scholarly journals A BRIEF HISTORY OF COMPOSITE PORTRAITS IN PHOTOGRAPHY

2021 ◽  
Vol 9 (57) ◽  
Keyword(s):  
Nineteenth Century ◽  
Layered Structure ◽  
Digital Photography ◽  
Child Labour ◽  
Family Tree ◽  
Historical Process ◽  
History Of ◽  
Francis Galton ◽  
Adams Family ◽  
Image Production

The composite photography technique, invented by Francis Galton in the last quarter of the nineteenth century, took its legacy from the new photography techniques that began to appear in the years immediately after the invention of photography. New perspectives affecting the photographs of that period and new image production greatly contributed to the development of this technique. The multi-layered structure that Galton used in his technique created a striking structure that lacked clarity and this technique has been used by many artists today. The composite portrait productions realized by the artists with the help of analog / digital techniques both challenge the photographic reality and combine innovation and art like the nature of composite photography. Galton's work on technique constitutes a highly developed field of photography practice through digital photography today. The traces of the multi-layered effect Galton created through photographic portraits are seen in the works like Lewis Hine's child labour, Ludwig Wittgenstein's family portrait, Wanda Wulz's cat portrait, William Wegman's family combinations, and Nancy Burson's composite portrait studies in the 1980s, Thomas Ruff's Andere Portrait, Booby Neel Adams' 'Family Tree' project, Daniel Gordon's collages, Ken Kitano's' Portraits of Our Face', and Idris Khan's' Nicholas Nixon's Brown Sisters', and these photos are important for the study. The spirit circulating in the layers of Galton's portraits has changed both aesthetically and technically through analog / digital techniques, shifting to a more unifying and compiling dimension. This article aims to investigate the effect of Francis Galton's photography technique on portrait work in the historical process. Keywords: Photography, art, portrait, composite photography

scholarly journals Learning to Labour: “Native” Orphans in Colonial India, 1840s–1920s

2019 ◽  
Vol 65 (1) ◽  
pp. 15-42
Author(s):  
Soni
Keyword(s):  
Nineteenth Century ◽  
State Power ◽  
Child Labour ◽  
The State ◽  
Early Nineteenth Century ◽  
Colonial India ◽  
The Gaze ◽  
History Of ◽  
State Actors ◽  
Poor Children

AbstractTo this day, the history of indigenous orphans in colonial India remains surprisingly understudied. Unlike the orphans of Britain or European and Eurasian orphans in the colony, who have been widely documented, Indian orphans are largely absent in the existing historiography. This article argues that a study of “native” orphans in India helps us transcend the binary of state power and poor children that has hitherto structured the limited extant research on child “rescue” in colonial India. The essay further argues that by shifting the gaze away from the state, we can vividly see how non-state actors juxtaposed labour and education. I assert that the deployment of child labour by these actors, in their endeavour to educate and make orphans self-sufficient, did not always follow the profitable trajectory of the state-led formal labour regime (seen in the Indian indenture system or early nineteenth-century prison labour). It was often couched in terms of charity and philanthropy and exhibited a convergence of moral and economic concerns.

The Founding Fathers of Sociology: Francis Galton, Adolphe Quetelet, and Charles Booth: Or What Do People You Probably Never Heard of Have to Do with the Foundations of Sociology?

2009 ◽  
Vol 3 (2) ◽  
pp. 63-72 ◽  
Author(s):  
James D. Wright
Keyword(s):  
Nineteenth Century ◽  
Applied Sociology ◽  
History Of Sociology ◽  
Founding Fathers ◽  
The Past ◽  
History Of ◽  
Francis Galton ◽  
Parent Discipline ◽  
Social Reformers

The theme of the 2008 meeting of the Association for Applied and Clinical Sociology was “Engaging Sociology: Applied Sociology's Past, Present, and Promise.” The theme suggests that applied sociology has a past that is different from the parent discipline of sociology, and given how the history of sociology has come to be taught and remembered, that is an understandable suggestion. The argument of this paper, however, is that the discipline of sociology itself—as it is actually practiced today—originated mainly in applied work, in the work of nineteenth century social reformers whose contributions to the field have been largely forgotten, people such as Francis Galton, Adolphe Quetelet, and Charles Booth. These, I argue, are the Founding Fathers of the discipline as I have practiced it for the past thirty-five years.

Migrations to Mexico City in the Nineteenth Century: Research Approaches

1975 ◽  
Vol 17 (1) ◽  
pp. 27-42 ◽  
Author(s):  
Alejandra Moreno Toscano ◽  
Carlos Aguirre Anaya ◽  
Translator Marjorie Urquidi
Keyword(s):  
Nineteenth Century ◽  
Mexico City ◽  
Social Groups ◽  
Historical Analysis ◽  
Social Changes ◽  
Historical Trends ◽  
Population Movements ◽  
Historical Process ◽  
History Of ◽  
Migratory Movements

The persistence of certain migratory movements has engendered a growing interest in their historical process. In the case of Mexico City, some recent studies have called attention to the existence of structures and historical trends which help explain contemporary migration (Bataillon, 1972).A study of the history of migrations makes possible precise observations on the mass population movements produced by great social changes. These changes, in turn, can be studied through an analysis of their effects. Historical analysis will certainly focus on migration as a phenomenon that affects social groups, because the documents—generally indirect—that record these movements throw more light on their causes than on individual motivations. This paper only points to some ways in which these movements might be analyzed, using as sources the municipal padrones (population registers) and censuses of the nineteenth century, which include information on places of origin. (A complete list of the padrones of Mexico City in the nineteenth century is given in Aguirre and Sánchez de Tagle, 1972.)

A history of some fruit models in wax and other materials: scientific teaching aids and courtly table decorations

2003 ◽  
Vol 30 (2) ◽  
pp. 299-316 ◽  
Author(s):  
Hans-JüRgen Lechtreck
Keyword(s):  
Nineteenth Century ◽  
Fruit Trees ◽  
Visual Aids ◽  
Early Nineteenth Century ◽  
Teaching Aids ◽  
Scientific Teaching ◽  
Glass Marble ◽  
History Of ◽  
By Products ◽  
Wax Models

Two early nineteenth century texts treating the production and use of wax models of fruit reveal the history of these objects in the context of courtly decoration. Both sources emphasise the models' decorative qualities and their suitability for display, properties which were not simply by-products of the realism that the use of wax allowed. Thus, such models were not regarded merely as visual aids for educational purposes. The artists who created them sought to entice collectors of art and natural history objects, as well as teachers and scientists. Wax models of fruits are known to have been collected and displayed as early as the seventeenth century, although only one such collection is extant. Before the early nineteenth century models of fruits made from wax or other materials (glass, marble, faience) were considered worthy of display because contemporaries attached great importance to mastery of the cultivation and grafting of fruit trees. This skill could only be demonstrated by actually showing the fruits themselves. Therefore, wax models made before the early nineteenth century may also be regarded as attempts to preserve natural products beyond the point of decay.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

Correspondence between Adolphe Brongniart and Robert Schomburgk: trading natural history collections for honours

2002 ◽  
Vol 29 (3) ◽  
pp. 333-336
Author(s):  
PIOTR DASZKIEWICZ ◽  
MICHEL JEGU
Keyword(s):  
Nineteenth Century ◽  
Natural History ◽  
Dominican Republic ◽  
Southeast Asia ◽  
Herbarium Specimens ◽  
British Guiana ◽  
Natural History Collections ◽  
History Of ◽  
Source Of Information ◽  
German Naturalist

ABSTRACT: This paper discusses some correspondence between Robert Schomburgk (1804–1865) and Adolphe Brongniart (1801–1876). Four letters survive, containing information about the history of Schomburgk's collection of fishes and plants from British Guiana, and his herbarium specimens from Dominican Republic and southeast Asia. A study of these letters has enabled us to confirm that Schomburgk supplied the collection of fishes from Guiana now in the Laboratoire d'Ichtyologie, Muséum National d'Histoire Naturelle, Paris. The letters of the German naturalist are an interesting source of information concerning the practice of sale and exchange of natural history collections in the nineteenth century in return for honours.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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