The Influence Of Photography In The 19th Century

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Photography generated a sentiment of art because it could stop time in a single frame. “The best thing about a picture is that it never changes, even when the people in it do.” (Warhol, 1975) was something stated in Andy Warhol’s loosely formed autobiography. A perfect example of this is the series of prints that were taken by Eadward Muybridge in the 19th century, called The Horse in Motion (Fig 9). These photographs were taken to prove that the horse fully left the ground when it ran. This displayed the beginning of the truth within art, these snap shots of daily life could settle certain debates like, what falls faster between a plate or a glass. There is clear influence from cubist painting within photography, research has found that Pablo Picasso's, Le Guitariste (Fig 10) is similar to another Paul Strand photograph From the Ei, 1915, where the painters were breaking form
Fig 10
Fig 9 while photographers were celebrating form. Looking at the way that photographs and paintings were put together they spoke to one another. We also have the exploration of motion at this time, a comparison of this is by a cubist painter Marcel Duchamp, 1912, Nude Descending The Staircase, No. 2 (Fig 11) This is a cubist painting that represents Muybridge's Nude Descending a Staircase (Fig 12), 1887 which shows an actual movement
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Steiner’s emphasis on the interaction between light and dark comes from Dow's ideas influenced by eastern art, the flat impressionist shapes and colours create something wonderful within Steiners work. Important to Dow's book called Composition, first published in 1899, is the principle of notan which is based on the artistic arrangement of darks and lights as the means of achieving abstract harmonies. "The place in together of masses of dark and light, synthetically related” (Dow and Masheck, 1997) Steiner looked further than any other American photographer of the time in the use of oriental concepts of
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