By Alice Cooney Frelinghuysen
Коллекция американского фарфора из Метрополитен-музея. Книга содержит 221иллюстрацию, из них 169 в цвете.
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Additional info for American Porcelain. 1770-1920
He had no interest in the sort of public showings that made Reynaud famous. Nonetheless, many of his chronophotography experiments also hold value as stunning visual presentations of moving pictures. As historian Marta Braun points out, Marey’s work dealt head-on with the reconceptualization of time and space, inﬂuencing artists, scientists, and philosophers, including Henry Bergson: “Marey’s imagery, embedded in the discourse of nineteenth-century science, comes to belong to the canon of early twentiethcentury art and aesthetic modernism.
Beyond the moving images, an important part of the show was also the “man behind the screen” presenting his spectacle. Emile Reynaud’s name ﬁgured prominently on the advertising posters for the Musee Grevin wax museum. La Nature even featured a famous illustration of Reynaud at the controls, operating the 10 Introduction: The Rise of Animation in France optical theater, and one historian points out that Reynaud looks superb in the midst of the apparatus, with his hands turning the controls: “He resembles Captain Nemo at the helm of the Nautilus – 20,000 leagues under his dreams” (Tchernia 1998: 5).
As Donald Crafton (1993a: 60) points out, Cohl was nearly 44 years old when Walt Disney was born and age 50 when he began animating, so he was perhaps more connected to the spirit and aesthetics of the nineteenth century than many early ﬁlmmakers. Cohl stood out in many ways from his contemporaries. Importantly, as a young man Cohl idolized and then befriended the famous political caricaturist Andre Gill. The late 1800s were characterized by a fascination with new modes of representation, fueled in large part by advances in photography and scientiﬁc instruments of inquiry, including x-rays, that could document the world in new ways.