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spontaneous snapshot. This is the stage whereby Wall argues that photography enters a "modernist dialectic". Wall states that unpredictability is key to modern aesthetics. This new concept of the picture, which Wall proposes, with the compositional aspects of the
Western picture combined with the unpredictability that the camera affords through its shutter, can be seen in the work of many contemporary photographic artists, including
698:
By divesting itself of the encumbrances and advantages inherited from older art forms, reportage, or the spontaneous fleeting aspect of the photographic image pushes toward a discovery of qualities apparently intrinsic to the medium, qualities that must necessarily distinguish the medium from others
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Pictorialist photography was dazzled by the spectacle of
Western painting and attempted, to some extent, to imitate it in acts of pure composition. Lacking the means to make the surface of its pictures unpredictable and important, the first phase of Pictorialism, Stieglitz's phase, emulated the fine
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The argument is that, unlike most other art forms, photography can profit from the capture of chance occurrences. Through this process—the snapshot, the "accidental" image—photography invents its own concept of the picture: a hybrid form of the "Western picture" (pictorialist photography) and the
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as a form still dominates the art photography market. As Fried notes: "Arguably the most decisive development in the rise of the new art photography has been the emergence, starting in the late 1970s and gaining impetus in the 1980s and after, of what the French critic Jean-François
Chevrier has
466:
By a quirk of
English law, nudity on the stage was not permitted unless the performers remained motionless while the stage curtains were open; the situation in locations in the United States was often similar. In the early years of the 20th century, performers took advantage of this exception to
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By this, Chevrier notes that scale and size is obviously important if the pictures are to "hold the wall". But size has another function; it distances the viewer from the object, requiring one to stand back from the picture to take it all in. This "confrontational" experience, Fried notes, is
215:
The history of
Western visual arts in general, until the modern era, has had a focus on symbolic, arranged presentation, and (aside from direct personal portraiture) was heavily dependent on stationary artists' models in costume – which can be regarded as small-scale
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was an early adopter (only taking the part of the audience herself). In the mid-1850s the actors were her children, who performed tableaux for their parents 14th wedding anniversary in 1854. By the 1890s the settings had become very elaborate, as when her third son
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They are designed and produced for the wall. summoning a confrontational experience on the part of the spectator that sharply contrasts with the habitual processes of appropriation and projection whereby photographic images are normally received and "consumed"
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in relation to a form of art photography, which began in the 1970s and 1980s in an essay titled "The
Adventures of the Picture Form in the History of Photography" in 1989. The initial translation of this text substitutes the English word
475:) in Germany, in which she posed nude in imitation of actual or imagined classical works of art ("living pictures"). The English tradition in risqué entertainment continued until the English law was changed in the 1960s.
212:. Many paintings and sculptures probably recreate tableaux vivants, by which art historians sometimes account for groups of rather static figures. Artists were often the designers of public pageantry of this sort.
197:
into cities. Often the actors imitated statues or paintings, much in the manner of modern street entertainers, but in larger groups, and mounted on elaborate temporary stands along the path of the main procession.
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presented on a theatre stage, one following another, usually to tell a story without requiring all the usual trappings and production of a full theatre performance. They thus influenced the form taken by later
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was sometimes used to recreate artworks on stage, based on an etching or sketch of a painting. This could be done as an amateur venture in a drawing room, or as a more professionally produced series of
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unpredictable and spontaneous. This was achieved by making photographs related to the inherent capabilities of the camera itself. And this, Wall argues, was a direct result of
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that could be brought together in an evening, and required little skill in acting or speaking. They were also popular for various sorts of community events and parades.
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used in the professional theatre, taking advantage of the extra latitude the law allowed for the display of nudity so long as the actors did not move. Tableaux featured
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is similar, "... it lacks the connotations of constructedness, of being the product of an intellectual act that the French word carries." (p. 146) Other texts and
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stage "plastic representations", as they were sometimes called, centring on nudity. The most persistent performer in this line was the German dancer
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reported, with many photographs, on two events in London where society ladies posed, mostly as paintings. One event concentrated on paintings by
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retains the French term when referring to
Chevrier's essay, because according to Fried (2008), there is no direct translation into English for
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actually quite a large break from the conventional reception of photography, which up to that point was often consumed in books or magazines.
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They were a popular medieval form that revived considerably from the 19th century, probably as they were very suitable for recording by
171:, street performers who busk by posing in costume. In film or live theatre the performers sometimes briefly freeze in position for a
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depictions, did not begin until the mid-19th century, a direct reaction against
Romanticism and its heavy dependence on stylized
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The invention of photography caused a revival in the form. Initially photography was expensive, and the form flourished in the
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They became popular for community events and festivals, very often using children, who might parade before settling into a
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were popular forms of entertainment, even in
American frontier towns. Before the age of color reproduction of images, the
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Chevrier, Jean-François (2003) . "The
Adventures of the Picture Form in the History of Photography". In Fogle, D. (ed.).
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took such titles as "Nymphs Bathing" and "Diana the Huntress" and were to be found at such places as the Hall of Rome in
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graphic arts, re-invented the beautiful look, set standards for gorgeousness of composition, and faded. (p. 75)
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and through the self-examination of which it can emerge as a modernist art on a plane with others. (pp. 76–78)
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containing one or more actors or models. They are stationary and silent, usually in costume, carefully posed, with
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Wall, Jeff (1998). "Marks of Indifference: Aspects of Photography in, or as, Conceptual Art". In Janus, E. (ed.).
1292:"The only thing that's changed is everything: An essay by Rebecca Travis on Sylvia Grace Borda: Camera Histories"
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of Armenian costume, embroidery and religious rituals depicting scenes and verses from the poet's life.
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is about the making of an ambitious art film that uses re-creations of classical European paintings as
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Tableaux were also performed for charity events. The February 1917 edition of the American magazine
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Chevrier, Jean-François (2006). "The Tableau and The Document of Experience". In Weski, T. (ed.).
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on stage; it was the first, and for many years the only, venue for them in 20th-century London.
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entertainment, both on stage and in print. Tableaux continue to the present day in the form of
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are performed each year at the school carol service, including the depiction of an engraving
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could be seen as an attempt by photographers to imitate painting (perhaps unsuccessfully):
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However, there appears to be only a handful of young, emerging artists working within the
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Greenberg, C. (2003) . "Modernist Painting". In Harrison, C; Wood, P (eds.).
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for online exploration, she and her collaborator, John M. Lynch, won the
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in England during the Victorian period; the custom is still practised at
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were often included in fairground sideshows (as seen in the 1961 film
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images for the viewer to explore. Through her efforts to pioneer the
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In the late 19th and early 20th centuries, there was also a type of
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as a non-theatrical visual art style. Pictorialism, according to
471:, beginning in London, and who later put on "Evenings of Beauty" (
443:, posed by ladies of American birth in London. The other included
1155:"The Tableau Vivant Is Alive and Well and Living in Laguna Beach"
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426:(in which the subjects are painted and dressed completely grey).
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163:('flexible poses') by virtually nude models, providing a form of
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were also a frequent feature of variety shows in the US: first
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Veronica's Revenge: Contemporary Perspectives on Photography
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was punctuated with short dramatic scenes and painting-like
1227:. Munich: Haus Der Kunst and Brussels: Centre for Fine Art.
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There is a 2014 Estonian feature film produced entirely in
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The Last Picture Show: Artists Using Photography 1960–1982
208:, describes the use and design of tableaux vivants in the
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The key characteristics of the contemporary photographic
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396:(which first appeared in modern form in the late 1890s).
1468:(1860 text describing how to produce Tableaux Vivants)
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A group of European royalty pose in costumes in 1860s
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theory of medium specificity also cover this topic.
556:. Tableaux remain a major attraction at the annual
27:
Static scene containing one or more actors or models
1444:. Princeton New Jersey: Princeton University Press.
1440:Theory of Film: The Redemption of Physical Reality
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252:, his wife and their three children posed for a
1296:Scottish Society for the History of Photography
250:Prince Arthur, Duke of Connaught and Strathearn
1210:Why Photography Matters as Art as Never Before
1028:British Library, accessed September 24th, 2007
392:shows, and perhaps also sequential narrative
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222:with the artist as temporary audience. The
1351:"A Field in England – Official UK Trailer"
1225:Click Double Click: The Documentary Factor
1212:. New Haven/London: Yale University Press.
924:presents its sex scenes using the effect.
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333:A tableau vivant on May 29, 1897, in the
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1057:Cowtown : an album of early Calgary
884:Entry of the Crusaders in Constantinople
763:engine. Her work creates 360° immersive
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641:has its roots not in the theatrical
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528:in London (1932–1964) featured nude
299:adding citations to reliable sources
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55:, 1892, in front of what is now the
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59:, then the Dutch Governor's palace.
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1460:Home Pastimes; or Tableaux Vivants
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1153:Navarro, Mireya (August 1, 2006).
860:Charles IV of Spain and His Family
183:In the Middle Ages occasionally a
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1418:Ramos, J. & Pouy, L. (2014).
1192:. Minneapolis: Walker Art Centre.
751:. More recently, Canadian artist
335:Girls High School (San Francisco)
1474:(Photograph collection includes
1422:. Paris: Mare & Martin/INHA.
1128:"Bridgwater Guy Fawkes Carnival"
886:, Jacob wrestling with the Angel
488:, London. Other venues were the
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1431:. Oxford: Blackwell Publishing.
1395:from the original on 2021-12-13
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1361:from the original on 2021-12-13
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1264:Parhar, Katherine (July 2016).
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1167:from the original on 2018-04-17
993:, Germany. It includes several
655:, a movement with its roots in
286:needs additional citations for
263:for the audience and a camera.
57:Presidential Palace of Suriname
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578:was the first to use the term
343:Tenting on the Old Camp Ground
341:veterans, at right, who sang "
131:. It thus combines aspects of
36:Tableau Vivant (Modern Family)
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1:
1290:Travis, Rebecca (July 2016).
1038:"Tableaux vivants at Osborne"
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989:is played every ten years in
651:photography, such as that of
571:in modern photographic theory
205:The Autumn of the Middle Ages
47:Outdoor tableau vivant about
462:and Adolf Salge, around 1908
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1502:Nudity in theatre and dance
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903:The Embarkation for Cythera
801:, of the Passion of Jesus.
478:In the nineteenth century,
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1019:Festivals in Valois France
759:for the camera within the
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1103:"Desmond, Olga 1890–1964"
982:Oberammergau Passion Play
807:The Color of Pomegranates
458:Tableau vivant featuring
1472:Kate Matthews Collection
894:Assumption of the Virgin
743:form. Examples include
562:Laguna Beach, California
496:and the Cyder Cellar in
410:Loughborough High School
129:theatrically illuminated
1429:Art in Theory 1900–2000
1132:Bridgwater Carnival Ltd
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915:Caravaggio (1986 film)
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997:with scenes from the
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736:form" (p. 143).
722:Philip-Lorca diCorcia
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605:in this sense. While
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486:Great Windmill Street
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243:parties of the rich.
241:English country house
91:; often shortened to
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1478:of tableaux vivants)
1403:– via YouTube.
922:My Own Private Idaho
870:The Valpinçon Bather
745:Florian Maier Aichen
589:for the French word
550:Bridgewater Carnival
295:improve this article
226:movement, with more
88:[tablovivɑ̃]
1302:on November 7, 2017
976:Mannequin Challenge
785:Pier Paolo Pasolini
775:2016 for Web Arts.
611:Clement Greenberg's
441:John Singer Sargent
1391:. 12 August 2014.
1322:"2016 Lumen Prize"
1208:Fried, M. (2008).
1160:The New York Times
1053:Ward, Tom (1975).
1024:2007-08-18 at the
930:A Field in England
761:Google Street View
753:Sylvia Grace Borda
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1492:Theatrical genres
1465:Project Gutenberg
852:Third of May 1808
635:The photographic
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