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started studying this subject in the 1940s, in a time when
still very little was written about Brazilian photography.
In 1953, G. Ferrez published an essay entitled “Photog-
raphy in Brazil and its most dedicated user Marc Ferrez
(1843–1923),” a seminal text that inspired Brazilian
historians to investigate further and shape Brazil’s own
history of photography. Since then, and especially in
the last two decades, studies of 19th century photogra-
phy in Brazil have progressed and expanded, with new
achievements in the form of publications and exhibi-
tions, making the public more aware of the country’s
photographic heritage.
Fabio Adler
See Also: Daguerreotype; Hentschel, Alberto;
Mulock, Benjamin; and Ferrez, Marc.
Further Reading
Vasquez, Pedro Karp. “O Brasil na Fotografi a Oitocentista”
(Brazil in the 19th Century Photography). Metalivros, São
Paulo, 2003.
—— “A Fotografi a no Império” (Photography in the Empire).
Jorge Zahar, Rio de Janeiro, 2002.
Kossoy, Boris. “Dicionario Historico-Fotografi co Brasileiro:
Fotografos e Ofi cios da Fotografi a no Brasil.” (Photography
History Dictionary— Photographers and uses of photography
in Brazil 1833–1910). Instituto Moreira Salles, São Paulo,
2002.
do Lago, Pedro Correa. and Rubens Fernandes Junior “O Seculo
XIX na Fotografi a Brasileira” (The 19th Century in the Bra-
zilian Photography) Correa do Lago, São Paulo 2ª Edition,
2001.
Turazzi, Maria Inez “Marc Ferrez.” Cosac & Naify, São Paulo
1ª Edição, 2000.
BRESOLIN, DOMENICO (1813–1899)
Italian painter and photographer
Domenico Bresolin was born in Padua in 1813. His father,
also named Domenico, was a bricklayer. Domenico the
son worked as a decorator and in 1841 enrolled at the
Academy of Fine Arts in Venice. Here he studied with
the architect Francesco Wucovich Lazzari, the painters
Francesco Bagnara and Tranquillo Orsi, the sculptor
Luigi Zandomeneghi. Around 1845 he studied in Flor-
ence with the Hungarian landscape painter Kardis Markò
(1791–1860). During the same period he worked in
Rome, where he showed his paintings in various exhibi-
tions. Subsequently he continued working in Milan and
in Venice as a landscape painter. After 1850 he began to
take photographs using the calotype process and became
famous for the clarity of his positive prints of Venetian
palaces and monuments. His works became known
mainly through Carlo Ponti, the photographer and pub-
lisher of famous Venetian photographers such as Carlo
Naya and Antonio Perini. In 1864 he gave up photography
and began teaching landscape painting at the Academy of
Fine Arts in Venice. In the same year he transferred his
photographic archive to Carlo Ponti. He had many pupils
who later became famous painters, such as Guglielmo
Ciardi, Giacomo Favretto, Alessandro Milesi and Luigi
Nono. Domenico Bresolin died in Venice in 1899.
Silvia PaoliBREUNING, WILHELM (1816–1872)
Friedrich Wilhelm Philipp Breuning was born on Dec.
20, 1816, as the son of a bookseller in Erlangen. After
unfi nished studies he pursued his fi rst career as an actor,
mostly in neighboring cities, like Nuremberg, Bamberg,
and Wuerzburg. He seems to have taken up photogra-
phy in 1843. In 1846, Breuning asked for permanent
residency in the town of Hamburg where he already
had opened a ball room in 1844. According to personal
records, he may have spent a few weeks as an assistant
to Carl Ferdinand Stelzner in 1844. Well known for his
perfect production of daguerreotypes, Breuning was the
fi rst to announce the introduction of the calotype process
in Hamburg. In 1847, W.B. moved to a large studio in
St. Georg, Hamburg, where he stayed until his death on
August 1, 1872. His studio was well kept by his widow
Sophia Auguste until 1895.
Wilhelm Breuning is best remembered for a large
number of daguerreotype images of people of prominence
in Hamburg, e.g. the singer Jenny Lind, a numbered of
famous actors, as well as scientists and visual artists.
Compared to work of his contemporaries, the photogra-
phy look astonishling friendly and well-tempered.
Rolf SachsseBREWSTER, HENRY CRAIGIE
(1816–1905)
Scottish soldier and photographerHenry Craigie Brewster was the youngest son of Sir
David Brewster. A career soldier, he joined the 76th
“Hindoostan” Regiment of Foot in 1833. Brewster ap-
pears to have shared his father’s scientifi c interests, for
he was elected an honorary member of the St Andrews
Literary and Philosophical Society in November 1840.
He is fi rst mentioned in the context of photography in
July 1842 in a letter from Sir David to William Henry
Fox Talbot. In this letter, sent from Leamington Spa,
Sir David mentions that he is about to return to St
Andrews, because his son, “a Captain in the 76th,” has
been granted leave from his regiment.
During this leave, Captain Brewster took part in
the photographic experiments being carried out by the
group of enthusiasts that had gathered around Sir David
at St Andrews—Dr John Adamson, Robert Adamson,