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CMA: Photography

@cmaphotography.bsky.social

Sharing public domain works from the Photography department of the Cleveland Museum of Art. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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CMA: Photography @cmaphotography.bsky.social · 7h ago

Camera Work: Mrs. Rigby https://clevelandart.org/art/1995.199.28.e

Camera Work: Mrs. Rigby

CMA: Photography @cmaphotography.bsky.social · 9h ago

Camera Work: A Model https://clevelandart.org/art/1995.199.16.b

Camera Work: A Model

CMA: Photography @cmaphotography.bsky.social · 13h ago

Camera Work: Toucques Valley https://clevelandart.org/art/1995.199.16.a

Camera Work: Toucques Valley

CMA: Photography @cmaphotography.bsky.social · 16h ago

By the Window https://clevelandart.org/art/1980.132

By the Window

CMA: Photography @cmaphotography.bsky.social · yesterday

Scots Guards at Edinburgh Castle https://clevelandart.org/art/1987.17

Painted group portraits required each individual to sit for the artist, whereas the camera captured a detailed likeness of each face at once. Photography became an incredibly useful tool for artists tasked with producing group portraits. It was Hill’s desire to paint a contemporary historical event requiring the accurate depiction of more than 450 ministers that led him to contact Adamson, who had just become Edinburgh’s first professional photographer making paper prints. This portrait shows members of the 42nd Gordon Highlanders unit of the Scots Guards.

CMA: Photography @cmaphotography.bsky.social · yesterday

Elizabeth Rigby, later Lady Eastlake (1809-1893) https://clevelandart.org/art/1987.16

Among the earliest photographers to explore both the artistic and societal possibilities of the portrait were the painter David Octavius Hill and engineer Robert Adamson, partners for just three years before Adamson’s death. Elizabeth Rigby<em>,</em>seen here at age 35, went on to marry Sir Charles Eastlake and, in 1857, to write one of the first histories of photography as a fine art. James Nasmyth, an engineer who developed the steam hammer, holds a compass. Hill and Adamson often shot outdoors because bright sunlight allowed shorter exposure times. They subordinated the background in shadow and bathed the important details of the face and finery in areas of light.

CMA: Photography @cmaphotography.bsky.social · 2d ago

Landscape with Seated Figure on Stream Bank https://clevelandart.org/art/1999.51

Flooded with bright light and enveloped in deep shadows, this romantic landscape is the remarkable achievement of the early French photographer Chauvassaignes, about whom little biographical information is known. His mastery of composition and technique reveals itself in this picturesque composition of water, stream banks, trees, and foliage, evoking a feeling of great tranquility. Inspired by the compositions of paintings and lithographs, Chauvassaignes exploited the inherent characteristics of the paper negative, enabling him to subordinate details while emphasizing the effects of light and shadow. The idyllic view, contemplated by a solitary seated gentleman, recedes into deep space through flickering sunlight and leafy boughs. A photographer with a trained and sophisticated eye, Chauvassaignes conveyed an uncommon intimacy in this forest landscape, a favorite subject of mid 19th-century artists.

CMA: Photography @cmaphotography.bsky.social · 2d ago

Cinnabar Mountain, Devil Slide https://clevelandart.org/art/1993.217

A gifted photographer, both aesthetically and technically, Haynes skillfully composed the various elements in this mammoth plate print depicting an expansive, arid landscape with the Cinnabar Mountains in the background. Railroad tracks diagonally cross the composition, providing visual vitality and narrative richness. The large glass negative and albumen printing process allowed Haynes to convey the panoramic view with clarity and fidelity, while responding to the scene’s stunning natural illumination. Beginning in the late 1870s, this Michigan-born artist spent most of his impressive career documenting the entire Northwest as the official photographer for the Northern Pacific Railroad until 1905.

CMA: Photography @cmaphotography.bsky.social · 2d ago

Rue de la Ferronnerie https://clevelandart.org/art/1984.24

This Marville photograph is from his series on the old sections of Paris taken during the 1860s before Napoleon III and Baron Haussmann cut great boulevards through them. Marville achieved documentary perfection with precise rendering of materials, exact perspective, interesting forms, and luminous shadows. He preferred working on overcast, rainy days when diffused light and glistening cobblestones yielded maximum tonal range and detail. This beautiful photograph brings a quiet dignity to the old street.

CMA: Photography @cmaphotography.bsky.social · 2d ago

Road in the Forest https://clevelandart.org/art/1989.29

Eugène Cuvelier was a landscape painter as well as a photographer. During the 1850s and 1860s, he photographed in an number of forests near Paris. He was also associated with the Barbizon painters, a group working in the village of Barbizon that advocated the direct study of nature. This exquisite snow scene exemplifies Cuvelier's distinguished and influential landscape work. The artist took advantage of the inherent softness of his photographic process to create an atmospheric rendering of a winter scene with a curving pathway that draws the viewer into the dense, barely defined background of foliage. Many of the trees Cuvelier recorded disappeared soon after the photographs were taken.

CMA: Photography @cmaphotography.bsky.social · 2d ago

A Creeper in the Peradeniya Gardens, Ceylon https://clevelandart.org/art/2018.37

A Creeper in the Peradeniya Gardens, Ceylon

CMA: Photography @cmaphotography.bsky.social · 2d ago

Camera Work: In Sure and Certain Hope https://clevelandart.org/art/1995.199.8.h

Camera Work: In Sure and Certain Hope

CMA: Photography @cmaphotography.bsky.social · 3d ago

Monsieur Merlen https://clevelandart.org/art/1995.179

The <em>carte-de-visite,</em> a small photograph mounted on cardstock, was patented by Disdéri in 1854. Used for images of both ordinary and famous people, it gave birth to the craze of collecting celebrity portraits. By 1862 Disdéri had 90 employees producing over 2,000 prints a day, making himreputedly the world’s richest photographer. In contrast with the daguerreotype medallion portrait, carte-de-visite prints were economical and inexpensive. A camera with four lenses and a sliding plate holder produced eight sequential exposures on a single glass negative. The resulting paper print was cut up and the individual images were mounted. This uncut sheet was probably a proof produced for the sitter’s approval.

CMA: Photography @cmaphotography.bsky.social · 3d ago

Davoncastle Butte, Sierra Nevada https://clevelandart.org/art/1988.87

From the medium’s beginnings in the 1830s through the 1880s, most photographs were intimately scaled objects meant for the hand, the album, and the home. As the medium began being used to document landscapes and monuments in the 1850s, larger scale processes arose such as the glass-plate negative. The mammoth print truly seemed gargantuan in the 1860s. For much of the 20th century, the 8-x-10-inch gelatin silver print was the norm for photojournalism; these prints were destined for reproduction in books and magazines around the same scale.

CMA: Photography @cmaphotography.bsky.social · 3d ago

Camera Work: Herschel https://clevelandart.org/art/1995.199.41.c

Camera Work: Herschel

CMA: Photography @cmaphotography.bsky.social · 3d ago

Unknown Woman https://clevelandart.org/art/1984.167

Unknown Woman

CMA: Photography @cmaphotography.bsky.social · 4d ago

Camera Work: A Blind Musician - Granada https://clevelandart.org/art/1995.199.45.a

Camera Work: A Blind Musician - Granada

CMA: Photography @cmaphotography.bsky.social · 4d ago

Prosper M. Wetmore https://clevelandart.org/art/1987.220

A popular author, legislator, and general in the New York State militia, Wetmore, here at age 59, still resembles Edgar Allen Poe’s description of him from a decade earlier: “about five feet eight in height, slender, neat; with an air of military compactness.” Brady’s portrait studio, with branches in New York and Washington, DC, was the most important of its era in America, thanks in part to its success in photographing political, social, and cultural figures. These early celebrity portraits, such as those of the wedding of performer Tom Thumb (seen in the center of the gallery), could sell thousands of copies. Brady is now best known for images of the Civil War, most taken by photographers he hired.

CMA: Photography @cmaphotography.bsky.social · 4d ago

Partridges (recto); L.D. Campbell's Tomb (verso) https://clevelandart.org/art/1987.21

N. Baily carefully arranged a simple composition of two partridges hanging by a thin rope against a
plain wood wall. Like many photographers in the 1850s and 60s, he was interested in displaying
the camera’s ability to record in detail the variety of shapes and textures present in the still life.
Little is known of Baily, a British amateur photographer. He was a member of the Amateur
Photographic Association and participated in several of their album exchanges. Still lifes
incorporating game, fowl, and fish were popular among amateur photographers during this period.
Many members of the Amateur Photographic Association were gentlemen that formerly belonged
to the British armed forces and would have participated in hunting as a pastime.

CMA: Photography @cmaphotography.bsky.social · 4d ago

Ely Cathedral, Nave, Southwest Corner https://clevelandart.org/art/1987.27

Ely Cathedral, Nave, Southwest Corner

CMA: Photography @cmaphotography.bsky.social · 4d ago

Battlefield of New Hope Church, Georgia, No. 2 https://clevelandart.org/art/1988.159

From the medium’s beginnings in the 1830s through the 1880s, most photographs were intimately scaled objects meant for the hand, the album, and the home. As the medium began being used to document landscapes and monuments in the 1850s, larger scale processes arose such as the glass-plate negative. The mammoth print truly seemed gargantuan in the 1860s. For much of the 20th century, the 8-x-10-inch gelatin silver print was the norm for photojournalism; these prints were destined for reproduction in books and magazines around the same scale.

CMA: Photography @cmaphotography.bsky.social · 4d ago

The Peacock Feather https://clevelandart.org/art/1980.146

The Peacock Feather

CMA: Photography @cmaphotography.bsky.social · 5d ago

Camera Work: Sir Francis Grant, P.R.A. https://clevelandart.org/art/1995.199.37.d

Camera Work: Sir Francis Grant, P.R.A.

CMA: Photography @cmaphotography.bsky.social · 5d ago

Camera Work: The Etching Printer - William Strang, Esq., A.R.A. https://clevelandart.org/art/1995.199.19.b

Camera Work: The Etching Printer - William Strang, Esq., A.R.A.

CMA: Photography @cmaphotography.bsky.social · 5d ago

Untitled (Fern Study) https://clevelandart.org/art/1988.238

Untitled (Fern Study)

CMA: Photography @cmaphotography.bsky.social · 5d ago

Chartres Cathedral: Right Door of the Royal Portal with Our Lady of Chartres https://clevelandart.org/art/1992.11

Chartres Cathedral: Right Door of the Royal Portal with Our Lady of Chartres

CMA: Photography @cmaphotography.bsky.social · 5d ago

Camera Work: The Terminal https://clevelandart.org/art/1995.199.36.o

Camera Work: The Terminal

CMA: Photography @cmaphotography.bsky.social · 6d ago

Scotch Firs, Hawkhurst https://clevelandart.org/art/1988.239

Despite the Industrial Revolution, Benjamin Brecknell Turner portrayed the English countryside as stable, harmonious, and unchanging—a place where nature and humanity coexist in complete harmony. Here the artist captured a pastoral scene in Surrey, combining towering trees, houses, and farm buildings to create a skillful blend of rustic domesticity and charming landscape. Preferring to photograph at an angle, Turner's composition is enlivened by the strong diagonals found in the receding lines of trees, fence, and pathway, which lead the viewer in an orderly progression from foreground to background. According to family tradition, <em>Scotch Firs, Hawkhurst</em> was so admired by Queen Victoria's husband Prince Albert that Turner presented him with a print of the photograph in 1853.

CMA: Photography @cmaphotography.bsky.social · 6d ago

Fruitsellers https://clevelandart.org/art/2018.40

Fruitsellers

CMA: Photography @cmaphotography.bsky.social · 6d ago

Camera Work: Rain from the Hills https://clevelandart.org/art/1995.199.11.d

Camera Work: Rain from the Hills