37
tive-positive paper photography to be known throughout
Europe and he chose Amici to be one of the Italian
scholars that he would entrust examples of his work to.
In 1822 Talbot, after seeing examples of Amici’s work,
requested that Amici design a refl ecting microscope for
him; then, shortly afterwards, a microscope micrometer.
Talbot’s work was promoted in Florence by Amici and
Talbot’s sisters, Caroline and Horatia, in the 1840’s, in
Talbot’s absence. As a result of Amici’s friendship with
Talbot’s sisters, Talbot’s work gained the recognition he
desired without his presence. In 1840 Amici devised an
oil-immersion system that improved the optical aberra-
tions found in microscopy. He then went on in 1855 to
improve on this with his water immersion lens.
Jo Hallington
ANDERSON, JAMES (1813–1877)
British photographer of architecture and works of
art
Part of a famous dynasty of photographers in Rome,
after Alinari and Brogi in Florence, Anderson is known
for his architecture views and reproductions of works
of art. Born in England, Isaac Atkinson studied in Paris
and got installed in Rome in 1838. He took the name
of James Anderson the year after. He certainly began
photography in 1845 and joined the group headed by
Greco’s. He sold his photographs in Joseph Spithover’s
bookshop situated 85, Piazza di Spagna.
Anderson contributed in 1857 to an album entitled
Rome containing fourteen of his views. Two years after,
he published a catalogue counting four hundred and fi fty
photographs. He took part in photographic exhibitions
in Scotland in 1857 and in London in 1862. His images,
well contrasted and clearly composed, gave a new vision
of the city, far from picturesque, and closer to archi-
tectural layout and documentation. Very appreciated,
Anderson is one of the fi rst professional photographer
active in the Peninsula. His son Domenico took back
the fi rm successfully. In the 1930s, Anderson counted
40,000 negatives, but the activity stopped in 1960. The
archives were bought in 1963 by Earl Cini who thus
gathered Anderson to the Alinari collections.
Laure BoyerFurther Reading
Le Pelley Fonteny, Dominique. Adolphe Giraudon, une biblio-
thèque photographique, 2005, 72–73.
Ritter, Dorothea. Rom 1846–1870: James Anderson und die
Maler-Fotografien, Sammlung Siegert, Heidelberg, Ed.
Braus, 2005.
———. Rome 1850, le cercle des artistes photographes du café
Greco, Electa, Rome, 2004, 36, 176.ANDRIEU, JULES (active 1850s–1880s)
French photographer
The term “Paris Commune” (La Commune de Paris)
originally referred to the government of Paris during the
French Revolution. However, the term more commonly
refers to the socialist government that briefl y ruled Paris
from 18 March (more formally from 26 March) to 28
May 1871.
The photographs made by approximately a dozen
French photographers such as Andrieu during the Paris
Commune of 1871 focus on the architectural ruins in
Paris left in the wake of these confl icts. These images,
especially Andrieu’s are void of human fi gures or signs
of life, and appear today as compelling representations
of destruction and loss.
Because photography could sometimes be a form of
objective documentation, this medium served as a means
of propaganda, which generally denounced the reprisals
against the communards. From 1871 on, ‘collections’ of
demolished buildings were published: the Hôtel de Ville,
and the Tuileries, etc. Various Parisian photographers
such as Jules Andrieu traveled around Paris during the
events to take photographs of the unfolding events.
Andrieu was a photographer-craftsmen and laboratoryAnderson, James. “L’arc de Setime Severe au Velabre, Nomme
L’arc des Orfevres.”
Courtesy: The J. Paul Getty Museum, Los Angeles. © The J.
Paul Getty Museum.