COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1990.33
amicoid
CMA_.1990.33
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Photographs
oty
Photographs
Object Type
false
Creator Name:
Fenton, Roger
crn
Fenton, Roger
Creator Name
false
Creator Nationality:
European; British
crc
European; British
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1819 - 1869
cdt
1819 - 1869
Creator Dates/Places
false
Biography:
Roger Fenton British, 1819-1869Despite the relative brevity of his career, Roger Fenton stands among the most important and accomplished British photographers. Born in Heywood, Lancashire, to a wealthy family, Fenton graduated from University College in London and in 1844 may have studied painting in the Paris studio of Paul Delaroche, along with several other important future photographers. After returning to England, he spent four years earning a degree as a solicitor, continued to paint, and developedan interest in photography before joining a London law firm in 1851. Fenton's paintings were shown annually in London at the Royal Academy from 1849?51. After helping to found the Calotype Club (1847), in 1852 he published an article that advocated establishment of a British photographic organization modeled after the Société héliographique in France. His argument, combined with the lifting of the use restrictions on William Henry Fox Talbot's patent for the calotype, led to formation of the London Photographic Society; Fenton served as its first honorary secretary. In December 1852, an early exhibition of the new society included 39 of his views. Soon afterward, he accompanied his friend Charles Vignoles to Russia to photograph the construction of a bridge at Kiev. Traveling to the Crimea in 1855, Fenton was the first photographer to make a sustained sequence of war views. He also accepted commissions to document the collections of the British Museum and to photograph the royal family at Buckingham and Windsor castles. Among Fenton's best work are his photographs of landscapes and architecture. His still lifes are exceptional. His views -- whether of great expanses of garden and lawn, of Balaklava, or of fishermen at a local stream -- have an artistic consistency, grandeur of vision, and command of technique comparable only to the work of Édouard Baldus in France and Carleton E. Watkins in America. In 1862, judging the quality of photography to have declined, Fenton sold all his equipment at auction andreturned to the law. His negatives were bought by Francis Frith, whose publishing concern continued to print them in various formats for the next hundred years. T.W.F.
crb
Roger Fenton British, 1819-1869Despite the relative brevity of his career, Roger Fenton stands among the most important and accomplished British photographers. Born in Heywood, Lancashire, to a wealthy family, Fenton graduated from University College in London and in 1844 may have studied painting in the Paris studio of Paul Delaroche, along with several other important future photographers. After returning to England, he spent four years earning a degree as a solicitor, continued to paint, and developedan interest in photography before joining a London law firm in 1851. Fenton's paintings were shown annually in London at the Royal Academy from 1849?51. After helping to found the Calotype Club (1847), in 1852 he published an article that advocated establishment of a British photographic organization modeled after the Société héliographique in France. His argument, combined with the lifting of the use restrictions on William Henry Fox Talbot's patent for the calotype, led to formation of the London Photographic Society; Fenton served as its first honorary secretary. In December 1852, an early exhibition of the new society included 39 of his views. Soon afterward, he accompanied his friend Charles Vignoles to Russia to photograph the construction of a bridge at Kiev. Traveling to the Crimea in 1855, Fenton was the first photographer to make a sustained sequence of war views. He also accepted commissions to document the collections of the British Museum and to photograph the royal family at Buckingham and Windsor castles. Among Fenton's best work are his photographs of landscapes and architecture. His still lifes are exceptional. His views -- whether of great expanses of garden and lawn, of Balaklava, or of fishermen at a local stream -- have an artistic consistency, grandeur of vision, and command of technique comparable only to the work of Édouard Baldus in France and Carleton E. Watkins in America. In 1862, judging the quality of photography to have declined, Fenton sold all his equipment at auction andreturned to the law. His negatives were bought by Francis Frith, whose publishing concern continued to print them in various formats for the next hundred years. T.W.F.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Heywood, Lancashire, England
cbp
Heywood, Lancashire, England
Creator Birth Place
false
Creator Death Place:
London, England
cdp
London, England
Creator Death Place
false
Creator Name-CRT:
Roger Fenton
crt
Roger Fenton
Creator Name-CRT
false
Title:
The Miners' Bridge, on the Llugwy, North Wales
otn
The Miners' Bridge, on the Llugwy, North Wales
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1857
oct
1857
Creation Date
false
Creation Start Date:
1857
ocs
1857
Creation Start Date
false
Creation End Date:
1857
oce
1857
Creation End Date
false
Materials and Techniques:
albumen print from wet collodion negative
omd
albumen print from wet collodion negative
Materials and Techniques
false
Classification Term:
Photography
clt
Photography
Classification Term
false
Dimensions:
Image: 36.7cm x 42.9cm
met
Image: 36.7cm x 42.9cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1990.33
ooa
1990.33
ID Number
false
Credit Line:
Andrew R. and Martha Holden Jennings Fund
ooc
Andrew R. and Martha Holden Jennings Fund
Credit Line
false
Inscriptions:
Written in pencil on verso: "BOB MINERS"
oin
Written in pencil on verso: "BOB MINERS"
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Roger Fenton was a versatile and prolific artist who abruptly ended his brief, twelve-year career as a professional photographer to return to the practice of law. Nevertheless, his architectural and landscape photographs have brought him recognition as the greatest British photographer of the 1850s. In this picturesque scene, Fenton focused on a single figure ascending a precarious wooden bridge that hangs suspended between two craggy surfaces. He often included people in his photographs to indicate scale and to enlived the composition. Fenton's wet collodion negative rendered the texture of the riverbed in minute detail, transforming the dark tones of the rocks and the random pattern of the light-colored lichens into a lively, abstract design. The slow speed of the negative, relative to the swift movement of the stream, turned the rushing water into a dense, white cloud.
cxd
Roger Fenton was a versatile and prolific artist who abruptly ended his brief, twelve-year career as a professional photographer to return to the practice of law. Nevertheless, his architectural and landscape photographs have brought him recognition as the greatest British photographer of the 1850s. In this picturesque scene, Fenton focused on a single figure ascending a precarious wooden bridge that hangs suspended between two craggy surfaces. He often included people in his photographs to indicate scale and to enlived the composition. Fenton's wet collodion negative rendered the texture of the riverbed in minute detail, transforming the dark tones of the rocks and the random pattern of the light-colored lichens into a lively, abstract design. The slow speed of the negative, relative to the swift movement of the stream, turned the rushing water into a dense, white cloud.
Context
false
Related Image Identifier Link:
CMA_.1990.33.tif
ril
CMA_.1990.33.tif
Related Image Identifier Link
false