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close connection between pictorial and photographic
landscape depictions throughout the nineteenth century.
Corot’s paintings, for instance, were a major source of
inspiration for pictorialist photographers such as Peter
Henry Emerson, who applauded Millet and Corot in his
book Naturalistic Photography for Students of the Art
(1893), and Léonard Misonne, who was aptly called the
“Corot of photography.” Many pictures by George Dav-
idson, Alfred Horsley Hinton, Robert Demachy, James
Craig Annan, Hugo Henneberg, Hans Watzek, Theodor
and Oskar Hofmeister, the young Edward Steichen,
and Alfred Stieglitz, among others, refer unmistak-
ably to an impressionist aesthetics, which translated
specifi c motifs such as people engaged in rural labor
or outdoor activities into tonalist studies of transient
elements. Paradoxically, pictorialism presented itself as
the ultimate style of landscape depiction by both evad-
ing and stressing the inherent limitations of landscape
photography. It ignored the infi nite amount of details
and attempted to suggest or to evoke movements and
atmospheric effects, which photography cannot repre-
sent by defi nition. Using a selective focusing to restore
actual optic sensations and capturing the general effect
of landscape, defi nition of form was sacrifi ced to a dif-
fused fi eld of tonal landscape. All kinds of ephemeral
atmospheric effects, such as smoke, haze, mist, or fog,
were rendered in mediating tones. Impressionist motives
such as trees, foliage, streams, and clouds became the
material upon which the artist’s manual infl uence could
be exercised resulting in uniquely crafted gum prints.
Furthermore, by abstracting the landscape, pictorialism
stressed the idea that the landscape and nature itself
possessed an essential character or emotion. No longer
a depiction based on objective observation, pictorialism
presented landscapes of carriers of personal expressions
and feelings. Many pictorialist landscapes evoke a deep
melancholy reminiscent of Symbolism. They seem to
indicate the existence of a spiritual dimension of nature
rather than an Impressionist depiction of the material
world in terms of sensory perception. Also the medium
of photography was considered capable of depicting
landscapes of the mind.
Steven Jacobs
See also: Bisson, Louis-Auguste and Auguste-
Rosalie; Bourne, Samuel; Braun, Adolphe; Cuvelier,
Eugène; Expedition and Survey Photography; Fenton,
Roger; Jackson, William Henry; Imperialism and
Colonialism; Impressionistic Photography; LeGray,
Gustave; Mountain Photography; Nature; O’Sullivan,
Timothy Henry; Painters and Photography;
Robinson, Henry Peach; Russell, Andrew Joseph; Sea
Photography; Sky and Cloud Photography; Watkins,
Carleton; Llewelyn, John Dillwyn; Fenton, Roger;
Wilson, George Washington; Frith, Francis; Turner,
Benjamin Brecknell; Bedford, Francis; England,
William; Robinson, Henry Peach; Bourne, Samuel;
Jackson, William Henry; Russell, Andrew Joseph;
Watkins, Carleton Eugene, O’Sullivan, Timothy
Henry, Caneva, Giacomo; Lemercier, Lerebours &
Bareswill; Ruskin, John; Sommer, Giorgio; Jones,
Calvert Richard; Greene, John Beasly; Alinari,
Fratelli; Martens, Friedrich; Leon, Moyse & Levy,
Issac, Ferrier, Claude-Marie, and Charles Soulier;
Bisson, Louis-Auguste and Auguste-Rosalie; le Gray,
Gustave, Baldus, Édouard; and Emerson, Peter Henry.Further Reading
Bright, Deborah, “Souvenirs of Progress: The Second-Empire
Landscapes.” In Image and Enterprise: The Photographs
of Adolphe Braun,edited by Maureen C. O’Brien & Mary
Bergstein. London: Thames & Hudson, 2000.
Challe, Daniel & Bernard Marbot, Les photographes de Barbi-
zon: La forêt de Fontainebleau. Paris: Bibliothèque nationale,
1991.
Chlumsky, Milan, “Une victoire des Bissons: la conquête du mont
Blanc.” In Les Frères Bisson photographues: de fl èche en cime
1840–1870. Paris: Bibliothèque nationale de France, 1999.
Osborne, Peter D., Travelling Light: Photography, Travel, and
Visual Culture. Manchester: Manchester University Press,
2000.
Sampson, Gary D., “Photographer of the Picturesque: Samuel
Bourne.” In India Through the Lens: Photography 1840–1911.
Munich: Prestel, 2000.
Snyder, Joel, “Territorial Photography.” In Landscape and Power,
edited by William J.T. Mitchell. Chicago: Chicago University
Press, 1994.
Szarkowski, John. American Landscapes: Photographs from the
Collection of the Museum of Modern Art. New York: Museum
of Modern Art, 1981.
Taylor, John. Landscape, Photography and the Tourist Imagina-
tion. Manchester: Manchester University Press, 1994.
Zanier, Italo. Le Grand Tour in the Photographs of Travelers of
the 19th Century. Venice: Canal Editions, 1997.LANGENHEIM, FRIEDRICH (1809–1879)
AND WILHELM (1807–1874)
The Langenheim brothers, Ernst Wilhelm, and Friedrich,
were born in Braunschweig in Germany, and emigrated
to America, Friedrich in the early 1830s—probably
around 1834—and Wilhelm probably c.1840. Sometime
after arriving in America, they both anglicised their
names, becoming known as Frederick and William.
William is known to have studied for a law degree in
Gottingen, Germany, before emigrating to America and
settling in Texas where he helped establish a settlement
near San Antonio. He served in the army during the
Texan War of Independence (1835–36) under General
Sam Houston, and despite escaping from San Antonio
just days before the fall of the Alamo, was captured
and imprisoned for eleven months at Matamoras by
the Mexicans. After being released, he is believed to