Julia Margaret Cameron, Kate Keown, about 1866, Gold-toned albumen print mounted on card, 29 cm (diameter), Gregg Wilson, Wilson Centre for Photography, Gregg Wilson, Wilson Centre for Photography.
31 de outubro de 2012, 20 de janeiro de 2013
National Gallery de Londres
Sainsbury wing
Richard Billingham, Hedgerow (New Forest), 2003, Lightjet print mounted on aluminium, 122 x 155 cm, (framed), Southampton City Art Gallery (11/2004), © The Artist, courtesy of the Anthony Reynolds Gallery London.
Seduzida pela Arte: Fotografia Passado e Presente é a primeira grande exposição de fotografia da National Gallery . Esta mostra inovadora explora a relação entre a pintura histórica, fotografia precoce de meados do século 19, e alguns dos trabalhos mais excitantes que estão sendo feitos por fotógrafos de hoje.
Seduced by Art: Photography Past and Present is the National Gallery’s first major exhibition of photography. This groundbreaking show explores the relationship between historical painting, early photography of the mid-19th century, and some of the most exciting work being done by photographers today.
Luc Delahaye, 132nd Ordinary Meeting of the Conference, 2004, Digital C-type print, 138.7 x 300 cm, Wilson Centre for Photography , Courtesy Luc Delahaye and Galerie Nathalie Obadia.
Seduzida pela Arte lança um olhar provocador da forma como os fotógrafos utilizam tradições de arte, incluindo a pintura dos velhos mestres, para explorar e justificar as possibilidades de sua arte. Desde o início, a fotografia se atreveu a reclamar os temas da arte tradicional como sendo dela própria.
Seduced by Art takes a provocative look at how photographers use fine art traditions, including Old Master painting, to explore and justify the possibilities of their art. Right from the beginning, photography dared to claim traditional ‘high art’ subjects as its own.
Ignace-Henri-Théodore Fantin-Latourn, The Rosy Wealth of June, 1886, Oil on canvas, 70.5 x 61.6 cm, The National Gallery, London, © The National Gallery, London.
Longe de ser uma pesquisa geral, a exposição chama a atenção para uma vertente particular e rica da história da fotografia, em grandes obras primordiais feita pelos maiores fotógrafos britânicos e franceses ao lado de de uma variedade internacional fotografias feitas por artistas contemporâneos. A mostra inclui a nova fotografia e vídeo especialmente encomendado para a exposição e em exibição pública pela primeira vez, além de obras raramente vistas no Reino Unido.
Far from being a general survey, the exhibition draws attention to one particular and rich strand of photography’s history, in major early works by the greatest British and French practitioners alongside photographs by an international array of contemporary artists. The show includes new photography and video specially commissioned for the exhibition and on public display for the first time, plus works rarely seen in the UK.
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John Constable, The Cornfield, 1826, The National Gallery, London, Photo © The National Gallery, London.
Pinturas e fotografias iniciais e contemporânea estão apresentadas em conjunto de acordo com gêneros tradicionais, como retrato, natureza morta e paisagem. A grande sala central da mostra vai contrastar com o belo e provocante imaginário religioso do século 19 da fotógrafa Julia Margaret Cameron e do final do século 20, da artista Helen Chadwick, com espetaculares quadros de campos de batalha feitos por Emile-Jean-Horace Vernet de 1821 e o trabalho Luc Delahaye de 2001 .
Paintings and early and contemporary photographs are presented together according to traditional genres such as portraiture, still life and landscape. The large central room of the show will contrast beautiful and provocative religious imagery by 19th-century photographer Julia Margaret Cameron and late 20th-century artist Helen Chadwick, with spectacular battlefield tableaux by Emile-Jean-Horace Vernet from 1821 and Luc Delahaye’s work of 2001.
Jean-Auguste-Dominique Ingres, Madame Moitessier, 1856, © The National Gallery, London.
O tema do retrato inclui os astutos retratos sociais de Tina Barney ; o trabalho acerbico de Martin Parr exibido ao lado de Mr and Mrs Andrews de Thomas Gainsborough (cerca de 1750), enquanto as fotografias de Craigie Horsfield e o artista vitoriano David Wilkie Wynfield mostram a influência barroca de Anthony van Dyck.
The theme of portraiture includes Tina Barney’s astute social portraits; Martin Parr’s acerbic work is displayed alongside Thomas Gainsborough’s Mr and Mrs Andrews (about 1750), while photographs by Craigie Horsfield and the Victorian artist David Wilkie Wynfield show the Baroque influence of Anthony van Dyck.
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Richard Learoyd, Jasmijn in Mary Quant, 2008, Unique Ilfochrome photograph, 148.6 x 125.7 cm, Courtesy of McKee Gallery, New York, © Richard Learoyd, courtesy McKee Gallery, New York.
Os nus pintados e fotografados nos levam a reconsiderar a recepção controvertida do passado e presente de obras dos fotógrafos precoces, como Oscar Gustav Rejlander e contemporâneos, como Richard Learoyd. Um quarto de paisagens contará com obras primordiais do fotógrafo francês Gustave Le Gray e artistas contemporâneos como Jem Southam e Richard Billingham, cobertos por uma enorme fotogravura em oito partes de Tacita Dean.
Painted and photographed nudes will prompt us to reconsider the past and present reception of controversial works by early photographers such as Oscar Gustav Rejlander and contemporary practitioners like Richard Learoyd. A room of landscapes will feature works by the early French photographer Gustave Le Gray and contemporary artists such as Jem Southam and Richard Billingham, capped by a huge eight-part photogravure by Tacita Dean.
Ori Gersht, Blow-Up, Untitled 5, 2007, Lightjet print mounted on aluminium, 248 x 188 cm x 6 cm (framed), Mummery + Schnelle, London, © Courtesy of the Artist and Mummery + Schnelle, London.
O método artístico da pesquisa da mostra inclui fotógrafos contemporâneos que, com todos os recursos técnicos a mão de inovações da era digital, continuam a investigar os temas e procedimentos da pintura histórica e dos primórdios da fotografia.
The show’s investigation of artistic method includes contemporary practitioners who, with every technical resource and innovation at hand in the digital age, continue to investigate the themes and procedures of historical painting and early photography.
Maisie Maud Broadhead, Keep Them Sweet, 2010, C-type print, 145 x 106.5 cm, Represented by Sarah Myerscough Fine Art, London, Image © Maisie Broadhead.
Mas também inclui um trabalho mais experimental, baseado na natureza morta de Sam Taylor-Wood (2001) e de natureza morta digital Blow Up de Ori Gersht, : Untitled 5 (2007) (cortesia de Mummery Schnelle), que será exibida ao lado de sua inspiração: Rosy Wealth of June (1886), de Ignace-Henri-Théodore Fantin-Latour da National Gallery.
But it also includes more experimental work, in Sam Taylor-Wood’s time-based Still Life (2001) and Ori Gersht’s digital still life, Blow Up: Untitled 5 (2007) (courtesy of Mummery Schnelle), which will be displayed alongside its inspiration, the National Gallery’s Rosy Wealth of June (1886) by Ignace-Henri-Théodore Fantin-Latour.
Richard Learoyd, Man with Octopus Tattoo II, 2011, Unique Ilfochrome photograph, 148.6 x 125.7 cm, Courtesy of McKee Gallery, New York, © Richard Learoyd, courtesy McKee Gallery New York.
Peças de vídeo incluem um novo trabalho de Maisie Maud Broadhead e Cole Jack, uma ode à Hill e Adamson (2011), feita especialmente para a exposição e é mostrada ao lado sua origem, um retrato fotográfico 1840 por David Octavius Hill e Robert Adamson.
Video pieces will include a new work by Maisie Maud Broadhead and Jack Cole, An Ode to Hill and Adamson (2011), made especially for the exhibition and shown alongside its source, an 1840s photographic portrait by David Octavius Hill and Robert Adamson.
James Anderson (?), The Laocoön Group, about 1855-65, Gold-toned albumen print, 40.3 x 29.1 cm, Wilson Centre for Photography Wilson Centre for Photography.
Excepcionalmente, três "intervenções" de fotografias contemporâneas de Richard Billingham, Horsfield Craigie e Richard Learoyd serão exibidas na coleção permanente da galeria, justapostas com grandes do século 19, pinturas de Constable, Degas e Ingres.
Exceptionally, three ‘interventions’ of contemporary photographs by Richard Billingham, Craigie Horsfield and Richard Learoyd will be displayed in the Gallery’s permanent collection, juxtaposed with great 19th-century paintings by Constable, Degas and Ingres.
Thomas Gainsborough, Mr and Mrs Andrews. about 1750, © The National Gallery, London.
A mostra inclui quase 90 fotografias ao lado de pinturas selecionadas da coleção da Galeria Nacional. Fotografias chave vindas do Centro de Wilson de Fotografia, assim com empréstimos de Tate, do Museu Victoria e Albert, do National Media Museum, de Bradford, da Fundació La Caixa, da Espanha, e diretamente dos próprios fotógrafos.
The show includes almost 90 photographs alongside selected paintings from the National Gallery’s collection. Key photographs come from the Wilson Centre for Photography, with loans from Tate, the Victoria and Albert Museum, the National Media Museum in Bradford, Fundació La Caixa in Spain, and direct from the photographers themselves.
Martin Parr, Signs of the Times, England, 1991, C-type print, 51 x 61 cm, Martin Parr / Magnum Photos / Rocket Gallery, © Martin Parr / Magnum Photos.
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Sainsbury Wing
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