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Nadar (Gaspard-Felix Tournaction) was born in Paris in 1820. ... ’
Nadar set up a studio in the Boulevard Des Capucines in Paris and this became the place for many famous people to get their portraits taken. ...
Nadar’s portrait of Alexandre Dumas (Author of the three Musketeers) is an excellent example of Nadars work. Nadar was good friends with Alexandre, which I think was one of the reasons why his portraits were so successful. ...
On July 23rd 1859 Nadar wrote in his ‘revue trimestrielle’ for the ‘journal amusant’ about the ‘invasion of the new Carte’s de vistes’ He critized the method’s employed by his colleagues and neighbours Mayer and Pierson to comply with market condition. This shows us how Nadar was not following the contemporaneous portraits of the time.
Julia Margaret Cameron (1815-1879) is one of the most important figures in the history of photography. ... Cameron also staged tableaux’s with women and children in them, and she would pose her sitters in different situations. ...
Cameron choose a young women to portray the mountain nymph, I think this coincides with the poem as you do get a sense of youth and freedom from the poem, ‘light fantastic toe’ and ‘pleasure free’. ... The women has a direct gaze into the camera, Cameron’s use of soft focus brings a mystical effect, the ‘Nymph’s’ hair and shoulders just seem to blend into the background and the features from her face are in focus. ... One perceives a sense of idealism from the portrait, which is what Cameron was trying to portray. ...
Julia and Nadar had similar concepts in their work. ... We see in two of Nadar’s cartoons ‘photography asking for just a little place in the exhibition of fine arts’ an engraving from the ‘petit journal pour rire’, 1855. ... I think Julia took this ability of conveying the person personality to a higher level than Nadar, she used many different techniques in doing so. ... Nadar tried to have the same effect only he used ¾ length views and hid the hands of his sitters to try and concentrate on the facet of the person. ... Though Nadar did photograph some women it was said that he preferred not to because ‘the images are too true to nature to please the sitter, even the most beautiful’. When Cameron’s photographed women she thought they symbols of timelessness and the ideal beauty. ... Unlike Nadar, Julia’s portraits were both a likeness and representation, she took models, such as her servants and maids and turned them into Madonna’s and Shakespearean characters.
Approximate Word count = 2108
Approximate Pages = 8.4
(250 words per page double spaced)
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