Abstract
At the turn of the 19th Century the camera obscura was a fundamental machine both in the design of early photographic cameras and in the continuity of ways of seeing. Thus, the groundwork for the advent of photography was laid during the Enlightenment; in terms of the objective —that of fixing an image of the visible world— there was no real break between the 18 th and the 19 th century. Closely related to the camera obscura was the ‘optique’, also known in England as the Zograscope. An international market for prints was established and the most successful images were views of cities and monuments. Among these prints there were those which depicted Spain.
Highlights
the groundwork for the advent of photography was laid during the Enlightenment
there was no real break between the 18th
Le meraviglie della visione dal ‘700 alla nascita del cinema
Summary
RESUMEN En el cambio del siglo, del XVIII al XIX, la cámara oscura se constituyó como una máquina fundamental tanto en lo que respecta al diseño de las primeras cámaras fotográficas como en la continuidad de la manera de ver. Las bases para la recepción de la fotografía se establecieron en el periodo ilustrado, de modo que en el objetivo de fijar la imagen de la cámara oscura no existió ninguna ruptura. Estrechamente relacionado con la cámara oscura estaba el ‘cajón óptico’; se estableció un mercado internacional de estampas y las imágenes de mayor éxito fueron las vistas de ciudades y monumentos. Entre esas estampas se encontraban las que mostraban a España. Palabras clave: Cámara oscura, Cajón óptico, Vistas, Siglo XVIII, España
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