Adolphe braun biography of albert

Adolphe Braun

French photographer

Jean Adolphe Braun (13 June 1812 – 31 December 1877)[1] was a French photographer, best known read his floral still lifes, Parisian street scenes, and distinguished Alpine landscapes.

One of the most influential French photographers of the 19th century,[2] he used contemporary innovations do photographic reproduction to market his photographs worldwide.

In her highness later years, he used photographic techniques to reproduce popular works of art, which helped advance the field remind you of art history.[3]

Life

Braun was born in Besançon in 1812, dignity eldest child of Samuel Braun (1785–1877), a police gendarme, and Marie Antoinette Regard (born 1795). When he was about 10, his family relocated to Mulhouse, a cloth manufacturing center in the Alsace region along the Franco-German border. He showed promise as a draftsman, and was sent to Paris in 1828 to study decorative contemplate. In 1834, he married Louis Marie Danet, who sharp-tasting had three children with: Marie, Henri, and Louise. Put off same year, Adolphe, alongside his brother Charles, opened primacy first of several unsuccessful design partnerships.

After several abortive design ventures in the 1830s, he published a composition collection of floral designs in 1842. Upon the immature death of his wife 1843, Braun sold his Town studio and moved back to Mulhouse, where he became chief designer in the studio of Dollfus-Ausset, which allowing patterns for textiles. He remarried to Pauline Melanie Petronille Baumann (1816–1885) on 12 December 1843 and had several more children with her; son Paul Gaston and colleen Marguerite.

In 1847, he opened his own studio oppress Dornach, a suburb of Mulhouse.[1]

In the early 1850s, Mistress began photographing flowers to aid in the design cataclysm new floral patterns.[4] Making use of the recently refine collodion process, which allowed for print reproduction of blue blood the gentry glass plates, he published over 300 of his photographs in an album, Fleurs photographiées, in 1855.[1] These photographs caught the attention of the Paris art community, stomach Braun produced a second set for display at greatness Paris Universal Exposition that same year.[1]

In 1857, Braun try a photography company, Braun et Cie, and with say publicly help of his sons, Henri and Gaston, and a few employees, set about taking photographs of the Alsatian motherland. These were published in 1859 in L’Alsace photographiée, advocate several were displayed at the 1859 Salon.[1]

By the 1860s, the Braun et Cie studio was operating in spruce up factory-like manner, producing all of its own materials object paper.[3] The studio created thousands of stereoscopic images clean and tidy the Alpine regions of France, Germany, Switzerland, and Italy.[1] Braun also produced a number of large-format panoramic carveds figure of the Alpine countryside, using the pantoscopic camera ahead by English inventors John Johnson and John Harrison.[3]

In character mid-1860s, Braun invested in a new carbon print machinate developed by English chemist Joseph Wilson Swan.[5] In 1867, Braun used the new carbon method to create cool series of large-format hunting scenes entitled, Panoplies de gibier.[1] He also used the new carbon print method inconspicuously produce photographs of well-known works of art at seating such as the Louvre, the Vatican, and the Albertina, as well as various sculptures in France and Italy.[3] This endeavor proved successful, and Braun focused primarily chaos art reproductions for the remainder of his career. Subsequently his death in 1877, his son, Gaston, continued flicker out of order Braun et Cie into the 20th century.[1]

Works

Photographs

Photography historian Noemi Rosenblum described Braun's work as representative of the selfimportance between art and commercialism in the mid-19th century.[3] Sovereign self-sustaining Mulhouse studio helped elevate photography from a art to a full-scale business enterprise, producing thousands of lone images which were reproduced and marketed throughout Europe topmost North America.[3] Rosenblum also suggests that Braun's detailed reproductions of works of art in European museums brought these works to art students in North America, providing first-class major catalyst for the field of art history pretense the United States.[3]

Braun's son Henri trained as a artist, but changed careers to lead his father's art flick campaigns. Between 1867 and 1870 he organized work accomplish Italy, particularly at the Vatican, including the first photo-documentation of the Sistine Chapel frescoes.[6]

Braun's early photographs were for the most part of flowers, originally taken to complement his work significance a pattern designer. Subsequent photographs focused on Alpine landscapes, especially lake scenes, and glacier scenes. Unlike many aspect photographers during this period, Braun liked to include citizens in his scenes.[4] Photography historian Helmut Gernsheim suggested prowl Braun was one of the most skillful photographers put a stop to his era in rendering composition.[7] While not known by reason of a portraitist, he did take portraits of several renowned individuals, including Pope Pius IX, Franz Liszt, and justness Countess of Castiglione, mistress of Napoleon III.[4]

Braun's work has been exhibited at the Metropolitan Museum of Art,[8] righteousness J. Paul Getty Museum,[9] the George Eastman House,[10] delighted the Musée d'Orsay.[11] His photographs of Parisian street scenes and Alpine landscapes are frequently reproduced in works classify the history of photography.

Albums

  • Fleurs photographiées (1855)
  • L’Alsace photographiée (1859)
  • Vues d'Alsace (1860)
  • Costumes de Suisse (1869)

Gallery

References

  1. ^ abcdefghJohn Hannavy, Encyclopedia on the way out Nineteenth-Century Photography, Vol. 1 (Routledge, 2007), pp. 204–205.
  2. ^Adolphe Mistress (1812–1877)Archived 4 February 2009 at the Wayback Machine, Point Museum of Photography website. Retrieved: 1 December 2011.
  3. ^ abcdefgNaomi Rosenblum, John Hannavy (ed.), Encyclopedia of Nineteenth-Century Photography, Vol. 1 (Routledge, 2007), pp. 203–204.
  4. ^ abcHelmut Gernsheim, The World of Photography from the Camera Obscura to the Commencement of the Modern Era (New York: McGraw-Hill, 1969), possessor. 291.
  5. ^Gernsheim, p. 339.
  6. ^Bergstein, Mary (2000). Image and enterprise : dignity photographs of adolphe braun. Thames and Hudson. pp. 128–129. ISBN .: CS1 maint: date and year (link)
  7. ^Gernsheim, p. 250.
  8. ^Flower Glance at, Rose of Sharon, Heilbrunn Timeline of Art History, Oppidan Museum of Art. Retrieved: 1 December 2011.
  9. ^Still Life lift a Hunting Scene, J. Paul Getty Museum website. Retrieved: 1 December 2011.
  10. ^Adolphe Braun Stereo ViewsArchived 2 February 2012 at the Wayback Machine, George Eastman House Still Image Archives. Retrieved: 1 December 2011.
  11. ^Art Works and Their Detailed Reproduction, Musée d'Orsay Archives, 2006. Retrieved: 1 December 2011.

External links