This thesis explores the relationship between photography and painting from the mid-nineteenth-century to the early twentieth-century. Specifically, I focus on the artistic outputs of four painters, Degas, Vuillard, Bonnard and Sickert, and the different manners in which they incorporated photography within their creative practices. In particular, I concentrate on photography’s representation of and relationship with time, discussing this in relation to three concepts, that of the narrative moment, memory and motion; concepts that painters often experimented with and explored during the timeframe mentioned.
Throughout the thesis I examine how the paintings of my selected artists compare and contrast with photographic imagery. By doing so I demonstrate how these artists incorporated and commented on photographic notions of time within their paintings. Three of the artists, Degas, Vuillard and Bonnard, also experimented with photography and I look at how their photographic experiments related to and/or impacted their painting practices. This thesis argues that the selected painters’ experimentation with photography did not hinder their creative vision, but rather enhanced it. Further, I comment on how these artists recognised the differences between photographic representations of life and their own visual and emotional experiences, thereby challenging photography’s connection with objective truth; an important critique considering that photography was still in its infancy.
| Identifer | oai:union.ndltd.org:canterbury.ac.nz/oai:ir.canterbury.ac.nz:10092/8192 |
| Date | January 2012 |
| Creators | Bruce, Janine |
| Publisher | University of Canterbury. Art History and Theory |
| Source Sets | University of Canterbury |
| Language | English |
| Detected Language | English |
| Type | Electronic thesis or dissertation, Text |
| Rights | Copyright Janine Bruce, http://library.canterbury.ac.nz/thesis/etheses_copyright.shtml |
| Relation | NZCU |
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