New History of Photography

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Magus Books WA
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1999 Hardcover Very Good in Very Good dust jacket 9783829013284. Glossy jacket, lightly used, in mylar cover, corners and edges are mildly bumped, especially along spine, boards ... are in excellent condition, binding is straight, page 33 has what appears to be a smudge mark made during printing, otherwise no marks to text.; THIS ITEM IS RATHER LARGE AND/OR HEAVY AND MAY REQUIRE EXTRA FUNDS FOR INTERNATIONAL OR EXPEDITED SHIPPING.; 2.3 x 12.1 x 9.4 Inches; 775 pages. Read more Show Less

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100% of your purchase helps Goodwill create jobs and change lives. All pages are intact, and the spine and cover are also intact. May have some usage wear, missing or damaged dust ... jacket, stickers, cover creases, bumped corners, bent pages, remainder mark, previous owner label or name, inscription, notes, underlining and/or highlighting. Text only; no CDs, InfoTrac, Access Codes, Activation Keys, or other inclusions, unless otherwise noted. Read more Show Less

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1998 Hardcover f/f Quarto. 773pp A fine copy in a fine dust jacket.

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1998 Hardcover Very Good in Near Fine jacket Large hardback in very good condition with near fine dust jacket.

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1998 Hard Mint in Near Mint jacket 4to. Some light edgewear to DJ including tiny chips to top, else mint. *****PLEASE NOTE: This item is shipping from an authorized seller in ... Europe. In the event that a return is necessary, you will be able to return your item within the US. To learn more about our European sellers and policies see the BookQuest FAQ section***** Read more Show Less

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3829013280 Used, in good condition. Book only. May have interior marginalia or previous owner's name.

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Koln, Germany 1998 Hardcover Fine in Near Fine jacket Folio-over 12-15" tall Hardback. (1998). Folio. English Language Edition. First Printing. Fine in Near Fine dust jacket. ... 775pp with index and bibliography. Illustrated with over 1, 000 color and B&W photos. Read more Show Less

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775 pp., illus., biblio., index; 30 cm. Translation of: Nouvelle histoire de la photographie. Near fine. Firm binding, clean inside copy. Superficial dampstain on a half-dozen ... leaves at the very back. Stated "First Edition." Dust jacket protected in a mylar book cover. OVERSIZE! No priority/international, except by special arrangement. Profusely illustrated. CONTENTS: Introduction: The age of light, by Michel Frizot; Light machines: on the threshold of invention, by Michel Frizot; 1839-1840: Photographic development, by Michel Frizot; A new world of pictures: The use and spread of the daguerreotype process, by Timm Starl; Automated drawing: the truthfulness of the calotype, by Michel Frizot; The transparent medium: from industrial product to the Salon des Beaux-arts, by Michel Frizot; All kinds of portraits: the photographer's studio, by Jean Sagne; The century's memorial: Photography and the recording of history, by Hubertus von Amelunxen; Around the world: explorers, travelers, and tourists, by Francoise Heilbrun; Life in three dimensions: the charms of stereoscopy, by Pierre-Marc Richard; Artistic aspirations: the lure of the fine art, by Mike Weaver; The urban machine: architecture and industry, by Elvire Perego; The photograph in print: multiplication and stability of the image, by Sylvie Aubenas; Photography on the spur of the moment: instant impressions, by Jean-Claude Gautrand; Speed of photography: movement and duration, by Michel Frizot; Body of evidence: The ethnophotography of difference, by Michel Frizot; The all-powerful eye: the form of the invisible, by Michel Frizot; Naturalistic vision and symbolist image: the pictorial impulse, by Anne Hammond; Towards new photography: renewals of pictorialism, by Peter C. Bunnell; Intimate moments and secret gardens: the artist as amateur photographer, by Elvire Perego; The other half: the investigation of society, by Thilo Koenig; Photography and the media: changes in the illustrated press, by Pierre Albert and Gilles Feyel; States of things: image and aura, Read more Show Less

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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
"This book is an exploration of a type of image which can, at the same time, be...suspected of taking away part of one's soul, be the bearer of a memory, arouse mental images, and provoke desire or repulsion." Thus begins A New History of Photography , an impressive new volume that includes 41 essays and 1,000 photographs from public and private collections.

Michel Frizot, the book's editor and author of many of its essays, is a professor at the École de Louvre in Paris. He begins before the beginning — that is, before photographs (or ...

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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review
"This book is an exploration of a type of image which can, at the same time, be...suspected of taking away part of one's soul, be the bearer of a memory, arouse mental images, and provoke desire or repulsion." Thus begins A New History of Photography , an impressive new volume that includes 41 essays and 1,000 photographs from public and private collections.

Michel Frizot, the book's editor and author of many of its essays, is a professor at the École de Louvre in Paris. He begins before the beginning — that is, before photographs (or images created by the action of light on a sensitive surface) were being produced in any form. Through his selection of essays, he recounts the progression from the first "drawing machines" (essentially tracing paper attached to a frame) to photography as it is practiced today.

As Charles Baudelaire wrote in his critique of the 1859 Salon, photography began as "the humble servant of the arts" and was valued by many less for its inherent artistic possibilities than as a documentation tool for recording history and art history. Of course, using the camera for such purposes was and continues to be important, as underscored by an essay by Hubertus von Amelunxen called "The Century's Memorial: Photography and the Recording of History."

The Mexican-American War, in 1846, was the first to be recorded by photographic images. The pictures taken there, however, were primarily patriotic in tone; the majority are portraits of American officers. But by the time of the Crimean War, in 1853, governments and publishers were recognizingthe"propaganda value of war photography." And it was with the uprising of the Paris Commune in 1871, claims von Amelunxen, that "photography became a weapon of investigation in the logistics of war."

Yet from the earliest stages of the development of photography, writes Mike Weaver in his essay "Artistic Aspirations," photographers strove to be recognized as artists. And by the late 1800s, they were so expanding the boundaries of the medium that photography did indeed come to be considered an art form. A movement called Pictorialism, derived from Impressionism and Naturalism, emerged, with photographers like Alfred Stieglitz in the vanguard. By the early 20th century, Pictorial photography was widely acknowledged as an international fine arts movement. As A New History of Photography shows, the photograph evolved and continues to evolve, simultaneously and inextricably, as both a historic tool and a work of fine art.

In part because of the chaos of World War I and the subsequent founding of Dadaism, the photomontage — created by cutting out disparate photographic fragments and pasting them together into a collage — became popular as a means of deconstructing the image. Man Ray and Laszlo Moholy-Nagy furthered the impulse by developing photograms, essentially negative images of the shadow or outline of an object. A style known as New Objectivity, which emphasized formal realism and the "cold objectivity of things themselves," writes Frizot, emerged contemporaneously.

But photography has never failed in its preoccupation with the human condition, as illustrated in essays like "Portrait of Society" and "The Way Life Goes: Suffering and Hope." The tragedies and horrors of World War II, made so vivid and undeniable as a result of photographs, helped to galvanize new photographic trends in Europe: notably humanism and neorealism, which emphasized human subjects and an empathetic approach. American photography following WWII was similarly "marked by disillusionment and a quest for the poetic," says Frizot.

By the 1970s, writes Stuart Alexander, "the establishment of photographic institutions and the expansion of the infrastructure for photography" began to make it possible for more photographers to earn a living from their work.

A New History of Photography , which is the English translation of the 1994 Nouvelle Histoire De La Photographie , concludes with essays on the relationship between philosophy and photography, and on the rituals and customs that have surrounded photography since its inception.

While the written history contained in A New History of Photography is laudably complete, the pictorial history is the most enjoyable and vivid aspect of the book. A random cataloguing of some of the included photographs offers this impressive roster: an 1848 daguerreotype of Edgar Allan Poe; Timothy O'Sullivan's "The Battlefield at Gettysburg"; Frederick Evans's famous "A Sea of Steps" (1903); a Stieglitz photo of Marcel Duchamp's infamous "Fountain"; Lewis Hine's "Construction of the Empire State Building" (1931); a 1935 portrait of Marlene Dietrich by Edward Steichen; Walker Evans's 1936 depiction of a southern roadside stand; Andy Warhol's "Orange Car Crash" (1964); a Helmut Newton Vogue cover from 1967; and Cindy Sherman's "Untitled Film Still" (1979). This volume, published to celebrate the official 150th anniversary of photography, will delight any fan of photography, whatever their familiarity with the medium's history. The pictures alone are worth the price of the book.

—Maura Kelly

Publishers Weekly
The aesthetic, technological and social dimensions of 160 years of photography are traced and analyzed in 41 essays by 29 experts, along with a thousand (yes, a thousand) reproduced photographs, in this attractive volume. ThisNew History is the English translation of the French Nouvelle Histoire de la Photographie (1994): it is at once an expansive (and well-indexed) encyclopedia, an anthology of essays, an archive of photographs and an all-round gorgeous production. Frizot (a professor at the ecole de Louvre in Paris) and his company of authorities begin before the beginning, with the silhouette-machines and heliographs that foreshadowed the 1839 debut of the daguerreotype. They end in the present, with essays on "Philosophy and Photography," "Photographs as Memories" and the contemporary roles and meanings of art-photography. Where previous reference works have been merely art history, this one includes the evolving and various functions of photographs, inside and outside the arts: physicists, biologists, anthropologists, 19th-century racists, 20th-century social crusaders, war correspondents and amateurs seeking mementos of friends and family are all covered here. Frizot focuses on France, but his contributors cover the globe; essays address such English Victorians as Julia Cameron and Lewis Carroll; North and South American documentarians such as Walker Evans and Sebastiao Salgado; and the story of photography in Japan. Entire portfolios--notably W. Eugene Smith's "Pittsburgh"--are included, a device that lends further depth to this enormous, and enormously enlightening, exploration of "the fragile product of a black box pointed more or less in the right direction."
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From Barnes & Noble
For more than 150 years, our world has been profoundly influenced by the photographer's art. Unique among media, photography preserves our personal and collective memories, creates powerful mental images, and chronicles the flow of history itsel -- from the small, startling, private moments to the sweep of international events. In this ambitious volume, Michel Frizot and a team of more than 30 experts treat various aspects of photography, covering periods, illuminating concepts, and placing images in their proper social contexts. Each chapter is illustrated with a wealth of photographs, each one a freestanding historical document of its own. Information boxes provide additional information on specific subjects, from artificial light to "the problem of color,'' and special dossiers include a portfolio of American Western landscape photos, W. Eugene Smith's 1950s pictorial essay on Pittsburgh, a series of pictures documenting the step-by-step construction of the Paris Opera, and other enlarged views. 9 1/2" x 12".

Product Details

  • ISBN-13: 9783829013284
  • Publisher: Konemann
  • Publication date: 4/1/1999
  • Pages: 776
  • Product dimensions: 9.67 (w) x 12.22 (h) x 2.29 (d)
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  • Anonymous

    Posted July 25, 2000

    Wide range of photography, wide range of views

    700 pages, profusely illustrated, a real bargain. The book comprises essays by an international group of photo historians. It covers much more ground than than a linear treatment of photo history could hope to accomplish. Art, fashion, jounalism, the snapshot album, and photography from select contries (e.g.,Czeck Republic, Japan) are all treated, as are all historical periods from the invention of photo to the present. Thoughout the book there are insets on various topics that are particularly helpful to those without a previous knowlege of photography or who want to browse the book without reading all the essays.

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