Introduction | |
1 | Introduction to art and photography |
2 | Photography as an influence on art |
Artists and photographers | |
3 | Artists at work |
4 | The encounters between the London Daguerreotypist John Jabez Mayall and the artist John Turner (1847-1849) |
5 | John Thomson: A Chinese portrait artist, Hong Kong |
6 | Nineteenth century Japanese artists and colourists |
7 | Honoré Daumier: Prints and cartoons |
8 | Edward Linley Sambourne: Photographs as a source for cartoons and illustrations |
9 | How artists have portrayed lanternists, photographers and photography |
10 | Photographers and photography in Japan depicted in art |
Grids | |
11 | Using grids to create art |
Drawing and optical devices | |
12 | Drawing and optical devices |
13 | Camera lucida: Design and use |
14 | The camera lucida |
15 | Camera obscura: Design and use |
16 | Portable camera obscura |
Cliché-verre | |
17 | Cliché verre |
Associating photography with the arts | |
18 | Cartes de visite: Backs: Graphics that place photography with the arts |
19 | 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 | |
20 | The influence of the daguerreotype upon art |
21 | Paris et ses Environs Reproduits par le Daguerrotype, Sous la Direction de M. Ch. Philipon (Paris: Chez Aubert et Cie, 1840) |
22 | Noël Marie Paymal Lerebours: Excursions daguerriennes : vues et monuments les plus remarquables du globe (1842) |
23 | Adolphe Duperly: Daguerian Excursions in Jamaica (ca 1844) |
24 | Bruges, ses Monuments et ses Tableaux, edited by Daveluy (Bruges, Daveluy, 1855) |
Using photography to copy two dimensional artworks | |
25 | Joseph Nicéphore Niépce: Cardinal d'Amboise |
26 | Photographing art: Works on paper and canvas |
27 | William Sterling: Annals of the Artists of Spain (1848) |
28 | Charles Piazzi Smyth: Notice of an Illuminated Vellum Manuscript |
Printing works for photographic reproductions | |
29 | Louis-Désiré Blanquart-Evrard: reproductions of works of art |
30 | Adolphe Braun - A Continental Printing Establishment (1874) |
Microphotographs of art | |
31 | Art and microphotographs |
Copyright of photographs of artworks | |
32 | International Copyright of Photographs - Messrs. Braun and Co. (17 August 1888) |
33 | International Copyright of Photographs - Messrs. Braun and Co. (24 August 1888) |
34 | International Copyright of Photographs - Judgement - Messrs. Braun and Co. (21 September 1888) |
Photographic art | |
35 | Cartes de visite: Art |
Photographing sculpture | |
36 | Photographing art: Sculpture |
Use of photography as an aid to art | |
37 | Hill & Adamson: Disruption of the Church of Scotland (1843) |
38 | Oil paintings by Gustave Courbet based upon photographs |
39 | Julien Vallou de Villeneuve: Étude d'après nature, modèle pour Les Baigneuses |
40 | Alphonse Marie Mucha: Artist studies - Académies |
41 | Académies and the use of artist studies of models to assist artists |
42 | Artistic studies of nude women |
43 | Eugène Durieu: Artist studies - Académies |
44 | Vincenzo Galdi: Artist studies - Académies |
45 | Artistic studies of nude men |
46 | Jacques de Lalaing: Using photographs to create art |
47 | Giraudon's artist: Rural studies |
48 | Combining a daguerreotype with a miniature to create a painting (1848) |
Painting on photographs | |
49 | Introduction to painting on photographs |
Visual connections between art and photography | |
50 | Paintings and prints based on photographs or vice versa |
51 | Photographs based on known paintings |
52 | Painted photographs by known artists |
53 | Aestheticism |
54 | Thomas Eakins: The Swimming Hole |
55 | Edgar Degas: After the Bath |
56 | Georg Hendrik Breitner: Using photography as an aid to painting |
57 | Photographs that are stylistically similar to paintings |
58 | Dora Maar: Photo Report of the Evolution of Guernica (May - June 1937) |
59 | Saul Leiter: Painted nudes |
60 | Neil Folberg: The French Impressionists |
61 | Robert Weingarten: Palettes (2004-2008) |
Portraiture and art | |
62 | The "artistic" portrait |
63 | Julia Margaret Cameron (1815-1879): Portraits |
64 | Oscar Gustave Rejlander: Two Ways of Life |
65 | Mimicing art within Pictorialism |
Paints in tubes | |
66 | Preserving paint in collapsible tubes |
The connections between photography and landscape art | |
67 | Paintings and prints based upon paintings or vice versa - The road to Chailly (Forests of Fontainebleau) |
68 | Paintings and prints based upon photographs or vice versa - The Bodmer Oak (Forests of Fontainebleau) |
Using Autochromes for early colour art photography | |
69 | Autochromes: Art |
Artists of the twentieth century and photography | |
70 | Salvador Dali |
71 | Photographers who have taken portrait series on artists |
Photography as a means of documenting art | |
72 | Land art |
73 | Conceptual photography |
74 | Performance art |
Looking at art | |
75 | Looking at art |
Exhibitions | |
76 | Exhibitions on the relationships between art and photography |
Conclusions | |
77 | Conclusions to art and photography |
Introduction | |
1 | Introduction to art and photography |
2 | Photography as an influence on art |
Artists and photographers | |
3 | Artists at work |
4 | The encounters between the London Daguerreotypist John Jabez Mayall and the artist John Turner (1847-1849) |
5 | John Thomson: A Chinese portrait artist, Hong Kong |
6 | Nineteenth century Japanese artists and colourists |
7 | Honoré Daumier: Prints and cartoons |
8 | Edward Linley Sambourne: Photographs as a source for cartoons and illustrations |
9 | How artists have portrayed lanternists, photographers and photography |
10 | Photographers and photography in Japan depicted in art |
Grids | |
11 | Using grids to create art |
Drawing and optical devices | |
12 | Drawing and optical devices |
13 | Camera lucida: Design and use |
14 | The camera lucida |
15 | Camera obscura: Design and use |
16 | Portable camera obscura |
Cliché-verre | |
17 | Cliché verre |
Associating photography with the arts | |
18 | Cartes de visite: Backs: Graphics that place photography with the arts |
19 | 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 | |
20 | The influence of the daguerreotype upon art |
21 | Paris et ses Environs Reproduits par le Daguerrotype, Sous la Direction de M. Ch. Philipon (Paris: Chez Aubert et Cie, 1840) |
22 | Noël Marie Paymal Lerebours: Excursions daguerriennes : vues et monuments les plus remarquables du globe (1842) |
23 | Adolphe Duperly: Daguerian Excursions in Jamaica (ca 1844) |
24 | Bruges, ses Monuments et ses Tableaux, edited by Daveluy (Bruges, Daveluy, 1855) |
Using photography to copy two dimensional artworks | |
25 | Joseph Nicéphore Niépce: Cardinal d'Amboise |
26 | Photographing art: Works on paper and canvas |
27 | William Sterling: Annals of the Artists of Spain (1848) |
28 | Charles Piazzi Smyth: Notice of an Illuminated Vellum Manuscript |
Printing works for photographic reproductions | |
29 | Louis-Désiré Blanquart-Evrard: reproductions of works of art |
30 | Adolphe Braun - A Continental Printing Establishment (1874) |
Microphotographs of art | |
31 | Art and microphotographs |
Copyright of photographs of artworks | |
32 | International Copyright of Photographs - Messrs. Braun and Co. (17 August 1888) |
33 | International Copyright of Photographs - Messrs. Braun and Co. (24 August 1888) |
34 | International Copyright of Photographs - Judgement - Messrs. Braun and Co. (21 September 1888) |
Photographic art | |
35 | Cartes de visite: Art |
Photographing sculpture | |
36 | Photographing art: Sculpture |
Use of photography as an aid to art | |
37 | Hill & Adamson: Disruption of the Church of Scotland (1843) |
38 | Oil paintings by Gustave Courbet based upon photographs |
39 | Julien Vallou de Villeneuve: Étude d'après nature, modèle pour Les Baigneuses |
40 | Alphonse Marie Mucha: Artist studies - Académies |
41 | Académies and the use of artist studies of models to assist artists |
42 | Artistic studies of nude women |
43 | Eugène Durieu: Artist studies - Académies |
44 | Vincenzo Galdi: Artist studies - Académies |
45 | Artistic studies of nude men |
46 | Jacques de Lalaing: Using photographs to create art |
47 | Giraudon's artist: Rural studies |
48 | Combining a daguerreotype with a miniature to create a painting (1848) |
Painting on photographs | |
49 | Introduction to painting on photographs |
Visual connections between art and photography | |
50 | Paintings and prints based on photographs or vice versa |
51 | Photographs based on known paintings |
52 | Painted photographs by known artists |
53 | Aestheticism |
54 | Thomas Eakins: The Swimming Hole |
55 | Edgar Degas: After the Bath |
56 | Georg Hendrik Breitner: Using photography as an aid to painting |
57 | Photographs that are stylistically similar to paintings |
58 | Dora Maar: Photo Report of the Evolution of Guernica (May - June 1937) |
59 | Saul Leiter: Painted nudes |
60 | Neil Folberg: The French Impressionists |
61 | Robert Weingarten: Palettes (2004-2008) |
Portraiture and art | |
62 | The "artistic" portrait |
63 | Julia Margaret Cameron (1815-1879): Portraits |
64 | Oscar Gustave Rejlander: Two Ways of Life |
65 | Mimicing art within Pictorialism |
Paints in tubes | |
66 | Preserving paint in collapsible tubes |
The connections between photography and landscape art | |
67 | Paintings and prints based upon paintings or vice versa - The road to Chailly (Forests of Fontainebleau) |
68 | Paintings and prints based upon photographs or vice versa - The Bodmer Oak (Forests of Fontainebleau) |
Using Autochromes for early colour art photography | |
69 | Autochromes: Art |
Artists of the twentieth century and photography | |
70 | Salvador Dali |
71 | Photographers who have taken portrait series on artists |
Photography as a means of documenting art | |
72 | Land art |
73 | Conceptual photography |
74 | Performance art |
Looking at art | |
75 | Looking at art |
Exhibitions | |
76 | Exhibitions on the relationships between art and photography |
Conclusions | |
77 | Conclusions to art and photography |