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Painting in Light and Chemistry: D. O. Hill’s The Market Cross, Ayr (1835) and Its Relation to His Photographic Work with Robert Adamson, 1843–47
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Painting in Light and Chemistry: D. O. Hill’s The Market Cross, Ayr (1835) and Its Relation to His Photographic Work with Robert Adamson, 1843–47
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Painting in Light and Chemistry: D. O. Hill’s The Market Cross, Ayr (1835) and Its Relation to His Photographic Work with Robert Adamson, 1843–47
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Journal Article
Painting in Light and Chemistry: D. O. Hill’s The Market Cross, Ayr (1835) and Its Relation to His Photographic Work with Robert Adamson, 1843–47
2014
Overview
This essay examines The Market Cross, Ayr (1835), an oil painting by Scottish artist David Octavius Hill (1802–1870), as part of an extended series of landscapes designed for publication and associated with the poet Robert Burns. The picture, which has recently reemerged, is significant for its relevance to issues that both lead to and inform the new art of photography in the 1840s. Concerns of time, light, and living figures in the picture added to the practical interest in large-scale reproduction for a public audience.
Hill was a painter by profession when he entered into partnership with the young photographer Robert Adamson in Edinburgh in 1843. In the course of four years, they explored and extended the possibilities of photography and established that it was indeed a potential aesthetic art form. The essay offers connections between the earlier painting and the photographs they took in William Henry Fox Talbot's calotype process—the first viable process for negative/positive photography.
Publisher
University of Chicago Press,Getty Publications
Subject
