The Cromer Collection of Nineteenth-Century French Photography
| ISBN(EAN) | 9780300264272 |
| Издатель |
Yale University Press
(сайт издательства) |
| Язык | Английский |
| Формат | Твердый переплет |
| Страницы | 328 |
| Год издания | 2022 |
| Вес (грамм) | 1982 |
| Размер (мм) | 292(д) х 238(ш) х 38(в) |
A deep dive into the pioneering collection of nineteenth-century French photographs, equipment, and ephemera, which is a cornerstone of the George Eastman Museum
In the early twentieth century, Parisian photographer, amateur historian, and collector Gabriel Cromer (1873–1934) amassed a collection that traced photography’s prehistory, invention, and development to about 1890. His dream was to found a national museum of the photographic arts in France. Although Cromer’s ambition was never realized, his collection was central to establishing the world’s first museum dedicated to photography: the George Eastman Museum. The Cromer Collection of Nineteenth-Century French Photography considers the origin and circulation of the collection as well as the influence it has had on photography as a field of study. The book’s six essays, written by French and American scholars, explore the Cromer Collection’s complex passage across markets, borders, and functions. For more than half a century, curators and scholars worldwide have drawn extensively on the Gabriel Cromer Collection for exhibitions and publications; this book provides the first focused scholarly study of the foundational resource.
In the early twentieth century, Parisian photographer, amateur historian, and collector Gabriel Cromer (1873–1934) amassed a collection that traced photography’s prehistory, invention, and development to about 1890. His dream was to found a national museum of the photographic arts in France. Although Cromer’s ambition was never realized, his collection was central to establishing the world’s first museum dedicated to photography: the George Eastman Museum. The Cromer Collection of Nineteenth-Century French Photography considers the origin and circulation of the collection as well as the influence it has had on photography as a field of study. The book’s six essays, written by French and American scholars, explore the Cromer Collection’s complex passage across markets, borders, and functions. For more than half a century, curators and scholars worldwide have drawn extensively on the Gabriel Cromer Collection for exhibitions and publications; this book provides the first focused scholarly study of the foundational resource.
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