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14 de jun. de 2024 · A new style of portrait utilizing albumen paper, introduced in Paris by André-Adolphe-Eugène Disdéri in 1854, was universally popular in the 1860s. It came to be called the carte-de-visite because the size of the mounted albumen print (4 by 2.5 inches [10.2 by 6 cm]) corresponded to that of a calling card.
29 de jun. de 2024 · In 1854, André Adolphe Eugène Disdéri, a French photographer, patented a new method of photographic portraiture that would come to be known as the carte de visite. This new format involved printing small photographs mounted on card stock the size of a traditional visiting card.
21 de jun. de 2024 · Tag: André Adolphe-Eugène Disdéri Uncut Sheet of Cartes-de-Visite Portraits. Exhibition: ‘Nineteenth-Century Photography Now’ at the J. Paul Getty Museum, Los Angeles. Exhibition dates: 9th April – 7th July, 2024. Curators: the exhibition is curated by Karen Hellman, former associate curator in the Department of Photographs.
24 de jun. de 2024 · Avec les œuvres de François Burgun, Ruddy Candillon, Denise Colomb, Fatoumata Diabaté, André Adolphe-Eugène Disdéri, Anne Garde, Camille Henrot, Mathias Herrmann, Jean-Baptiste Huynh, Karl...
1 de jul. de 2024 · Baron Edward Bulwer Lytton, Vansittart's lover and patron (Photo by André-Adolphe-Eugène Disdéri) That Vansittart was a courageous woman indeed was also evident in her unconventional private life. As early as 1859, she had begun a love affair with the (married) politician, writer and baron Edward Bulwer-Lytton (his best-known book ...
16 de jun. de 2024 · In 1854, André Adolphe Eugène Disdéri introduced the carte de visite, a small, inexpensive photo card that visitors could take home to remind them of their experience. Produced by the thousands, these predecessors of the familiar postcard depicted famous places, people and everyday street life.
17 de jun. de 2024 · French photographer André Adolphe-Eugène Disdéri patented the carte de visite in 1854. It was a small photographic image mounted on a thick piece of paper. Created as a method for portraiture, it was not until Disdéri published photos of Napoleon III that it became a sensation.
