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| Intaglio press, late 19th century Retrieved from http://www.photogravure. com/history/chapter_introduction.html, (Feb. 2013) |
Background:
Improving on Henry Fox Talbot’s experiments with
photogravure as a process to give greater permanence to images, “in 1879, Karl
Klíc, a painter living in Vienna patented an improved method for applying an
aquatint grain to break up the image and allow for deeper etched shadows. In
addition, Klíc invented a technique of transferring the image from a negative,
to a copper plate by way of gelatin-coated carbon pigment paper” (Katzman et
al., n.d.). It is a photo-mechanical process still used today.
The photogravure is a “permanent” photograph and according
to Ritzenthaler and Vogt-O'Connor, “ since permanent photographs did not employ
silver as the light-sensitive material, a number of other light-sensitive
materials were used, the most common being bichromated gelatin” (Ritzenthaler and Vogt-O'Connor, p.49).
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| Karel Klíc, 1841 - 1926. Retrieved from http://www.photogravure .com/history/chapter_klic.html, (Feb. 2013) |
Photogravure:
Naturalistic Photography and Pictorialism
In the late nineteenth century, visual culture was more prominent and there was an “emphasis on craft and artistry in journals and societies devoted to amateur photography was specifically aimed at fostering an aesthetic attitude toward the medium on the part of photographers. (Rosenblum, 2000, 4th ed., p. 297)
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Footbridge Near Tottenham. 1888.
Photogravure print. Retrtieved from http://www.photogravure.com/history
/keyfigures_emerson.html (Feb. 2013)
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P.H. Emerson used the photogravure process to give
expression to his philosophical ideas on photography and art. In his book, “Naturalistic Photography
for Students of the Arts (1889) Emerson claimed that a sharp and uniform
image does not accurately represent the way the world appears to our eyes. He
believed that for a photograph to be "truthful" it should be soft and
impressionistic, bringing it closer to what he considered the appearance of
nature. Emerson advocated a type of
focusing he believed replicated human vision: sharp focus for the central
object and modest softness for the surrounding field” (Katzman et al., n.d.).
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Creator: Peter Henry Emerson (English, 1856-1936)
Title: The Lone Lagoon Date: ca. 1890 Material: photogravure print. print ca. 1895 Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Peter Henry Emerson (English, 1856-1936)
Title: A Winter's Sunrise Date: ca. 1890 Material: photogravure print. print ca. 1895 Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html
Emerson inspired Pictorialism which “was characterized by
painterly techniques involving soft focus lenses and heavily manipulated
printing processes like gum
bichromate and bromoil” (Katzman et al., n.d.). The late ninetennth century Pictorialists,
who used photogravure, included George Davison and Alfred Stieglitz.
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Creator: Alfred Stieglitz (American, 1864-1946)
Title: Reflections - Venice Date: 1894 Material: photogravure print. print ca. 1897 Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Alfred Stieglitz (American, 1864-1946)
Title: The Street - Design for a Poster Date: 1896 Material: photogravure print Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Alfred Stieglitz (American, 1864-1946)
Title: The Glow of Night - New York Date: 1896 Material: photogravure print Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Alfred Stieglitz (American, 1864-1946)
Title: City of Ambition Date: 1910 Material: photogravure print Retrieved from http://0-library.artstor.org. library.simmons.edu/library/welcome.html |
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Creator: Alfred Stieglitz
Creator: American, 1864 - 1946 Title: Spring Showers Work Type: Photographs Work Type: photogravure Retrieved from http://0-library.artstor.org. library.simmons.edu/library/welcome.html |
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Creator: Alfred Stieglitz, North American; American, 1864 - 1946, (photographer)
Title: A Snapshot; Paris Work Type: Photographs Date: 1911 Material: photogravure Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html The More Photogravure Gallery: Examples of documentary, straight, early modernist works. |
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Creator: Edward S. Curtis (American, 1868 -1952)
Title: Fishing With A Gaff-Hook - Paviotso Date: 1896-1924 Material: photogravure print Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Edward S. Curtis (American, 1868 -1952)
Title: A Blackfoot Travois Date: 1896-1926 Material: photogravure print Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Frederick Henry Evans
Title: Height and Light in Bourges Cathedral; from Camera Work, No. 4, October 1903, plate III Work Type: photograph Date: 1903 Material: photogravure Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Gertrude Käsebier; Photochrome Engraving Company
Title: Portrait (Miss N), plate IV, Camera Work, No. 1, January 1903 Work Type: photograph Date: 1903 Material: photogravure on Japan paper Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Alvin Langdon Coburn (British, 1882-1966)
Title: Broadway at Night Date: ca. 1910 Material: photogravure print Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Paul Strand, North American; American, 1890 - 1976, (photographer)
Title: New York Work Type: Photographs Date: 20th century Material: photogravure Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html |
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Creator: Paul Strand, North American; American, 1890 - 1976, (photographer)
Title: Photograph-New York Work Type: Photographs Date: 20th century Material: photogravure Retrieved from http://0-library.artstor.org.library.simmons.edu/library/welcome.html
Identification:
According to Graphics Atlas (n.d.), "One key indicator of the photogravure process is a fine aquatint
grain. This can often be seen with the low magnification of a loupe,
although in certain instances a microscope may be necessary (Identification of Photogravure section).
  of image on left. Images retrieved from http://www.graphicsatlas.org/identification/?process_id=125 |
According to (Reilly), "photgravures have a matte surface and may be of any image color" (p. 71) and "one of the distinguishing characteristics of photogravure under microscopic examination is a variation in the amount of ink deposited: less in light areas and more in dark areas" (p. 57).
References
Image Permanence Institute (2013). Graphics Atlas: Identification
of photogravure.
Retrieved from http://www.graphicsatlas.
org/identification/?process_id=125
of photogravure.
Retrieved from http://www.graphicsatlas.
org/identification/?process_id=125
Reilly, James M.(1986). Care and identification of 19th century photographic prints.
Rochester, NY: Eastman Kodak Co.
Ritzenthaler, Vogt-O'Connor, Zinkham, Carnell, & Peterson (2006).
Photographs: Archival Care and Management (4th ed.).
Chicago, IL: Society of American Archivists.
Rosenblum, Naomi (2007, 4th ed.). A World History of Photography.
New York, NY: Abbeville Press.
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