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interesting, the works show chiaroscuro and a baroque
use of space. Attribution is generally given exclusively
to Adrien, who signed the works “Nadar jeune,” as his-
torians are unable to fi nd evidence that Nadar worked
on these images. Two works signed “Nadar jeune” were
found in Duchenne’s own collection and in his text,
Duchenne wrote “Monsieur Adrien Tournachon, whose
skill as a photographer is known to all the world, kindly
contributed his talent by shooting a few of the pictures
in this scientifi c portion.”
Yet despite this commission, Adrien’s studio was not
successful. By mid-September 1854, Nadar returned
to the studio and the brothers worked together. By this
time, Nadar was trained in photography and had access
to supplies, chemicals and studio equipment, in addition
to celebrated and wealthy clients. During the period of
1854–1855, the brothers collaborated on portraits of
Ernesta Grisi (the wife of Théophile Gautier), Alfred
de Vigny, Edmond and Jules de Goncourt, and Gérard
de Nerval. Although the subjects were photographed in
Adrien’s studio, the photographs have a psychological
dimension more associated with Nadar.
The most famous images the brothers made were
the series featuring the character Pierrot, as played by
Nadar’s friend, the mime Charles Deburau fi ls. It is un-
clear what each brother contributed to the photographs.
In one image, Pierrot is shown holding pieces of paper
that said “ad. Tournachon” and “nadar j,” both in refer-
ence to Adrien, as was the stamp “TOURNACHON 11
Boule. des Capucines,” Adrien’s fi rst signature and the
studio where he and Nadar worked. The photographs
also refl ected Adrien’s physiognomic studies, printing
technique and his larger, 12 × 9½ inch plates. However,
their expressive, theatrical quality connects the worksTOURNACHON, ADRIEN
Tournachon, Adrien. Self-Portrait.
The Metropolitan Museum of Art,
Gilman Collection, Purchase, The
Horace W. Goldsmith Foundation
Gift, 2005 (2005.100.44) Image © The
Metropolitan Museum of Art.