
Nineteenth-Century Texts On the Daguerreotype
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The following excerpts from contemporary nineteenth-century
newspapers, magazines, diaries, and artists' notebooks discuss
the first appearance of the daguerreotype in America. The earliest
examplesfrom The New Yorker, The Knickerbocker, and
the diary of Philip Hone of New York City in 1839reflect both
popular astonishment and an intense curiosity about the future of
this new invention. Also included is a history of the daguerreotype
in America written by those who had a firsthand role in its history
or who were eyewitnesses to its development. These descriptions are
a part of artistic accounts and writings on the aesthetics of the
daguerreotype by masters of the process or significant observers,
such as Rembrandt Peale. These discussions are founded upon craft
and technique and in some cases contain technical information.
The daguerreotype was a dual product of science and art, and the
role of sciencechemistry and opticsin its history cannot
be underestimated. Science fosters experimentation, which led, with
the daguerreotype, to the invention of a variety of devices for
perfecting the actual image; to attempts at color photography,
some of which were actually successful; and to the daguerreotyping
of objects as distant and vast as the moon and stars and as close
and microscopic as the tracheae of worms. Such work was important
to the histories of photography and science, and consequently this
selection includes scientific writings about the daguerreotype.
Just as science was an intellectual frontier of the nineteenth
century, the American West was a physical frontier. Included
here are texts that illustrate the daguerreotype's role in the
westward movement. The final texts in this selection are
laments for the daguerreotype's passing. Long after it had been
replaced by the cheaper tintype and paper prints of a
negative-based, reproducible photography, the daguerreotype remained
a valued, if no longer practiced, tradition.
Merry A. Foresta & John Wood,
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Contents
- "New Discovery in the Fine Arts," The
New Yorker, April 13, 1839
- "New Discovery in the Fine Arts. The Daguerreotype,"
The New Yorker, April 20, 1839
- "The Daguerreotype," The Knickerbocker,
December 1839
- The Diary of Philip Hone,
December 4, 1839
- "Professor Draper on the Process of
Daguerreotype and its application to taking Portraits from Life," Philosophical
Magazine, September 1840
- S. D. Humphrey, "Lunar Daguerreotypes," Daguerreian
Journal, November 1850
- John Werge, "Rambles Among the Studios of America,"
from The Evolution of Photography, 1890
- "Daguerreotyping in New York,"
Daguerreian Journal, November 1850
- J. H. Fitzgibbon, "Daguerreotyping,"
Western Journal and Civilian, 1851
- J. K. Fisher, "Photography, the Handmaid
of Art," Photographic Art-Journal, January 1851
- L. L. Hill, "The Hillotype," from A
Treatise on Heliochromy, 1851
- Jeremiah Gurney, A Letter, Daguerreian
Journal, May 1851
- H. H. Snelling, "The Hillotype," Photographic
Art-Journal, June 1851
- "Important Experiment. Daguerreotype of
the Sun," Daguerreian Journal, August 15, 1851
- "The True Artist," Daguerreian Journal,
August 1851
- J. H. Fitzgibbon, "Hillotype," Daguerreian
Journal, October 1851
- R. H. Vance, Catalogue of Daguerreotype Panoramic
Views in California 1851
- John A. Whipple, "Preparing Plates by Steam,"
Photographic Art-Journal, May 1852
- John A. Whipple, "Microscopic Daguerreotypes," Photographic
Art-Journal, October 1852
- Marcus Root, "The Various Uses of the Daguerrean
Art,"Photographic Art-Journal, December 1852
- "Photography in the United States,"
Photographic Art-Journal, June 1853
- Marcus Root, "Qualifications of a First-Class
Daguerreotypist," Photographic Art-Journal, August 1853
- Solomon Carvalho, from Incidents of Travel
and Adventure in the Far West, 1853
- "Gossip" (Daguerreotypes at the Crystal Palace),Photographic
Art-Journal, September 1853
- John Ross Dix, from Amusing and Thrilling
Adventures of a California Artist While Daguerreotyping a Continent Amid Burning
Deserts, Savages, and Perpetual Snows, And a Poetical Companion to the Pantoscope
of California, Nebraska & Kansas, Salt Lake & the Mormons. From 1500
Daguerreotypes by J. Wesley Jones, Esq., 1854
- Gabriel Harrison, "The Dignity of our Art,"
Photographic Art-Journal, April 1854
- Albert S. Southworth, "Suggestions to Ladies
Who Sit for Daguerreotypes," Lady's Almanac, 1854 and 1855
- "The Hillotype," Humphrey's Journal,
August 1856
- Rembrandt Peale, "Portraiture," The
Crayon, 1857
- D.D.T. Davie, "The Daguerreotype,"
from Secrets of the Dark Chamber, 1870
- Albert S. Southworth, "An Address to the National
Photographic Association," 1870, Philadelphia Photographer, October
1871
- Albert S. Southworth, "An Address to the National
Photographic Association," 1872,Philadelphia Photographer, June
1872
- Albert S. Southworth, "Comments at the National
Photographic Association," 1873, Philadelphia Photographer, September
1873
- Albert S. Southworth, "The Use of the Camera," Philadelphia
Photographer, September 1873
- George Alfred Townsend, "Still Taking Pictures:
Brady, the Grand Old Man of American Photography," The World, April
1891
- Albert S. Southworth, "Photography, Painting
and Sculpture," Photographic Times, November 1897
- J. J. Hawes, "Stray Leaves from the Diary of the
Oldest Professional Photographer in the World," Photo-Era, February
1906
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