82
Claudet, Antoine-François-Jean; Reade, Joseph
Bancroft; Dallmeyer, John Henry & Thomas Ross;
Emerson, Peter Henry; Helmholtz, Hermann Ludwig
Ferdinand von; Cameron, Julia Margaret; Zola,
Emile; Allegorical Photography; Hinton, Alfred
Horsley; Hartmann, (Carl) Sadakichi (Sydney Allan);
Evans, Frederick H.; Brotherhood of the Linked
Ring; Platinum Print; Albumen Print; Photogravure;
Salted Paper Print; Gum Print; Demachy, (Léon)
Robert; Dry Plate Negatives: Gelatine; Snapshot
Photography; Stieglitz, Alfred; Royal Photographic
Society; Hollyer, Frederick; Charles Constant Puyo,
Émile Joachim Constant; and Pictorialism.
Further Reading
Chiarenza, Carl, “Notes on Aesthetic Relationships between
Seventeenth-Century Dutch Painting and Nineteenth-Century
Photography,” in One Hundred Years of Photographic History:
Essays in honor of Beaumont Newhall, ed. Van Deren Coke,
Albuquerque: University of New Mexico Press, 1975.
Crary, Jonathan, “Modernizing Vision,” from Vision and Visuality,
ed. Hal Foster, New York: Dia Art Foundation, 1988.
Cole, Thomas, “Essay on American Scenery” [1836], in Art in
Theory 1815–1900, eds. Charles Harrison and Paul Wood,
Oxford: Blackwell, 1998.
Davison, George, “Our Printing Processes,” Photography, Vol.
3, no. 157 (12 November 1891).
Eastlake, Elizabeth, “Photography,” Quarterly Review, Vol. 101,
no. 202 (1857).
Emerson, Peter Henry, Naturalistic Photography for Students of
the Art, London: Sampson Low, Marston, Searle, Rivington,
1889.
Emerson, Ralph Waldo, “Nature,” and “Beauty” [1836] in
Nineteenth-Century Theories of Art, ed. Joshua C. Taylor,
Berkeley: University of California Press, 1987.
Hamerton, Philip Gilbert, “The Relation between Painting and
Photography” [1860], in Thoughts About Art, Boston: Roberts
Brothers, 1871.
Horsley Hinton, Alfred, “Individuality—Some Suggestions for
the Pictorial Worker,” The Photographic Times, Vol. 1, no.
31 (January 1899).
Janis, Eugenia Parry, “Photography,” The Second Empire: Art
in France under Napoléon III, Philadelphia: Philadelphia
Museum of Art, 1978.
Kemp, Martin, The Science of Art: Optical themes in western art
from Brunelleschi to Seurat, New Haven and London: Yale
University Press, 1990.
Kiefer, Geraldine Wojno, “The Leitmotifs of Camera Notes,
1897-1902,” History of Photography, Vol. 14, no. 4 (1990).
Maskell, Alfred, “The Claims of Photography to Recognition as
Art,” Journal of the Camera Club, Vol. 5, no. 60 (1891).
Muther, Richard, “The Japanese,” The History of Modern Paint-
ing, Vol. 2, London: Henry, 1896.
Peterson, Christian A., “American Arts and Crafts, The Photo-
graph Beautiful, 1895–1915,” History of Photography, Vol.
16, no. 3 (1992).
A Photographic Vision: Pictorial Photography, 1889–1923, ed.
Peter C. Bunnell, Salt Lake City: Peregrine Smith, 1980.
Robinson, Henry Peach, Pictorial Effect in Photography, London:
Piper and Carter, 1869.
Ruskin, John, Modern Painters, Vol. 1 [1843], Stones of Venice,
Vol. 2 [1853], and The Elements of Drawing [1857], in The
Works of John Ruskin, eds. E. T. Cook and Alexander Wed-
derburn, London: George Allen, 1903–12.
Sully, James, “Art and Vision,” Royal Institution lectures, reported
in The Artist, Vol. 1, no. 7 (1880). “The undefi nable in art”
[Cornhill Magazine, 1878], discussed in Flint, Kate, The Vic-
torians and the Visual Imagination, Cambridge: Cambridge
University Press, 2000.
Sutton, Thomas, editorial, ‘Artistic Positive Printing,’ Photo-
graphic Notes, Vol. 5, no. 90 (1860).
Taylor, John Traill, ‘Popular Notes on Photographic Lenses.
Part II—Landscape Lenses,’ paper given at the Photographic
Society of Scotland, reprinted in the Photographic Journal,
Vol. 9, no. 144 (1864), 27.
White, Gleeson, editorial, “Is the Camera the Friend or Foe of
Art?” The Studio, Vol. 1, no. 3, June 1893.ART UNION
The Art Union was a monthly periodical that began
publication on 15 February 1839, priced at 8d. It was
the fi rst journal to be specifi cally devoted to the fi ne
arts, and held a pre-eminent position for most of the
century. Only 750 copies of the fi rst issue were printed,
but for most of the 1840s circulation was around 7,000
an issue. In 1849, the periodical changed its name to
the Art Journal.
The advent of the Art Union was keyed into an
increasing public interest in both Old Masters and
contemporary British art. Its success also refl ects the
enormous growth in the market for prints that were
sought after by an expanding and affl uent middle class.
Indeed, the origins of the journal stem from a meeting
between Samuel Carter Hall, its editor between 1839 and
1880, and the well known London printseller, Thomas
Hodgson. The preface to the fi rst volume declared that
journal’s aim was to “communicate to Artists, from
every available source, intelligence in which they are
interested, and, at the same time, contain such profes-
sional information as might be supplied by persons of
matured experience.” Notable contributors included
William Rosseti, John Ruskin, George Bernard Shaw
and Sir Charles Eastlake.
An important characteristic of the Art Union was
its interest in decorative, ornamental and industrial art.
As such, during the 1840s and 1850s, the Art Union
regularly reported on the progress of photography and
enthusiastically reviewed of the annual exhibition of
the Photographic Society of London. Its accounts do
not contain the same scientifi c details as the Athenaeum
or Notes and Queries, but they do express the changing
aesthetic status of the medium.
The most signifi cant photographic event involving
the Art Union took place in June 1846, when every is-
sue included a specimen calotype by Henry Fox Talbot.
The accompanying editorial declared that “This will be
a great boon to our readers, many of whom, although
they have heard much of the wonderful process, have