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托福听力背景知识:照相技术发展

2017-04-17 11:09:30来源：新东方在线整理

　　If Cameron and contemporaries such as Oscar Rejlander and Roger Fenton (who took numerous photographs of still-life compositions of fruit and flowers as well as his better known pictures of the Crimean war) were keen that their photographs should reflect their own knowledge of art, the links went both ways. In 1873, Leonida Caldesi published a book of her photographs of 320 paintings in the National Gallery, and her intended audience was not just the public but artists themselves, for whom the photographs were both more accurate and more affordable than engraved reproductions. By 1856, thanks to Fenton's photographs, artists could study classical statues in their own studios.

托福听力背景知识:照相技术发展

Richard Learoyd's Man with Octopus Tattoo II (2011) by Richard Learoyd. Photograph: Courtesy of McKee Gallery, New York

　　It was perhaps in depicting the nude – such as Fenton's bestselling photograph of the discus thrower Discobolus – that photography could repay its debt to art. Hiring a life model was expensive, and engravings were a poor substitute. Delacroix was one artist who "experienced a feeling of revulsion, almost disgust, for their incorrectness, their mannerisms, and their lack of naturalness". He praised instead the painterly aid provided by académies (books of nude photographs) since they showed him reality: "these photographs of the nude men – this human body, this admirable poem, from which I am learning to read". He even helped the photographer Eugène Durieu pose and light his models. And in 19th-century Britain and France, when pornography was illegal, photographs of the nude were in demand from customers who had no artistic interests.

　　When it came to landscape photography the new medium appeared just as the impressionists were beginning to work in the open air. Some commentators saw photography's real challenge to painting as lying in its ability to capture what the photographer and journalist William Stillman called in 1872 "the affidavits of nature to the facts on which art is based" – the random "natural combinations of scenery, exquisite gradation, and effects of sun and shade". Another practitioner, Lyndon Smith, went further, declaring landscape photography the answer to the "effete and exploded 'High Art', and 'Classic' systems of Sir Joshua Reynolds" and "the cold, heartless, infidel works of pagan Greece and Rome".

本文关键字: 2017年4月15日托福 托福听力背景资料

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