48/14, La revue du musée d'Orsay, issue # 16, Spring 2003

48/14, La revue du musée d'Orsay (1995-2011)
Collectif, Serge Lemoine, direction
Musée d'Orsay / Réunion des musées nationaux - 2003
soft cover
€ 11 - available

Actualités (News)

Exhibitions at the Musée d'Orsay

  • French Daguerreotype. A Photographic Object
  • Documentary Beauty, 1840-1914
  • Photography at the Turn of the Century : From Pictorialism to Eugène Atget
  • Exhibition at the Musée de la vie romantique: Silver Treasures. The Froment-Meurice Parisian Romantic Silversmiths, from February 4 to June 15

New acquisitions

Etudes (Research)

Henri Le Secq and Still Life
by Sylvie Aubenas, Bibliothèque nationale de France
The 1850s were the first golden age of French photography. As early as that time, photographers made the most of the nature of the new medium itself as of the negative / positive duality. From the outset, Henri Le Secq pulled himself up to the level of the most inventive artists. His still lifes constitute an inexhaustible laboratory.

Le Gray and his Pupils, a School Abandoning the Subject
by Anne de Mondenard, Direction du Patrimoine
During the XIXth century, praised as it was for its perfect objectivity, photography was strictly valued for its reproduction value. However, part of the output of the 1850s freed itself from such dictates. The work of Le Gray and of his followers established a new understanding of motif and subject.

New Vision, Old Photography
by Quentin Bajac, curator, Musée d'Orsay
Rather belatedly, close to a century after its invention, photography came to be fully recognized as an art. Quentin Bajac examines how the pioneers of the "new image" were reappraised during the XXth century interwar period.

Photographs by Charles Jeandel : Un si funeste désir
by Hélène Pinet, Musée Rodin
Holding thousands of negatives, the collection of the Musée d1Orsay also includes unusual shots which, in the past, would have remained concealed while their exhibition would have been prohibited. In the already legendary Album Jeandel, not only are we amazed by its overacted sadomasochism but we are also struck by its incomparable melancholy beauty.

Surrealism and XIXth-century Photography
by Michel Poivert, Université de Paris I
Just as André Breton redeemed gothic fiction from the 1830s, surrealist journals (up to Minotaure and Documents) drew a whole collection of medical, judicial and even pseudo-artistic pictures from the bulk of XIXth century photographs. Former ugliness suddenly became the modern canons of beauty.


  • Interview with André Jammes, by Serge Lemoine and Quentin Bajac
  • The photographic archive Charles Nègre
  • Photography exhibited by the Musée d'Orsay from 1979 to 2002
  • Chronology of exhibitions and presentations of photography at the Musée d'Orsay


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