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 W19 Perlove - HISTART 210 History of Photography Study Case 

A portrait of two women; the woman on the left kisses the forehead of the younger woman to the right, who looks down. They both wear draped fabric.
Julia Margaret Cameron
The Kiss of Peace
1869
albumen print | paper
Museum Purchase
1975/1.63
This photograph depicts an older man wearing a three piece suit sitting facing the camera.
Sir David Brewster
1841 – 1842
salted paper print | paper
Museum Purchase made possible by the Friends of the Museum of Art
1988/1.135
A group of soldiers stand and sit in a landscape; some face the camera while others are posed engaged in conversation. Behind them stand several tall trees and between them a tent with the flaps decorated with an American flag. Seated alone to the left is a young African-American man holding a broom.
Mathew Brady
Engineering Corps
1861
albumen print | paper
Museum Purchase
1978/2.31
This photographic negative depicts an older man seated in an interior. His head is turned to the side and he wears a three-piece suit.
Thomas Leverton Donaldson
1843 – 1847
calotype negative | paper
Museum Purchase
1989/1.56
This photograph depicts a view of an old building with three floors of tall, grated windows, a frieze near its roof, topped with three statues. A street runs down the side of the building where there is a church with scaffolding on it.
William Henry Fox Talbot
Part of Queen's College, Oxford
1843 – 1846
salted paper print | paper
Museum Purchase made possible by the Friends of the Museum of Art
1989/1.69
This photogravure is one of a series of photographs by Edward Steichen commissioned by Auguste Rodin of his statue of the French writer Honoré de Balzac. Created at 4:00 a.m., a cloaked and silhouetted figure stands in a misty landscape.
Edward Steichen
Balzac, Towards the Light, Midnight
1908 – 1911
photogravure | paper
Gift of Maxine and Lawrence K. Snider
2012/1.217
A portrait of the scupltor Constanin Brancusi in his studio. 
Edward Steichen
Brancusi in his studio
1925
photogravure | paper
Gift of Frederick P. and Amy McCombs Currier
1988/1.99
This photograph is a portrait of a seated man in a three piece suit. He holds an eye-glass in his right hand. 
Thomas Leverton Donaldson
1843 – 1847
salted paper print | paper
Museum Purchase
1989/1.57
A photograph of a woman sitting on a stoop, leaning her head against a concrete and brick wall. She holds a baby in her lap. A cup of tea and a pitcher sit next to her on the step.
John Thomson
The Crawlers
1876 – 1877
woodburytype | paper
Museum Purchase
1972/2.383
This is a photograph of the mid-late 1930s construction of the Rockefeller Center AP Building in Manhattan.
Paul J. Woolf
Rockefeller Center—Construction of the AP Building
1937
gelatin silver print | paper
Gift of The Morris and Beverly Baker Foundation, in memory of Morris D. Baker, a graduate of The University of Michigan School of Architecture, 1952
2000/2.146
Peter Henry Emerson
Cantley Wherries Waiting for the Turn of the Tide, plate XIV from "Life and Landscape on the Norfolk Broads"
1887
platinum print | paper
Museum purchase made possible by the W. Hawkins Ferry Fund
2002/2.234.1
A photograph of twelve men in a field, wearing hunting gear and holding bows and arrows. In the foreground, a man kneels on the ground while everyone else stands.
Henri Cartier-Bresson
Annual meeting of north Michigan archers, USA
1955 – 1965
gelatin silver print | paper
Gift of Zoe and Yuri Gurevich in honor of Hava Gurevich
2015/2.62

Photography has grown up with modern life: understanding its history requires an understanding of its broad social functions, its integration with everyday experience, and its complex relationships to the history of art and the history of modernity. This course surveys the history of photography from its public debut in 1839 to the present day, and introduces students to the tools needed to interpret its varied uses and meanings. Photography comprises a wide range of technologies and cultural practices. The cultural significance of photographs has historically been centered in their persuasiveness as records, yet the medium has also served, from its inception, as a vehicle for fictions and fantasies. Tracing photography’s evolution as an art form while attending to its operation within fields like science, politics, sociology, journalism and medicine, we will open the persuasive nature of the photograph to closer scrutiny: students will investigate the photograph’s dual status as picture and trace, and learn to read the medium’s history as a continual renegotiation of these properties. Though our topics will be wide-ranging, the course emphasizes art-historical skills as a foundation for a range of methods for photographic interpretation. Students will learn to analyze photographs as pictures, to incorporate visual analysis within historical argument, and to approach the diversity of photographic production from a broad historical perspective. The course will acquaint students with core principles and problems in the history of photography, with a selection of key historical sources and recent scholarly writings on the medium, and with a range of historically significant photographic practices and forms.

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April 17, 2019 12:12 p.m.

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