Charles Marville: Photographer of Paris <i>Charles Marville: Photographer of Paris</i> . Catalogue of the exhibition held at National Gallery of Art (Washington), Metropolitan Museum of Art (New York), and National Gallery of Canada (Ottawa), 2013–14. By S <scp>arah</scp> K <scp>ennel</scp> , with A <scp>nne de</scp> M <scp>ondenard</scp> , P <scp>eter</scp> B <scp>arberie</scp> , F <scp>rançoise de</scp> R <scp>eynaud</scp> , and J <scp>oke de</scp> W <scp>olf</scp> . Washington, DC:Publishing Office, National Gallery of Art in association with Chicago: University of Chicago Press, 2014. xi + 265 pp., ill.
Notice bibliographique
Résumé
Accompanying the Washington National Gallery of Art's ambitious retrospective exhibition centred on the almost thirty-year photographic career of Charles Marville (pseudonym of Charles-François Bossu, 1813–1879), this catalogue offers visual delight and fascinating insights through comprehensive and stimulating essays that complement each other admirably. Curator and editor Sarah Kennel's opening chapter provides an illuminating synthesis of the photographer's life and work: from the revelation of his identity to his education and career as illustrator, and the influence of this on his approach to photography, the chapter foregrounds the creation of a persona — Marville. The photographer's versatility and resourcefulness match his ‘professional aspirations and understanding of the image trade’ (p. 12). The breadth of Marville's contribution to photographic history emerges through his innovations and experiments with subjects and technology alike. Importantly, in her discussion of the treatment of urban space, Kennel corrects the misconception of the photographer's work ‘as part of an official discourse of modernization’ and his image as ‘Haussmann's advance man’ (p. 29), restoring auctorial agency by highlighting Marville's engagement with the city. In the second essay Anne de Mondenard explores the early works, emphasizing Marville's inquisitive, enterprising nature and his penchant for invention through a discussion of the range of experiments he undertook in the photographic medium. Of particular interest is the study of previously unpublished calotypes from the Commission des monuments historiques collection. The degree to which Marville experimented stylistically and conceptually comes through in his transformation of the city into a stage-set (p. 157), and light and shade into structural elements (p. 159). Examining Marville's ‘approach to seriality’, the chapter invites a reappraisal of its role in the history of photography and art (p. 167). Peter Barberie discusses Marville's pioneering dialogue with the landscape genre with reference to his series on the ‘newly renovated bois de Boulogne’: as the ‘first municipal project’ (p. 171), it marks a turning point in his commissions under the Second Empire. Barberie aptly parallels Marville's foregrounding of a different ‘pictorial experience’, which would subsequently define street photography of the 1860s, with how it responds to the hybrid park-landscape, interrogating its relation to ‘old conventions, both social and aesthetic’ (p. 187). Françoise Reynaud's study of the Old Paris series is notable for its focus on the commissioning of the urban photographs. Among the reasons and uses for the corpus, she remarks that the pictures were not ‘designed to illustrate the old city's dilapidated and unsanitary state’ (p. 195). Instead, a conjectural reading reveals their role in remapping Old Paris following the Commune's destruction of the city's topographical surveys. Joke de Wolf then analyses the Universal Exhibitions' relationship with photography, and Marville's role therein. From ideological discourse to reconstruction aids, the photographs showcase not only the city's rebirth but also, ultimately, the 1878 Paris Exhibition itself. High-quality, full-page reproductions, some in colour, and a wealth of other views capture the masterful effects that Marville achieved by using different techniques and supports. The five studies reveal a uniquely complex figure, exploring the stylistic and conceptual implications at stake in Marville's projects, with well-researched contextual information and in-depth readings of form and content.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,002 | 0,001 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,004 | 0,004 |
| Études des sciences et des technologies | 0,003 | 0,001 |
| Communication savante | 0,005 | 0,003 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,383 | 0,213 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».