A history of photography : from 1839 to the present. --

Hong Kong, China ; Koln, Alemania : Taschen, c2011.

766 p. : il. ; 20 cm.

The George Eastman House Collection

9783822847770

Incluye referencias bibliográficas (p. 747-757) e índice.

Foreword. -- The collections at George Eastman House. -- A legacy in the making. -- The blind man's elephant. -- Acknowledgments. -- About this publication. -- All things under the sun. -- Daguerre and the daguerreotype. -- South and hawes. -- Talbot and the paper negative. -- Hill and Adamson. -- The calotype in France. -- An even greater measure. -- Italy - Rome. -- Italy - Pompeii. -- Italy - Florence. -- Italy - Venice. -- The Middle East - Egypt. -- The Middle East - Palestine and Syria, Baalbek, Palmyra, Jerusalem. -- The Middle East - Turkey. -- India. -- The Far East - Japan. -- The Far East - China. -- The Americas. -- The American West. -- California and the Far West. -- Technology and war. -- Technology. -- Crimea. -- The American Civil War. -- A matter of fact. -- Photography's public and private lives. -- Artful ambitions. -- An art of its own. -- Our modern world. -- The object photographed. -- Photography sells. -- Public record. -- Candid witness. -- The visual mind. -- America seen. -- The world beat. -- Peers and predecessors. -- Glossary. -- Selected bibliography. -- Photographers' credits. -- Index of photographers. --

Tomado del prólogo: "This is a book that leads toward investigation. Heuristic rather than definitive, it proposes possible ways of approaching the George Eastman House Collection for pleasure or scholarship, providing just one structure and arrangement out of many that are possible. This book, presented in the museum's 50th anniversary year, is an invitation for discovery, as discovery is vital to the museum's mission. Therese Mulligan, curator of photography, has led the process of selecting and interpreting the images. The categories she has used to group the images, while comprehensive is spirit, make propositions about the collection without defining it. Informed by scholarship, wisdom, and strengths of the collection, Ms. Mulligan's choice of images and her essay are intellectually and emotionally satisfying because they are contingent and personal. And while each of the pictures may be considered to be a representation of the collection as a whole, the selection is in no way proportionate to the sum of the collection. David Wooters, the photo archivist for nearly two decades, often speaks of the invitation to discover the collection offers is visitors. In this way the collection is a lure that summons the joy of interpretation, and this book extends a special invitation to that educational process repeatedly, viewing a selection of images in such a way that a history is reflected as it was created - with purpose and at random, always with surprise." --