At the time of photography’s invention in 1839, the Italian peninsula was composed of “a dozen different countries.” This political fragmentation is central to understanding how photography was received and disseminated in Italy. No images? Click here <transmission.plantureux.it/t/d-e-sulqdk-mcujltt-x/> BIENNALE DI SENIGALLIA <transmission.plantureux.it/t/d-l-sulqdk-mcujltt-r/> Francesca Bonetti gave a long and detailed conference in Italian that you can access here: ITALIAN CONFERENCE PDF <transmission.plantureux.it/t/d-l-sulqdk-mcujltt-y/>. At the time of photography’s invention in 1839, Italy was not yet a unified country, but a dozen independent states, each with its own institutions, laws, and cultural dynamics. The announcement of the invention of the daguerreotype aroused great interest in Italy, in the context of political fragmentation but of great cultural and scientific vitality. This situation of fragmentation explains the diversity of reactions and experiments around photography, with each state or region developing its own scientific, artistic, and distribution networks. The introduction of photography was linked to the aspiration for national unity and modernization, but the plurality of states encouraged a multiplicity of local approaches.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-j/> The invention of photography is part of a long process of rationalizing vision, heir to the Enlightenment spirit and the Italian figurative tradition, which goes back to Leonardo da Vinci. Optical instruments such as the camera obscura and the camera lucida have their origins in the Italian scientific culture of the Renaissance, especially through figures like Barbaro, Della Porta, and Brunelleschi. Giovanni Battista Della Porta’s “invention” of the camera obscura in the sixteenth century was a key step in this lineage. Canaletto was well aware of the rules of perspective and used the camera obscura for his paintings. Canaletto’s city views qualify as reliable documentary sources for reconstructing the urban image.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-t/> Giovanni Battista Amici, one of the leading Italian scientists of the nineteenth century, played a pivotal role in the spread of early photographic techniques in Italy. The camera lucida—although described as early as 1611 by Kepler, was only patented in 1806 by William Hyde Wollaston and later perfected by the Modenese scientist Giovanni Battista Amici. William Henry Fox Talbot used Amici’s improved camera lucida during his trip to Lake Como in 1833; it was precisely because of his frustrations with drawing that Talbot resumed his earlier experiments (first with silver nitrate, then with silver chloride) in 1834, which eventually led him to fix images in his photogenic drawing and calotype processes (as he himself recounts in the first issue of The Pencil of Nature, 1844).
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-i/> Sir John Herschel, another major figure in the scientific world who made fundamental contributions to the development of photographic processes—and who even suggested the very term “photography” for the new method of reproduction—also used the camera lucida during his trip to Italy in 1824. That same year, a portrait of Herschel with the camera lucida was made by G. B. Amici, when the Englishman visited him in his laboratory in Modena. The two astronomers corresponded frequently between 1825 and 1839, exchanging information about the latest instruments and astronomical observations. In February, according to a note by Talbot in one of his notebooks kept at the Fox Talbot Museum in Lacock (Lacock June 1838: 48), Giovanni Battista Amici and Antonio Bertoloni were among the various correspondents to whom he sent six copies each of his communication read at the Royal Society on January 31. No further mention of Talbot’s invention was made at this first meeting of Italian scientists, even though, as early as August 21, 1839, Talbot intended to send some of his first photogenic drawings to Giovanni Battista Amici so they could be presented there. The first samples did not reach Amici until several months later. From the correspondence between Talbot and Amici, and others, we see repeated delays in the delivery of letters and packages containing the photogenic drawings, with the scientists repeatedly expressing regret at not being able to show them at the most important scientific meetings, which continued to be held in other Italian states, always with the same ideals and with intentions and repercussions of significant cultural and political impact.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-d/> Francesca found some nice vintage prints at the Fair
When the daguerreotype was introduced, it was first received in scientific circles, before attracting the interest of the artistic world. Melloni emphasizes the daguerreotype’s ability to produce images of great delicacy, useful to both artists and scientists. He also describes the limitations of Talbot’s processes, considered less precise than those of Daguerre. Joseph Nicéphore Niépce conceived in Cagliari the idea of automatically reproducing images, without manual intervention. Talbot’s processes were considered less precise than those of Daguerre. Italian scientists showed interest in the English processes, but complained about the lack of technical information provided by Talbot. The exchanges between Talbot and Italian scholars, such as Amici, Bertoloni, and Tenore, show an interest in the English processes.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-h/> Talbot sent Bertoloni examples of his new art: photogenic drawings made by placing objects on photosensitized paper and exposing them to sunlight. Talbot suggested that the accurate recording of botanical specimens would be among the most important uses of his invention. Album di Disegni Fotogenici <transmission.plantureux.it/t/d-l-sulqdk-mcujltt-k/> contains thirty-six photogenic drawings by Talbot. Talbot suggested that naturalists would find the accurate recording of botanical specimens among the most important uses of his invention.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-u/> The daguerreotype was first received in scientific circles. Melloni emphasizes the daguerreotype’s ability to produce images of great delicacy. He also describes the limitations of Talbot’s processes, considered less precise than those of Daguerre. Italian scientists complained about the lack of technical information provided by Talbot. The Italian tradition—through figures like Leonardo da Vinci, Della Porta, and Canaletto—provided both the conceptual and technical groundwork for the emergence of photography. The direct references to Daguerre and Niépce emphasize the scientific and experimental context in which photography was received and developed in Italy. Talbot is presented as a pivotal but somewhat enigmatic figure: admired for his innovation, yet criticized for the opacity of his copyrighted methods and the technical limitations compared to Daguerre. If you wish to follow on some research topics with Francesca, you can contact her by mail at: mariafrancesca.bonetti@gmail.com <mailto:mariafrancesca.bonetti@gmail.com> <transmission.plantureux.it/t/d-l-sulqdk-mcujltt-o/> Francesca ready for the masked ball at Rocca Roveresca
Let’s conclude with two special cards dedicated to Leonardo explaining human vision and Nicephore long holydays in Sardegna, created for the Misteri della Fotografia series ! MYT-7 – Leonardo, Milano – circa 1493 Leonardo da Vinci osserva il funzionamento della camera oscura e ne annota i principi ottici con precisione straordinaria. Nel Codice Atlanticoscrive che la luce viaggia in linea retta e che l’immagine rovesciata si proietta all’interno di una stanza buia. Non si limita a osservare: perfeziona lo strumento, ne intuisce le applicazioni artistiche e scientifiche, e lo collega al funzionamento dell’occhio umano. Heliochromy published as a postcard, mixed media on a digital base: collage, engraving, gouache retouching, and manual interventions.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-b/> MYT-7 – Leonardo, Milano – circa 1493 Leonardo da Vinci osserva il funzionamento della camera oscura e ne annota i principi ottici con precisione straordinaria. Nel Codice Atlanticoscrive che la luce viaggia in linea retta e che l’immagine rovesciata si proietta all’interno di una stanza buia. Non si limita a osservare: perfeziona lo strumento, ne intuisce le applicazioni artistiche e scientifiche, e lo collega al funzionamento dell’occhio umano.
JNN-2. Niépce, Silver mine, Sardinia – 1797 Joseph Nicéphore married Agnese Romero in 1794, an Italian from Nice who had become French and had relatives in Sardinia. With his brother Claude, who joined him, they found themselves stranded by the British on the island for nearly a year. While visiting a zinc and silver mine in the Iglesiente, the first idea to exploit the photogenic properties of silver salts was born. During his military life in Nice in the revolutionary 1790s, both names can be found, Joseph and Nicéphore.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-n/> JNN-2. Miniera d’argento, Sardegna – 1797 Joseph si sposò nel 1794 con Agnese Romero, italiana di Nizza diventata francese, con parenti in Sardegna. Con il fratello Claude, che gli raggiunse, si ritrovarono bloccati dagli inglesi sull’isola per quasi un anno. Durante la visita a una miniera di zinco e d’argento nell’Iglesiente nacque la prima idea di sfruttare le proprietà fotogeniche dei sali d’argento. Eliocromie pubblicate come cartolina, procedimento misto su base digitale: collage, incisione, ritocco a gouache e interventi manuali, e fanno parte, una, della prima serie I Misteri della Fotografia, dedicata ai miti ed ai precursori, e la seconda della serie dedicata alla vita di Joseph Nicéphore Niépce Edizioni Atelier 41, via Fratelli Bandiera, Senigallia
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-j/> The invention of photography is part of a long process of rationalizing vision, heir to the Enlightenment spirit and the Italian figurative tradition, which goes back to Leonardo da Vinci. Optical instruments such as the camera obscura and the camera lucida have their origins in the Italian scientific culture of the Renaissance, especially through figures like Barbaro, Della Porta, and Brunelleschi. Giovanni Battista Della Porta’s “invention” of the camera obscura in the sixteenth century was a key step in this lineage. Canaletto was well aware of the rules of perspective and used the camera obscura for his paintings. Canaletto’s city views qualify as reliable documentary sources for reconstructing the urban image.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-t/> Giovanni Battista Amici, one of the leading Italian scientists of the nineteenth century, played a pivotal role in the spread of early photographic techniques in Italy. The camera lucida—although described as early as 1611 by Kepler, was only patented in 1806 by William Hyde Wollaston and later perfected by the Modenese scientist Giovanni Battista Amici. William Henry Fox Talbot used Amici’s improved camera lucida during his trip to Lake Como in 1833; it was precisely because of his frustrations with drawing that Talbot resumed his earlier experiments (first with silver nitrate, then with silver chloride) in 1834, which eventually led him to fix images in his photogenic drawing and calotype processes (as he himself recounts in the first issue of The Pencil of Nature, 1844).
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-i/> Sir John Herschel, another major figure in the scientific world who made fundamental contributions to the development of photographic processes—and who even suggested the very term “photography” for the new method of reproduction—also used the camera lucida during his trip to Italy in 1824. That same year, a portrait of Herschel with the camera lucida was made by G. B. Amici, when the Englishman visited him in his laboratory in Modena. The two astronomers corresponded frequently between 1825 and 1839, exchanging information about the latest instruments and astronomical observations. In February, according to a note by Talbot in one of his notebooks kept at the Fox Talbot Museum in Lacock (Lacock June 1838: 48), Giovanni Battista Amici and Antonio Bertoloni were among the various correspondents to whom he sent six copies each of his communication read at the Royal Society on January 31. No further mention of Talbot’s invention was made at this first meeting of Italian scientists, even though, as early as August 21, 1839, Talbot intended to send some of his first photogenic drawings to Giovanni Battista Amici so they could be presented there. The first samples did not reach Amici until several months later. From the correspondence between Talbot and Amici, and others, we see repeated delays in the delivery of letters and packages containing the photogenic drawings, with the scientists repeatedly expressing regret at not being able to show them at the most important scientific meetings, which continued to be held in other Italian states, always with the same ideals and with intentions and repercussions of significant cultural and political impact.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-d/> Francesca found some nice vintage prints at the Fair
When the daguerreotype was introduced, it was first received in scientific circles, before attracting the interest of the artistic world. Melloni emphasizes the daguerreotype’s ability to produce images of great delicacy, useful to both artists and scientists. He also describes the limitations of Talbot’s processes, considered less precise than those of Daguerre. Joseph Nicéphore Niépce conceived in Cagliari the idea of automatically reproducing images, without manual intervention. Talbot’s processes were considered less precise than those of Daguerre. Italian scientists showed interest in the English processes, but complained about the lack of technical information provided by Talbot. The exchanges between Talbot and Italian scholars, such as Amici, Bertoloni, and Tenore, show an interest in the English processes.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-h/> Talbot sent Bertoloni examples of his new art: photogenic drawings made by placing objects on photosensitized paper and exposing them to sunlight. Talbot suggested that the accurate recording of botanical specimens would be among the most important uses of his invention. Album di Disegni Fotogenici <transmission.plantureux.it/t/d-l-sulqdk-mcujltt-k/> contains thirty-six photogenic drawings by Talbot. Talbot suggested that naturalists would find the accurate recording of botanical specimens among the most important uses of his invention.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-u/> The daguerreotype was first received in scientific circles. Melloni emphasizes the daguerreotype’s ability to produce images of great delicacy. He also describes the limitations of Talbot’s processes, considered less precise than those of Daguerre. Italian scientists complained about the lack of technical information provided by Talbot. The Italian tradition—through figures like Leonardo da Vinci, Della Porta, and Canaletto—provided both the conceptual and technical groundwork for the emergence of photography. The direct references to Daguerre and Niépce emphasize the scientific and experimental context in which photography was received and developed in Italy. Talbot is presented as a pivotal but somewhat enigmatic figure: admired for his innovation, yet criticized for the opacity of his copyrighted methods and the technical limitations compared to Daguerre. If you wish to follow on some research topics with Francesca, you can contact her by mail at: mariafrancesca.bonetti@gmail.com <mailto:mariafrancesca.bonetti@gmail.com> <transmission.plantureux.it/t/d-l-sulqdk-mcujltt-o/> Francesca ready for the masked ball at Rocca Roveresca
Let’s conclude with two special cards dedicated to Leonardo explaining human vision and Nicephore long holydays in Sardegna, created for the Misteri della Fotografia series ! MYT-7 – Leonardo, Milano – circa 1493 Leonardo da Vinci osserva il funzionamento della camera oscura e ne annota i principi ottici con precisione straordinaria. Nel Codice Atlanticoscrive che la luce viaggia in linea retta e che l’immagine rovesciata si proietta all’interno di una stanza buia. Non si limita a osservare: perfeziona lo strumento, ne intuisce le applicazioni artistiche e scientifiche, e lo collega al funzionamento dell’occhio umano. Heliochromy published as a postcard, mixed media on a digital base: collage, engraving, gouache retouching, and manual interventions.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-b/> MYT-7 – Leonardo, Milano – circa 1493 Leonardo da Vinci osserva il funzionamento della camera oscura e ne annota i principi ottici con precisione straordinaria. Nel Codice Atlanticoscrive che la luce viaggia in linea retta e che l’immagine rovesciata si proietta all’interno di una stanza buia. Non si limita a osservare: perfeziona lo strumento, ne intuisce le applicazioni artistiche e scientifiche, e lo collega al funzionamento dell’occhio umano.
JNN-2. Niépce, Silver mine, Sardinia – 1797 Joseph Nicéphore married Agnese Romero in 1794, an Italian from Nice who had become French and had relatives in Sardinia. With his brother Claude, who joined him, they found themselves stranded by the British on the island for nearly a year. While visiting a zinc and silver mine in the Iglesiente, the first idea to exploit the photogenic properties of silver salts was born. During his military life in Nice in the revolutionary 1790s, both names can be found, Joseph and Nicéphore.
<transmission.plantureux.it/t/d-l-sulqdk-mcujltt-n/> JNN-2. Miniera d’argento, Sardegna – 1797 Joseph si sposò nel 1794 con Agnese Romero, italiana di Nizza diventata francese, con parenti in Sardegna. Con il fratello Claude, che gli raggiunse, si ritrovarono bloccati dagli inglesi sull’isola per quasi un anno. Durante la visita a una miniera di zinco e d’argento nell’Iglesiente nacque la prima idea di sfruttare le proprietà fotogeniche dei sali d’argento. Eliocromie pubblicate come cartolina, procedimento misto su base digitale: collage, incisione, ritocco a gouache e interventi manuali, e fanno parte, una, della prima serie I Misteri della Fotografia, dedicata ai miti ed ai precursori, e la seconda della serie dedicata alla vita di Joseph Nicéphore Niépce Edizioni Atelier 41, via Fratelli Bandiera, Senigallia
La Fotografia è la più bella delle collezioni … Senigallia, città della fotografia, ospitera nuovi spazi dedicato alla ricerca e promozione della fotografia. Atelier 41 si trova 41 via fratelli Bandiera. Senigallia diventerà la Città delle collezioni. Any question : fotografia@atelier41.org <mailto:fotografia@atelier41.org>
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