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Further Reading
Emerson, P. H., Naturalistic Photography for Students of Art,
London: Sampson, Low, Marston, Searle and Rivington, 1889;
rpt. New York: Arno, 1973.
——, The Death of Naturalistic Photography: A Renunciation,
London: privately published, 1895.
Handy, Ellen, “Art and Science in P. H. Emerson’s Naturalistic
Vision.” In Mike Weaver, ed., British Photography in the
Nineteenth Century: The Fine Art Tradition, edited by Mike
Weaver, 181–196, New York: Cambridge University Press,
1989.
Handy, Ellen (ed.), Pictorial Effect Naturalistic Vision: The Pho-
tographs and Theories of Henry Peach Robinson and Peter
Henry Emerson, Norfolk, VA: Chrysler Museum, 1994.
McWilliams, Neil, and Veronica Sekules (eds.), Life and Land-
scape: P.H. Emerson, Art & Photography in East Anglia,
1885–1900, Norwich, England: Sainsbury Centre for Visual
Arts, 1986.
NAYA, CARLO (1816–1882)
Italian photographer and studio owner
Carlo Naya was born at Tronzano di Vercelli in 1816.
He studied law at the University of Pisa. Thanks to an
inheritance, he travelled extensively, visiting the most
important cities in Europe, Asia and Northern Africa.
In 1857 he settled in Venice where he opened a studio
as a photographer. He became very well—known for
his views of the city’s monuments and works of art.
His photographs were sold by Carlo Ponti, a photogra-
pher and seller of engravings and optical instruments.
Naya collaborated with other Venetian photographers
to produce an album of views of Venice in 1866, when
the Venetian Republic was annexed to Italy. He then
opened a studio at Procuratie Nuove which was visited
by artists, scholars and tourists. He took photographs of
Giotto’s frescoes in the Scrovegni Chapel in Padua, in
1864—1865 and in 1867, to document the restoration
works. He won many awards: the Great Medal at the
Universal Exhibition of London (1862); gold medals at
the Exhibitions of Groningen (1869), Trieste and Dublin
(1872). He died in Venice in 1882. His wife, Ida Lessiak,
was left in charge of the studio. She died in 1893 and
her second husband, Antonio Dal Zotto, took over the
atelier. On his death, in 1918, the studio was closed and
the main part of the photographic archive was bought
by the publisher Osvaldo Böhm.
Silvia PaoliNÈGRE, CHARLES (1820–1880)
French photographer and painter
A successful academic painter, Charles Nègre turned to
photography in the 1840s and elaborated an aesthetic of
intimate, highly subjective compositions that suggested
moments seized from everyday life. He produced some
of the fi rst photographic genre studies and street scenes
and sought to imbue the photograph with an emotional
immediacy that contradicted its reputation as a dispas-
sionate product of science. “Photography is not a remote
and barren art,” he explained. “[It] does not destroy the
personal feelings of the artist” (Rouillé, 133).
Nègre was born in Grasse, France on 9 May 1820,
the fi rst of four children to the owners of a confectionery
business. Rather than join the family enterprise, Nègre
embarked on an artistic career, taking drawing lessonsNATURALISTIC PHOTOGRAPHY
Naya, Carlo. Acquedetto di Venezia
(nuova condotta). Cantiere dell’
Argine. Arrangement of the aqueduct
of Venezia.
The J. Paul Getty Museum, Los
Angeles © The J. Paul Getty Museum.