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Architecture Library

Even before the beginning of the nineteenth century, the Western world was experiencing profound social changes that they would forever affect the production methods hitherto practiced, and therefore, in the look was the man to his context and to life itself.

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industrial revolution, inevitably brings with it, the whole modern apparatus of rapid manufacturing in series of mass production and new materials, adaptable to the new speed required not only the production side, the artists want to be just as committed to the new paradigm.

In the field of architecture, and this commitment is faced, the appearance of glass and iron, allowed Paxton, be the tip of the iceberg that subsequently developed into the contemporary modern architecture with the construction of Crystal Pallace for International Fair 1851 in London. As there is also a new material that can be pre-fabricated and transported it in large quantities and quickly for field installation (the "newness" of the material is not a contribution of the nineteenth century, ancient Rome and knew the concrete), the "needs" plastic, would change undoubtedly was only a matter of time for architects to find an aesthetic dialogue between form and material.

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Paxton. Crystal Pallace. International Fair in London (1851). Exterior and interior views

In the field of painting, the subject throws a question to an apparent "enemy" that can replace a tradition of utilitarian character, at least considered so until that time. That perceived threat is the picture.

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Its discovery in 1839, its rapid technical progress, which can reduce the time to pose and last but not least, to achieve greater precision, notably influenced the direction that the painting should be. Many social benefits, rose from the photographer as artist portraits, landscapes, etc..

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What is then the painter's craft at that time? Inevitably suffered a crisis since the paint is raised, as art, to an elite.

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"If the artwork becomes an outstanding product, one may appeal to a limited audience and must have a limited social scope ..."

painting as a work of art will then incomplete art and therefore tend to disappear. The solutions presented for this are twofold: on the one hand claim that art is a spiritual activity that can not be replaced by mechanical means, so that the paint will consider figurative as poetry or literature, a concept of the Symbolists. And secondly, it is recognized that the problem is a vision problem that can only be resolved by clearly defining the difference between the types and functions of the pictorial image and the photographic image, thus raising the already liberated painting from its traditional role "play truth" (Plato would not have taken anything good) and paint "pure" ie through painting procedures, the values \u200b\u200bunattainable by other means. The argument of the Impressionists is situated here, in this second solution.

Symbolism. Puvis de Chavannes. Seaside girls (1879)

Impressionism. Claude Monet. Poppies (1873)

should not be overlooked that also prints the photographer in creating their own aesthetic inclinations and psychological, when you choose a pattern, a light and framing. Therefore, there is no reason to deny that the photographic processes belong to the aesthetic. However, it is wrong to think that photography replaces the painting procedures. Artists such as Courbet, and Toulouse - Lautrec, considered the same as a different art activity, as was the sculpture, a different gear.

Impressionism tends to compete at this time, with the photograph because they are closely linked to social outreach, and also have in common, the instantaneous (the search was to capture the Impressionists perceived image quickly at a certain time of day, with rapid strokes of spotting and the color theories of things).

Stock Monet in his garden at Giverny (1922?) / Monet. The Waterlily Pond (1889)

Painters like Degas and Toulouse, they used the photographs in any way to complete his paintings, these spots warned them that revolutionized in the nineteenth century, refusing to relentlessly work academicism of realist painters.

"In this sense, it is fair to say that photography helped to increase the interest of painters in the show office."

Degas. L'absinthe. Detail (1876) / Toulouse - Lautrec. La danse au Moulin Rouge (1989 - 1990)

worth noting that photographers never intended to compete with the painters. Nadar was a friend of the Impressionists. The first exhibition of these took place in his studio. Nadar was aware that because his technique had not compete with that of Impressionism, for things were different.

Nadar. Portrait of Sarah Bernhardt (1859)

As artistic photography from the late nineteenth century, arguably giving the impression of being primitive and incapable of being herself, and so was the architecture of engineers , quoted with Paxton when he decided to use iron, glass and cement with an "architectural fashion" of the past that had nothing to do with the newness of the material.

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Detail of the dome and into the Gallery Lafayette in Paris (1893)

May Prinsep portrayed as Beatrice Cenci by photographer Julia Margaret Cameron (1870)

"And as it will only be a genuine structural architecture when architects are released of shame to think that your technique is not art, photography equally high aesthetic level is only achieved when the photographers are no longer ashamed of being photographers and non-painters, painting no longer need to make artistic photography and find the source aesthetic value in the intrinsic structure of its own technique. "

- Text taken and adapted from: Argan, Giulio Carlo, Modern art. The Enlightenment to contemporary movements reality and consciousness, Photography, Akal, SA., 2 nd edition, Madrid, 1998 (1991), pp. 71 to 75

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