892
century, by the experience of the newly industrialized
workplace, and by new technologies—the telephone,
telegraph, automobile, phonograph and cinema, made
Marey’s chronophotography appealing to artists who
sought ways of expressing modernity. For Marcel Duch-
amp, Franz Kupka and the Italian Futurists, in particular,
Marey’s chronophotography, both scientifi cally accurate
and lyrically graceful, supplied a language with which
to depict the kinetic and emotional dimensions of the
subject, materialize the forces of the invisible, and give
visible form to speed and dynamism.
Marta Braun
Biography
Born 5 March 1830 in Beaune, Etienne-Jules Marey was
the only child of Marie-Joséphine Bernard and Claude
Marey. A researcher in the physiology of movement,
Marey took up photography in 1882 as a way of expand-
ing his graphic method of recording motion. Marey’s
contributions to medicine—he was a pioneer of cardiol-
ogy—and physiology made him an important fi gure in
the French scientifi c and photographic establishment
. Elected to the Chair of “Organized Bodiesli” at the
Collège de France in 1869 and the Academy of Sciences
in 1878, he became president of that institution and the
Société française de photographie in 1895. He was the
author of more than three hundred scientifi c articles and
seven books. He collaborated with Nadar, the Lumière
family, Ottomar Anschütz, Gustave Eiffel and the avia-
tion pioneer Victor Tatin. Marey died of liver cancer in
Paris 15 May 1904.
See also: Londe, Albert; Chronophotography;
Muybridge, Eadweard James; France; History: 7.
1880s; and Anschütz, Ottomar.
Further Reading
Braun, Marta, Picturing Time: the Work of Etienne-Jules Marey
(1830–1904), Chicago: University of Chicago Press, 1992.
Dagognet, François, Etienne-Jules Marey: A Passion for the
Trace, New York: Zone Books and Cambridge MA.: MIT
Press, 1992.
Frizot, Michel, E.-J. Marey 1830–1904, la photographie du
mouvement [E.-J. Marey 1830–1904, the Photography of
Movement], Paris: Centre national d’art et de culture Georges
Pompidou, Musée national d’art moderne, 1977 (exhibition
catalogue).
Frizot, Michel, Etienne-Jules Marey, Paris: Photo-Poche, Centre
national de la photographie, 1984.
Frizot, Michel, La chronophotographie, temps photographie et
mouvement autour de E.J. Marey [Chronophotography: Time,
Photography and Movement around E.J. Marey], Beaune: As-
sociation des Amis de Marey, 1984 (exhibition catalogue).
Frizot, Michel, Etienne-Jules Marey Chronophotographe
[Etienne-Jules Marey Chronophotographer], Paris: Nathan,
Delpire, 2001.
Leuba, Marion, Marey, pionnier de la synthèse du mouvement
[Marey, Pioneer of the Synthesis of Movement], Beaune:
Musée Marey, Réunion des Musées nationaux, 1995.
Mannoni, Laurent, Etienne-Jules Marey: le memoire de l’oeil
[Etienne-Jules Marey: The Memory of the Eye], Paris : Ciné-
mathèque française, 1999 (exhibition catalogue).
Snellen, H. A., E.-J Marey and Cardiology : Physiologist and
Pioneer of Technology, 1830–1904, Rotterdam: Kooyker,
n.d. (c. 1980).
Snyder, Joel, “Visualization and Visibility” in Picturing Science
Producing Art, edited by Caroline A. Jones, and Peter Galison,
New York and London: Routledge, 1998.MARGARITIS, PHILIPPOS (1810–1892)
Greek photographer
Philippos Margaritas is generally accepted as having
been the fi rst Greek photographer. Born in Smyrna in
1810, he spent his student years in Italy practising paint-
ing. In 1842, he was appointed teacher at the School of
the Arts, where he taught Basic Drawing until 1863.
He was introduced to photography in 1846–47 by the
French photographer Philibert Perraud who visited
Athens and within the next year he experimented with
the new medium using a daguerreotype camera that had
been offered to the School of Arts. In 1849, he opens
the fi rst photographic studio in Greece in the garden
of his house on Klafthmonos Square. His themes were
initially the ancient classical monuments and portraits of
members of the royal court, fi ghters of the Greek War of
Independence, politicians and ladies dressed in regional
costume. Faithful to his training as a painter, Margaritis
coloured over many of his early photographs with great
precision and detail. He often travelled abroad and kept
abreast of the most recent developments in photography.
His frequent travels made it necessary for him to fi nd
a permanent partner for his studio. In 1870, he started
his collaboration with the painter Ioannis Constantinou.
Ten years later, Ioannis Lambakis became the fi rm’s
third partner.
Aliki TsirgialouMARION AND COMPANY
Marion and Company was the largest and most impor-
tant supplier of photographic equipment and material
in Europe during the second half of the nineteenth
century. By 1896, its retail catalogue ran to 135 pages,
listing products that ranged from retouching desks to
trimming knives. The frontispiece proudly declared
that the fi rm had won nine medals for the work it had
exhibited. These included awards at the Exposition Des
Produits De L’Industrie (Paris, 1844), the Exposition
De L’Industrie Francais A Londres (London, 1849) the
Great Exhibition (London, 1851), and the L’Exposition
Universelle (Paris, 1878).
Marion and Company was a French stationary and