With the introduction of the Autochrome process in 1907 colour photography became a possibility for a broad range of photographers. Its availability created a stir that involved all areas of photography and provoked a heated debate about the fundamental laws and aims of the medium. Especially the Autochrome’s suitability for artistic photography was under attack. Still, some pictorial photographers embraced the newly achieved possibility of colour registration and explored its potential, creating a distinct aesthetic that employed the medium’s characteristics within the framework of pictorialism. This paper discusses examples of pictorial Autochrome photography in the context of the debates on art and colour photography of the time.
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This is a free event and lunch is provided.
Caroline Fuchs is a Curatorial Fellow at the Bavarian State Paintings Collections in Munich (Germany) and a lecturer at the department of Art History at University of Vienna (Austria). Recently, she completed her PhD with a dissertation on Colour Values – Autochrome Photography in Britain. She is currently preparing this thesis for publication and has been awarded a postdoctoral Fellowship by the Paul Mellon Centre for this aim. Fuchs is a member of the European Society for the History of Photography’s executive committee. Her latest publication focuses on Gerhard Richter and the Principle of Detail, in: Gerhard Richter. Detail: Paintings from the Böckmann Collection, Exhibition Catalogue Nuremberg (2014).
11 Mar 2016, 12:30 – 2:00 pm
Lecture Room, Paul Mellon Centre, 16 Bedford Square, London WC1B 3JA
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