Introduction |
14.01 | Introduction to art and photography |
Artists and photographers |
14.02 | Artists at work |
14.03 | The encounters between the London Daguerreotypist John Jabez Mayall and the artist John Turner (1847-1849) |
14.04 | John Thomson: A Chinese portrait artist, Hong Kong |
14.05 | Nineteenth century Japanese artists and colourists |
14.06 | Honoré Daumier: Prints and cartoons |
14.07 | Edward Linley Sambourne: Photographs as a source for cartoons and illustrations |
14.08 | How artists have portrayed lanternists, photographers and photography |
14.09 | Photographers and photography in Japan depicted in art |
Grids |
14.10 | Using grids to create art |
Drawing and optical devices |
14.11 | Drawing and optical devices |
14.12 | Camera lucida: Design and use |
14.13 | The camera lucida |
14.14 | Camera obscura: Design and use |
14.15 | Portable camera obscura |
Cliché-verre |
14.16 | Cliché verre |
Associating photography with the arts |
14.17 | Cartes de visite: Backs: Graphics that place photography with the arts |
14.18 | Cabinet cards: Backs: Graphics that place photography with the arts |
Publications that did, or said they did, use daguerreotypes as the basis for their illustrations |
14.19 | The influence of the daguerreotype upon art |
14.20 | Paris et ses Environs Reproduits par le Daguerrotype, Sous la Direction de M. Ch. Philipon (Paris: Chez Aubert et Cie, 1840) |
14.21 | Noël Marie Paymal Lerebours: Excursions daguerriennes : vues et monuments les plus remarquables du globe (1842) |
14.22 | Adolphe Duperly: Daguerian Excursions in Jamaica (ca 1844) |
14.23 | Bruges, ses Monuments et ses Tableaux, edited by Daveluy (Bruges, Daveluy, 1855) |
Using photography to copy two dimensional artworks |
14.24 | Joseph Nicéphore Niépce: Cardinal d'Amboise |
14.25 | Photographing art: Works on paper and canvas |
14.26 | William Sterling: Annals of the Artists of Spain (1848) |
14.27 | Charles Piazzi Smyth: Notice of an Illuminated Vellum Manuscript |
Printing works for photographic reproductions |
14.28 | Louis-Désiré Blanquart-Evrard: reproductions of works of art |
14.29 | Adolphe Braun - A Continental Printing Establishment (1874) |
Microphotographs of art |
14.30 | Art and microphotographs |
Copyright of photographs of artworks |
14.31 | International Copyright of Photographs - Messrs. Braun and Co. (17 August 1888) |
14.32 | International Copyright of Photographs - Messrs. Braun and Co. (24 August 1888) |
14.33 | International Copyright of Photographs - Judgement - Messrs. Braun and Co. (21 September 1888) |
Photographic art |
14.34 | Cartes de visite: Art |
Photographing sculpture |
14.35 | Photographing art: Sculpture |
Use of photography as an aid to art |
14.36 | Hill & Adamson: Disruption of the Church of Scotland (1843) |
14.37 | Oil paintings by Gustave Courbet based upon photographs |
14.38 | Julien Vallou de Villeneuve: Étude d'après nature, modèle pour Les Baigneuses |
14.39 | Alphonse Marie Mucha: Artist studies - Académies |
14.40 | Académies and the use of artist studies of models to assist artists |
14.41 | Artistic studies of nude women |
14.42 | Eugène Durieu: Artist studies - Académies |
14.43 | Vincenzo Galdi: Artist studies - Académies |
14.44 | Artistic studies of nude men |
14.45 | Jacques de Lalaing: Using photographs to create art |
14.46 | Giraudon's artist: Rural studies |
14.47 | Combining a daguerreotype with a miniature to create a painting (1848) |
Painting on photographs |
14.48 | Introduction to painting on photographs |
Visual connections between art and photography |
14.49 | Paintings and prints based on photographs or vice versa |
14.50 | Photographs based on known paintings |
14.51 | Painted photographs by known artists |
14.52 | Aestheticism |
14.53 | Thomas Eakins: The Swimming Hole |
14.54 | Edgar Degas: After the Bath |
14.55 | Georg Hendrik Breitner: Using photography as an aid to painting |
14.56 | Photographs that are stylistically similar to paintings |
14.57 | Dora Maar: Photo Report of the Evolution of “Guernica” (May - June 1937) |
14.58 | Saul Leiter: Painted nudes |
14.59 | Neil Folberg: The French Impressionists |
14.60 | Robert Weingarten: Palettes (2004-2008) |
Portraiture and art |
14.61 | The "artistic" portrait |
14.62 | Julia Margaret Cameron (1815-1879): Portraits |
14.63 | Oscar Gustave Rejlander: Two Ways of Life |
14.64 | Mimicing art within Pictorialism |
Paints in tubes |
14.65 | Preserving paint in collapsible tubes |
The connections between photography and landscape art |
14.66 | Paintings and prints based upon paintings or vice versa - The road to Chailly (Forests of Fontainebleau) |
14.67 | Paintings and prints based upon paintings or vice versa - The Bodmer Oak (Forests of Fontainebleau) |
Using Autochromes for early colour art photography |
14.68 | Autochromes: Art |
Artists of the twentieth century and photography |
14.69 | Salvador Dali |
14.70 | Photographers who have taken portrait series on artists |
Photography as a means of documenting art |
14.71 | Land art |
14.72 | Conceptual photography |
14.73 | Performance art |
Looking at art |
14.74 | Looking at art |
Exhibitions |
14.75 | Exhibitions on the relationships between art and photography |
Conclusions |
14.76 | Conclusions to art and photography |