[风车，蒙马特] - 美国大都会艺术博物馆展品查阅

品名（中）	[风车，蒙马特]
品名（英）	[Windmills, Montmartre]
入馆年号	2005年，2005.100.32
策展部门	摄影（Photographs）
创作者	Hippolyte Bayard【1801 至 1887】【法国人】
创作年份	公元 1839
创作地区
分类	照片（Photographs）
尺寸	图像: 9.3 × 10.6 厘米 (3 11/16 × 4 3/16 英寸), irregularly tri毫米ed
介绍（中）	甚至在塔尔博特和达盖尔的详细过程被揭示之前，第三位发明家已经成功地使用他自己的创造过程获得了摄影图像。希波利特·贝亚德（Hippolyte Bayard）在从公务员工作中腾出的几个小时里进行实验，在1839年初的短短几个月内，将他的过程从概念变成了成果。与达盖尔的技术一样，贝亚德的技术是一个直接积极的过程;像塔尔博特一样，它在纸上制作了照片。每张照片需要大约三十分钟的曝光时间。这张照片的反面刻有"Essai de 1839 Avril Mai"，是Bayard现存最早的版画之一，也是最稀有的摄影古版画之一。它的化学污渍和轻微的变色只会增强现代观众见证魔力的感觉，这种魔力首先使敏化纸能够保留由暗箱镜头投射的图像。蒙马特风景如画的风车，这个偏远的郊区正在成为巴黎的波西米亚区，是贝亚德最早照片的常见主题，并且可能出现在艺术家在 1839 年 7 月在巴黎举行的第一次公开摄影展上展示的三十张照片中的一些。十几年后，评论家弗朗西斯·韦（Francis Wey）回忆起展出的作品时写道："它们与我从未见过的完全不同。...人们思考这些直接的积极因素，仿佛透过薄薄的薄雾幕。他们非常完成和完成，将现实的印象与梦的幻想结合在一起：光掠过它们，阴影抚摸着它们。
介绍（英）	Even before the detailed processes of Talbot and Daguerre were revealed, a third inventor had successfully obtained photographic images using a process of his own creation. Hippolyte Bayard, experimenting in the hours left free from his civil service job, had brought his process from conception to fruition in the short space of a few months early in 1839. Like Daguerre's technique, Bayard's was a direct-positive process; like Talbot's, it produced photographs on paper. Each picture required some thirty minutes of exposure. This photograph, inscribed on the verso "Essai de 1839 Avril Mai," is one of Bayard's earliest surviving prints and among the rarest of photographic incunabula. Its chemical stains and slight discoloration only heighten the modern viewer's sense of bearing witness to the magic that first enabled sensitized paper to retain an image thrown by the lens of a camera obscura. The picturesque windmills of Montmartre, the outlying suburb that was becoming the bohemian quarter of Paris, were a frequent subject of Bayard's earliest photographs, and likely figured in some of the thirty pictures shown by the artist in the first public exhibition of photographs, held in Paris in July 1839. Remembering that occasion a dozen years later, the critic Francis Wey wrote of the exhibited works, "They resembled nothing I had ever seen. … One contemplates these direct positives as if through a fine curtain of mist. Very finished and accomplished, they unite the impression of reality with the fantasy of dreams: light grazes and shadow caresses them."