The Painted Photograph, 1839-1914: Origins, Techniques, Aspirations

The Painted Photograph, 1839-1914: Origins, Techniques, Aspirations

by Heinz K. Henisch, Bridget Ann Henisch
     
 

As photography grew more popular following its invention in 1839, its admirers did not understand how a medium that rendered shapes and textures in exquisite detail could fail to render them in realistic color. Also disappointing was the tendency of the captured images to fade over time. Photographers, ever eager to please their public, began "painting"

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Overview

As photography grew more popular following its invention in 1839, its admirers did not understand how a medium that rendered shapes and textures in exquisite detail could fail to render them in realistic color. Also disappointing was the tendency of the captured images to fade over time. Photographers, ever eager to please their public, began "painting" their photographs with substances ranging from water colors and oil to chalk and crayon. Images were enlarged, enhanced, and framed, to simulate the splendors of the traditional portrait.

With its rich variety of illustrations in color and duotone, The Painted Photograph is the first comprehensive history of overpainting, from its origins to World War I. The 131 illustrations featured draw upon original nineteenth- and early twentieth-century sources, most from America and Britain, but also representing Japan, Turkey, Austria, Germany, Poland, Canada, Bohemia, India, Australia, Norway, Holland, and Russia.

In describing a multitude of early techniques, the authors survey overpainting on various types of photographs, including daguerreotypes, tintypes, and imprinted porcelain, milk glass, enamel, magic lantern slides, and textiles. Particularly fascinating are discussions of overpainted death portraits, most commonly those of children, and the origins of popular "picture postcards" featuring overpainted landscape scenes. The Henisches address also the eager acceptance of the painted photograph throughout the world, despite the hostility of the art-critical establishment.

The Painted Photograph will appeal to a wide public interested in photography, history, sociology, social anthropology, folk art, popular fashion, and antiques.

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Editorial Reviews

From the Publisher
“This volume contributes a tremendous amount of knowledge to the history of the altered photograph.”
Choice

“There is simply nothing else in the literature like The Painted Photograph. The authors, Heinz and Bridget Henisch, are, indisputably, two of the greatest and most admired of living photohistorians.”
—John Wood, author of The Art of the Autochrome: The Birth of Color Photography

“This volume contributes a tremendous amount of knowledge to the history of the altered photograph.”

Choice

Product Details

ISBN-13:
9780271015071
Publisher:
Penn State University Press
Publication date:
09/01/1996
Pages:
252
Product dimensions:
8.50(w) x 11.00(h) x 0.75(d)

Meet the Author

Heinz K. Henisch is Emeritus Professor of the History of Photography at Penn State University, the Founding Editor of History of Photography, and a Fellow of the Royal Photographic Society of Great Britain.

Bridget A. Henisch is author of Fast and Feast: Food in Medieval Society (Penn State, 1976).

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