Exhibitions/ Art Object

[Standing Male Nude]

Unknown (French)
ca. 1856
Salted paper print from collodion glass negative
43.4 x 28.4 cm (17 1/16 x 11 3/16 in.)
Credit Line:
Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; Edwynn Houk and Hans P. Kraus Jr., Alfred Stieglitz Society, Robert Mapplethorpe Foundation, Anonymous, Adam R. Rose and Peter R. McQuillan, Joseph M. Cohen, Susan and Thomas Dunn, Kurtz Family Foundation, W. Bruce and Delaney H. Lundberg, Christian Keesee Charitable Trust, and Robert A. Taub Gifts; and Funds from various donors, 2012
Accession Number:
Not on view
The original impulse behind these boldly ambitious figure studies may have been to aid a painter or sculptor, but they are nonetheless without parallel in the early history of photography. Enlarged to the size of drawn académies—drawings of the live model that were a standard part of art instruction in France—their scale alone sets them apart from the more modest productions of Vallou de Villeneuve, Durieu, and other artists of the 1850s. More unusually, the images are interrupted by a surface pattern that gives the impression that the photographs are printed on finely pleated silk rather than paper—likely the result of a technical error. Instead of wiping clean his glass-plate negatives and starting over as virtually all other photographers would have done, this artist recognized that the pattern created a veil that, like time or memory, removed the images from their merely utilitarian purpose and elevated them from the mundane to the realm of art.
Just as the eye and mind may be pleasantly torn between bravura brushwork and the ostensible subject of a painting, there is a tension here between the beauty of the subject—the elegant female draped in gossamer; the strict profile and geometric setting of the male—and the visible traces of their creation, such as the flowing surface pattern and the strong vignetting of the female, which suggests a view spied through a peephole.
Inscription: Inscribed in pencil on mount, recto TLC [sideways]: "12 [or 21]"; recto TR [sideways]: "Chicago no. 220"; recto BR: "Expos. Orsay Invention d'un Regard 1989"; [2012.62b adhered to verso]
[...]; Albert Gilles, France; Marie-Thérèse and André Jammes, Paris; (Sotheby's Paris, March 21, 2002, lot 113); Michael P. Mattis, New York; [Edwynn Houk Gallery and Hans P. Kraus Jr. Fine Photographs, New York]

Hans P. Kraus Jr. Fine Photographs. "l'Album Simart".

Art Institute of Chicago. "Niepce to Atget, The First Century of Photography, from the Collection of André Jammes," October 16, 1977–January 15, 1978.

Musée d'Orsay. "L'invention d'un regard," October 2, 1989–December 31, 1989.

Bibliothèque Nationale de France. "L'Art Du Nu au XIXe Siècle: Le Photographe et Son Modèle," October 14, 1997–January 18, 1998.

The Metropolitan Museum of Art. "Naked before the Camera," March 27, 2012–September 9, 2012.

Jammes, Marie-Thérèse and André. Niepce to Atget: The First Century of Photography: From the Collection of André Jammes. Chicago: Art Institute of Chicago, 1977. no. 82, pp. 55.

Galassi, Peter. Before Photography: Painting and the Invention of Photography. New York: Museum of Modern Art, New York, 1981.

Aubenas, Sylvie. L'Art du nu au XIXe Siècle: Le Photographe et Son Modèle. Paris: Bibliothèque Nationale de France, 1997. p. 148–149, variants from same album.

The Museum of Modern Art, New York, has an earlier print of this same model (58.1989). This is the only known first-generation print of the enlargements in the "Simart Album".
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