Abstract
The main goal of this study is to establish a relationship between the use of the portrait and the concept of celebrity, at the end of the 19th century, taking as a corpus of analysis a set of requests for photographs sent by letter to Zola, from correspondents located in different parts of the world. It is intended, through a qualitative analysis of this collection, to identify the functionalities and contexts within this set of correspondents requested these images, in order to understand the role that photography has taken in the symbolic construction process of this figure as a celebrity.
Highlights
PHOTOGRAPHIC PORTRAIT IN THE 19TH CENTURY celebrity as a focus of academic interest is widespread
Schickel defends the idea that the notion of celebrity is contemporary of the 20th century, not least because celebrities depend on high visibility, visibility that is only possible with an intense and intentional communication flow with the public
The English Oxford Dictionary, for example, mentions the first use of the term celebrity applied to a person in 1849, while the Dictionnaire Littré de la Langue Française refers to a famous person in 1872, identifying him as “a celebrity of our time”, that is, giving it a temporal connotation
Summary
PHOTOGRAPHIC PORTRAIT IN THE 19TH CENTURY celebrity as a focus of academic interest is widespread. The formation of the concept of celebrity in its direct relationship with mass communication coincides temporarily with the emergence and development of the METACRITIC JOURNAL FOR COMPARATIVE STUDIES AND THEORY 6.2 means of photographic reproduction It is in a context of massification of the image that, as Gomes points out, it is frequent to collect photographs and, above all, business cards (with photographs) of the famous. Mathew Brady (1823-1896), later responsible for the construction of the Gallery of Illustrious Americans, brought together one of the most important collections, reaching an average of 3,000 portraits a year The vulgarization of this type of portrait was reflected, in the appearance of a group of photographers, who wanted to escape the stereotype of photography printed on a business card by considering it lifeless and unnatural. Heir to the art of the pictorial portrait and often reproducing their poses, composition and lighting, the art of the photographic portrait reveals a desire to express feelings and emotions through the image and to create a symbolic image
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