1400
the second able to enjoy aesthetically the pleasures of
the landscape. This means that there was a complete
social set of what deserved to be photographed and
what did not, the landscape, coming from 18th cen-
tury painting was a socially constructed one. Some of
these conventions are still important in today’s tourist
photography.
This need for tourism to the most signifi cant parts
of a country came, also, from the idea that the country-
side was soon to disappear under the huge wheels of
the industrial society. To photograph what was about
to disappear, creating a link between past, present and
future, was a duty to photographers. Sir Benjamin Stone
even proposed this to be done systematically, being the
resulting photographs deposited at the British Museum;
some other such attempts were made locally, or in other
countries.
Nationalism, the need for History and the 19th cen-
tury obsession with classifi cation, is all associated with
tourist photography. Tourist photography can be loosely
defi ned as a class experience and one that is dictated
by convention. The socially constructed landscape of
19th century tourist photography came from 18th cen-
tury painting and picturesque notions which continued
through into 20th century tourist photography. Photog-
raphy became an important part of travel and, for some,
the only way of seeing far away places. Perhaps though,
the success of tourist photography came instead from
the need of creating memories of special moments and
the proof of status it gave.
Nuno de Avelar Pinheiro
See also: Great Britain; Spain; Júnior, Christiano; and
Instantaneous Photography.
Further Reading
Adler, Judith, “Origins of sightseeing.” Annals of Tourism Re-
search, 16: 7–29.
Andrews; Malcolm, The Search for the Picturesque, Scolar Press,
London, 1989.
Bailey, Peter, ‘“A mingled mass of perfectly legitimate pleasures”:
the Victorian middle class and the problem of leisure,’ Victo-
rian Studies, 21: 7–2.8
Bate, David, “The occidental tourist: photography and colonizing
vision.” Afterimage (Summer 1992): 11–13.
Bourdieu, Pierre. 1965, Un Art Moyen, Minuit, Paris.
Briggs, Asa, 1989, A Victorian Portrait, Harper and Row, New
York.
Cadenas, Carlos Teixidor, 1999. La Fotografía em Canarias y
Madeira, La época del Daguerroptipo, el Colodión y la Al-
búmina, 1839–1900, Madrid.
Coe, Brian, and Gates, Paul, 1977, The Snapshot Photograph:
The Rise of Popular Photography 1888–1939, Ash and Grant,
London.
Crary, Jonathan, 1990, Techniques of the Observer, On Vision and
Modernity in the Nineteenth Century, MIT Press, Cambridge
Massachussets.
Fabri, Annateresa, Fotografi a, usos e funções no século XIX,
Edusup, São Paulo.
Sousa, Vicente de; Jacob, Neto. 1998, Portugal no 1º Quartel do
Sec. XX documentado pelo Bilhete Postal Ilustrado, Câmara
Municipal de Bragança, Porto, 1991.
Taylor, John, 1994, A Dream of England: Landscape, Photog-
raphy and the Tourist’s Imagination, Manchester University
Press, Manchester and New York.TOURNACHON, ADRIEN (1825–1860)
French photographer
Alban-Adrien Tournachon was born in Paris in 1825
to Victor Tournachon and Thérèse Maillet. He was the
younger brother of Gaspard-Félix Tournachon, better
known as Nadar, a name he adopted in 1838 as his nom
de plume. By the 1840s, Nadar was famous for his cari-
catures and his incendiary writings for leftist Parisian
journals. Nadar let Adrien work at his studio, where he
learned caricature. He soon decided that Adrien should
learn photography and opened a studio that he would
partially own and Adrien would run as the principle
operator. For training, Nadar placed Adrien with Gustave
Le Grey, a photographer known for his landscapes and
his technical skills. Nadar’s friend Louis Le Prévost
funded the studio, which opened in early 1854 at 11
boulevard des Capucines, a fashionable area fi lled with
photography studios. Adrien soon claimed exclusive
credit for the studio, which he decided to run alone.
Like Nadar, Adrien photographed artists, although
he never achieved his brother’s level of success. He is
best known for the physiognomic studies made for Dr.
Guillaume-Benjamin-Armand Duchenne (also known
as Duchenne de Boulogne), a French physiologist and
psychiatrist credited as the founder of electrotherapy, be-
tween 1853 and 1854. The photographs represented the
19th century obsession with mental illness, a subject of
great scientifi c and artistic study. Adrien photographed
patients at the Parisian hospital, Salpêtrière, where
Duchenne worked and Géricault created his studies of
psychological problems. Featured in Duchenne’s 1862
book, Mécanisme de la physionomie humaine, ou anal-
yse élector-physiologique de l’expression des passions
applicable à la pratique des arts plastiques (Mecha-
nism of Human Physiognomy, or Electro-physiological
Analysis of the Expression of the Passions Applicable to
the Practice of the Figural Arts), the photographs illus-
trated various emotional states that Duchenne achieved
through electric shocks that stimulated muscles. Adrien
mainly photographed an elderly male patient, who ex-
pressed reactions including terror, fear, amazement and
displeasure. The photographs refl ected the infl uence of
Positivism, a philosophy based on the Enlightenment
principles of scientifi c analysis and classifi cation that
sought truth through observation and study. Visually