jueves, 29 de mayo de 2014

Henry Fox Talbot. Photographs Constructivism in 1857

La revisión de las colecciones en línea de los museos presentan con relativa frecuencia muchas sorpresas, fotos que no pensábamos que se hubieran hecho en las fechas en que fueron realizadas.
En el Open Content Program del Museo Getty he visto estas dos fotos que, creo, se pueden ver hoy como verdaderas obras constructivistas, es decir adelantadas a este movimiento artístico que apareció hacia 1915 principalmente en Rusia.
Son fotos extrañas, bonitas, parecen veladuras de un pintor hechas por un fotógrafo


  • William Henry Fox Talbot, photographer (English, 1800 - 1877)
Three Sheets of Gauze, Crossed Obliquely, about 1852 - 1857, Photographic engraving
Image: 13.3 x 12.7 cm (5 1/4 x 5 in.) (irregular) Sheet: 20.5 x 12.8 cm (8 1/16 x 5 1/16 in.)
The J. Paul Getty Museum, Los Angeles




William Henry Fox Talbot, photographer (English, 1800 - 1877) Veil: Engine Rules Lines, Crossed at Right Angles, possibly July 29, 1859, Photographic engraving
Image: 15.6 x 13.8 cm (6 1/8 x 5 7/16 in.) Sheet: 22.3 x 13.8 cm (8 3/4 x 5 7/16 in.)
The J. Paul Getty Museum, Los Angeles

http://d2hiq5kf5j4p5h.cloudfront.net/25366301.jpg


Casi recuerda a los cuadros de Josef Albers

Met Museum

William Henry Fox Talbot (1800–1877) and the Invention of Photography

At home, he demonstrated the commercial viability of his invention by means of a photographically illustrated book, The Pencil of Nature, published in parts beginning in 1844. In less than a decade, Talbot conceived and brought about a wholly new way of making pictures, perfected the optical and chemical aspects of photography, and learned to use the new medium to make complex images for the botanist, historian, traveler, and artist.

Talbot spent the last twenty-five years of his life developing and perfecting an effective photogravure process. That he should have spent so much time developing a process for printing photographs with ink rather than silver salts is not wholly surprising. Talbot's early photogenic drawings are so ephemeral that, despite their exceptional beauty, they can never be exhibited or exposed to light without risk of change.