。这一章提醒我们,在这一时期,摄影与雕版和色版技术是如何纠缠在一起的。因此,它有助于研究版画历史,并为1851年摄影的地方提供了有价值的背景。这本书在讨论《评委会报告》(Reports by the jury)时表现得最为出色。《评委会报告》是一本四卷本的展览目录,配有图片说明,是为一群精选的贵宾和政要编写的。对于作者来说,这显然是一项热爱的研究工作,当他通过比较发现新的信息时,我们很容易分享他的兴奋
Photography and the 1851 Great Exhibition aims to provide the first comprehensive study of the role of photography at the Exhibition of the Work of Industry of All Nations held at Hyde Park in 1851 and the impact this event had on the burgeoning medium. Given the frequency with which photographic research collides with the ‘Great Exhibition’ – as it became known – or its many key players, both famous and obscure, this book certainly is a worthwhile endeavour. It gathers together twenty years of research by the author, whose previous book, ‘A Higher Branch of the Art’: Photographing the Fine Arts in England 1839–1880, has proved to be a foundational text for researching photography in museums. In this new volume Hamber succeeds in providing the researcher with a thorough guide to the photographs and photographic equipment exhibited at the exhibition, providing insight into how they were selected and by whom. The seminal photographically illustrated Exhibition of the Work of Industry of All Nations, 1851: Reports by the Juries – specially commissioned volumes which comprise the official photographic record of the exhibition and document prize-winning or notable exhibits – are systematically illustrated, analysed and explained for the first time. New research also details where each extant copy is now. This section on such reports is perhaps destined to be one of the most widely used parts of the publication, as it identifies and discusses the exhibited objects portrayed in each image – ranging from sculpture to paintings, machinery and products – as well as the photographers involved and the methods they used, thereby bringing together different disciplines and supporting wider scholarship beyond the photographic. Anyone studying material histories of photography, histories of display and exhibition, and histories of industry will therefore also find much to interest them in this work. This volume adds to the significant body of research on the exhibition of photographs in nineteenth-century Britain, such as the online databases Photographs Exhibited in Britain 1839–1865 and Exhibitions of the Royal Photographic Society 1870–1915. However, what this book brings is narrative, analysis and illustrations to the available data. The interest Hamber demonstrates in photographic equipment shown at the exhibition supports a deeper understanding of the business of photography. His knowledge of the practicalities and technicalities in turn furnishes a more grounded and accurate analysis of the photographic negatives and prints. In bringing this technical understanding to bear on the photographs in the Reports by the Juries, Hamber helps us determine which aesthetic effects were deliberately chosen and which were by-products of the many practical or technical compromising circumstances with which the photographers had to contend. Chapters setting the scene in the photographic milieu of the time and introducing the key players are meticulously researched and offer extensive detail. Photographers are described alongside firms making cameras, opticians making lenses and chemists selling chemicals for the photographic industry, which allows the reader to explore closely connected threads between the practitioners and the trade. Although there was a section of the Great Exhibition dedicated to photography, photographs and photographic equipment were spread among many different ‘classes’ within the building. The work Hamber has done to consolidate everything photographic together for this volume has been considerable and makes this book a definitive reference resource. The chapter that discusses illustrations and reproductions of the Exhibition helpfully guides the reader through the myriad different techniques at play in visually representing and disseminating the event. This chapter reminds us how deeply entangled photography was with engraving and chromolithography during this period. It consequently contributes to the study of printmaking history as well as providing valuable context for the place of photography in 1851. This book is at its best when discussing the Reports by the Juries, the four-volume, photographically illustrated catalogues of the exhibits compiled for a select group of VIPs and dignitaries. This has clearly been a labour of love for the author to research, and it is easy for us to share in his excitement as he discovers new information by comparing across
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.