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Études Photographiques: Issue 25

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Études Photographiques: Issue 25

Softcover | 16 x 1.7 x 24.5 cm | 256 pp

Société Française de Photographie | 2010 | 9782911961250

Text in English and French

Since 1996, with contributions by noted scholars, the peer-reviewed journal Études Photographiques, has been leading the way in providing academics and the arts community access to the most current research on photography, the history of photography and visual culture.

CONTENTS:

Before the Tableau Form: Large Photographic Formats in the Exhibition 
Signs of Life, 1976 

Photography and Memory: The Commemoration of Photography in France, 1880-1940 

The Bold Innovations of a French Exhibition: Un Siècle de Vision Nouvelle at the Bibliothèque Nationale, 1955 

Haunted Sleep 

A Microcosm Untouched by Time: Marion Post Wolcot's Photographs of ‘Gold Avenue’ 1939-1941 

Henri Cartier-Bresson, ‘Public Intellectual' 

Le Flou of the Painter Cannot Be le Flou of the Photographer’
An Ambivalent Notion in Mid-Nineteenth Century French Photographic Criticism 

The Debiscent Image: Théophile Gautier 
and the Mountain Photographs of the Brothers Bisson 

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Études Photographiques: Issue 25
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Softcover | 16 x 1.7 x 24.5 cm | 256 pp

Société Française de Photographie | 2010 | 9782911961250

Text in English and French

Since 1996, with contributions by noted scholars, the peer-reviewed journal Études Photographiques, has been leading the way in providing academics and the arts community access to the most current research on photography, the history of photography and visual culture.

CONTENTS:

Before the Tableau Form: Large Photographic Formats in the Exhibition 
Signs of Life, 1976 

Photography and Memory: The Commemoration of Photography in France, 1880-1940 

The Bold Innovations of a French Exhibition: Un Siècle de Vision Nouvelle at the Bibliothèque Nationale, 1955 

Haunted Sleep 

A Microcosm Untouched by Time: Marion Post Wolcot's Photographs of ‘Gold Avenue’ 1939-1941 

Henri Cartier-Bresson, ‘Public Intellectual' 

Le Flou of the Painter Cannot Be le Flou of the Photographer’
An Ambivalent Notion in Mid-Nineteenth Century French Photographic Criticism 

The Debiscent Image: Théophile Gautier 
and the Mountain Photographs of the Brothers Bisson