“Le Noyé” and “Construction Worker, Paris” in Hippolyte Bayard and the Invention of Photography
Jillian Lerner, “Le Noyé [The Drowned Man]” and “Construction Worker, Paris” in Hippolyte Bayard and the Invention of Photography, edited by Karen Hellman and Carolyn Peter. Los Angelos, CA: The J. Paul Getty Museum, 2024.
Book information:
The first English-language volume about Hippolyte Bayard, one of the inventors of photography who helped transform the burgeoning medium into an art form.
Hippolyte Bayard (1801–1887) is often characterized as an underdog in the early history of photography. From the outset, his contribution to the invention of the medium was eclipsed by others such as Louis-Jacques-Mandé Daguerre (1787–1851) and William Henry Fox Talbot (1800–1877). However, Bayard had an undeniable role in the birth of photography and its subsequent evolution into a form of art. He was a pioneer in artistic style, innovator in terms of practice, and teacher of the next generation of photographers.
Alongside an exploration of Bayard’s decades-long career and lasting impact, this volume presents—for the first time in print—some of the earliest photographs in existence. An album containing nearly 200 images, 145 of those by or attributed to Bayard, is among the Getty Museum’s rarest and most treasured photographic holdings. Few prints have ever been seen in person due to the extreme light sensitivity of Bayard’s experimental processes, making this an essential reference for scholars and enthusiasts of the very beginning of photography.
Edited by Karen Hellman and Carolyn Peter, with contributions by Éléonore Challine, Paul-Louis Roubert, Paul Mpagi Sepuya, Art Kaplan,Tania Passafiume, Jillian Lerner, Anne McCauley, Anne de Mondenard, Nancy B. Keeler, Michel Frizot, James A. Ganz, Sarah Freeman and Ronel Namde, Luce Lebart, and Anne Lacoste. This volume is published to accompany an exhibition at the J. Paul Getty Museum from April 9 to July 7, 2024.
For more information: https://shop.getty.edu/products/hippolyte-bayard-and-the-invention-of-photography-978-1606068939
2024-2025 Work Learn – Student Job Openings
Complement your studies in Art History and Visual Art this academic year through a paid Work Learn position in the Department of Art History, Visual Art and Theory (AHVA). The department has several Work Learn opportunities that support the research and operations of AHVA, and are open to all eligible UBC students.
For more information and to apply please see the full job postings, application requirements, and deadlines at UBC Career Services: https://students.ubc.ca/career and click on CareersOnline.
All positions are now live on CareersOnline until August 19, 2024
Darkroom Assistant (Job ID: 980002)
Gallery Monitor & Exhibition Assistant (Job ID: 979095)
New Media Technical Assistant (Job ID: 978779)
Photo Digital Assistant (Job ID: 979072)
Printmaking Studio Assistant (Job ID: 979244)
Visual Resources Project Assistant (Job ID: 979108)
Workshop Assistant (Job ID: 980610)
Creative Play Researcher (Job ID: 978747)
Artwork Database Project Assistant (Job ID: 978706)
Indigenous Art Toolkit Project Assistant (Job ID: 979522)
Positions will remain open until filled, but please apply ASAP! It is anticipated that many of the studio positions will not be filled until September.
“The Freedom to Work” in Mary Cassatt at Work
Nicole Georgopuluos, “The Freedom to Work” in Jennifer A. Thompson and Laurel Garber, Mary Cassatt at Work. Philadelphia, PA: Philadelphia Museum of Art, 2024.
Book Information:
A new study of Mary Cassatt that explores the centrality of work to both her inventive technical practice and her distinctive approach to modern subjects.
In her sensitive depictions of the social, intellectual, and professional lives of modern women, Mary Cassatt (American, 1844–1926) often emphasized the work involved in the undervalued sphere of feminized activity. From her renowned portrayals of women and children that foreground the labor of caregiving—whether performed by hired help or mothers—to her representations of the myriad activities of bourgeois femininity in scenes of embroidering, theatergoing, and reading, her subjects are deeply engaged, and often engrossed, in what they are doing.
Highlighting Cassatt’s attention to women’s roles in the making of modern life, this study connects her recurring subjects and rigorous techniques to her own understanding of her status as a professional artist. Rather than inspiration, genius, or sentiment, it was intense effort that Cassatt most identified with, which resulted in an ever-evolving style that left the labors of art-making visible. Mary Cassatt at Work brings together more than 130 paintings, pastels, drawings, and prints to reveal what the artist referred to as her “hard work” and “effort upon effort.” Drawing on previously unpublished letters, Cassatt family correspondence, and groundbreaking insights from technical examination of her works, Cassatt’s carefully constructed professional identity is placed within the wider social context of Parisian modernity.
For more information: https://store.philamuseum.org/mary-cassatt-at-work/