Since the Renaissance, a tour of Italy has been an essential stage
in the apprenticeship of artists. Starting in the mid 1840s, Rome,
Florence, Venice, Naples, Pompeii and many other places attracted
painters, sculptors, architects, and photographers, who set up
temporary residence there or even opened their own studios. Their
reasons for doing so were varied: some attempted to preserve the
memory of sites they feared might disappear; others had a more
commercial interest, with scientists, archaeologists, and artists
photographing the principal monuments and sites likely to interest
particular clients. As tourism developed, the desire of travelers
to take back souvenirs of the places they visited also grew,
multiplying the number of pictures of churches, villas, fountains,
etc., that were sold either singly or in album sets.
This book presents a selection of the numerous and varied
photographic collections in the Musee d'Orsay, including calotypes
by Frederic Flacheron and Alfred-Nicolas Normand, and prints by the
greatest names in Italian photography, among them Alinari,
Altobelli, Brogi, Caneva, MacPherson, Naya, Noack, and Pont. There
are albums dedicated to views of Venice published by Ferdinando
Ongania, pictures taken by the pictorialist photographers Edward
Steichen and Constant Puyo, and others by amateur photographers
like the Duke of Orleans.
General
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