As people began to change the ways in which they created art through painting and sculpting, the revolutionary invention of the camera completely change the course of art. Through the early 1800's and early version of this capture concept was used by painters by using a mechanism in which the artist had an eyepiece in which they could see whatever their reference was and allowing them to keep a consistent perspective. However even though this was a great idea, other variables were not being considered. Such as weather, time of day and even the fact that although the eyehole in which the artist saw out of stayed the same , it is still a person utilizing it, meaning they will never try keep a consistent placement of perspective. Once the first camera was introduced these outside variables were no longer causing a problem as artists could either just capture what they wanted in an image and invoke emotions to who ever was the viewer, along with the fact that these images were used as reliable references for those who still continued to pursue art in painting. From photography stemmed out different type of styles, just as their painting counterparts also evolved along the years with the popularization of collaging and cinematography for photography. And cubism and illusionists in the painting world. In my opinion art throughout the centuries has not gotten better or worse, its a matter of how it has evolved and changed expanding what we consider to be art.
GUIDED READING QUESTIONS – GRQ
Lovejoy, Digital Current pp. 20-35
1 In the Low Countries, Italy, and France, the camera obscura enjoyed widespread continuous use throughout the seventeenth, eighteenth, and nineteenth centuries as a convenient tool for artists. The natural phenomenon of the camera, in which light, passing through a lens (in the simplest case, through a pinhole) onto transparent paper can reflect, upside down, the image of nature captured and focused by the lens.
2 it was an artist/printer, Joseph Nicéphore Niépce, who made the first real breakthrough in the link-up between the optical principles of the camera obscura and light-sensitive chemistry.
3 When the invention of the daguerreotype was announced in 1839, the critic Paul Delaroche declared, “From today, painting is dead.”
4 But it was the British artist/inventor Henry Fox Talbot who succeeded in producing (in 1840) the first truly viable photographic process – the negative/positive system.
5 Technological reproduction collapses what Walter Benjamin termed the "aura", the ritual aspect of the original, the one and only.
6 The social function of art as opposed to its commodity is brought into focus as soon as reproduction or copying of originals becomes possible.
7 Art that is enlarged, reduced, printed as postcards or posters, and widely disseminated for enjoyment of the public at large, reaches a broader audience, an expanded one beyond the confines of art institutions and the gallery system. As a consequence, the cultural sphere is broadened, enriched, and democratized. The emphasis was now absolutely on the exhibition of the work.
8 Portraiture is perhaps the last aspect of the photographic image which still has cult value in the sense that remembrance of loved ones, those absent or dead, is invested with a cult value.
9 photomontage was essentially a way of outraging the public and destroying the aura or market value of their work by revealing it as appropriated reproductions.
10 By reassembling and recontextualizing appropriated elements of Victorian engravings and changing the relationships between their parts, Max Ernst created disturbing, sometimes nightmarish effects.
11 Walter Benjamin identified cinematography as an entirely new aspect of visual representation, one which shattered all existing traditions. The movie camera created an entirely new aspect of representation by adding movement, edited views, and large-scale projections of imagery with sound.
12 Photomechanical reporduction raised questions about the “uniqueness” of copies as works of art, thus undermining the existing function for art not only because it could provide visual reportage but because it threatened the aura of the handmade object which relied on the specialized skills of the artist.
13 Eadweard Muybridge’s stop-motion photographs captured images of rapid movement through time which, up to then, had not been available for detailed analysis and study by artists.
14 Jules-Etienne Marey in 1882 invented a “photo-graphic gun” which could capture linear trajectories of moving objects in a single image which he called chronophotography.
15 The Dadaists chose authentic fragments from everyday life because they believed these could speak more loudly than any painting.
16 the Russian Constructivists chose photomontage as an art form that was powerfully evocative, with expanded possibilities for the communication of his ideas.
17 Max Ernst was one of the first to use the new form of collaging photographic images and illustrations from many sources—including magazines, letters, and newspapers.
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