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Explore the changing world of late nineteenth-century Iran through the gaze of one of its most renowned photographers, Antoin Sevruguin. This volume, which will be accompanied by a forthcoming exhibition, publishes for the first time the Oriental Institute Museums complete collection of nineteenth-century Iranian photographs, most of which were created by Sevruguin. Sevruguins artfully staged photographs still resonate with us today. Accompanying the print catalog is a series of essays that investigate Sevruguins life and photographic career, including the lasting impact of his unique vision, as demonstrated by the work of contemporary artist Yassaman Ameri.
"In addition to his numerous pictures of urban life and portraits made in his famous studio in Tehran, Sevruguin made a photographic inventory of the landscape, archaeological sites, and people of Azarbaijan and continued the project in Kurdistan and Luristan (in southwestern Iran)."--BOOK JACKET. "In this generously illustrated book, the first ever devoted to Sevruguin and his singular work, six distinguished authors explore the photographer's life and career."--BOOK JACKET.
The German lacuna in Edward Said’s 'Orientalism' has produced varied studies of German cultural and academic Orientalisms. So far the domains of German politics and scholarship have not been conflated to probe the central power/knowledge nexus of Said’s argument. Seeking to fill this gap, the diplomatic career and scholarly-literary productions of the centrally placed Friedrich Rosen serve as a focal point to investigate how politics influenced knowledge generated about the “Orient” and charts the roles knowledge played in political decision-making regarding extra-European regions. This is pursued through analyses of Germans in British imperialist contexts, cultures of lowly diplomatic encounters in Middle Eastern cities, Persian poetry in translation, prestigious Orientalist congresses in northern climes, leveraging knowledge in high-stakes diplomatic encounters, and the making of Germany’s Islam policy up to the Great War. Politics drew on bodies of knowledge and could promote or hinder scholarship. Yet, scholars never systemically followed empire in its tracks but sought their own paths to cognition. On their own terms or influenced by “Oriental” savants they aligned with politics or challenged claims to conquest and rule.
The Getty Research Journal features the work of art historians, museum curators, and conservators around the world as part of the Getty’s mission to promote the presentation, conservation, and interpretation of the world’s artistic legacy. Articles present original scholarship related to the Getty’s collections, initiatives, and research. This issue features essays on works by Bolognese painter Guido Reni and his studio; a collection of late nineteenth-century images by one of Iran’s most prolific photographers, Antoin Sevruguin; Le Corbusier’s encounters with and monumentalization of the konak, a type of Ottoman house; the correspondence between René Magritte and his wife while he stayed at the London home of patron and collector Edward James; the activities of Belgian surrealist Édouard Léon Théodore Mesens as art dealer and collector; and art historian and critic Leo Steinberg’s unpublished research on Titian. Shorter texts include notices on three joining fragments of an Urartian bronze belt; a sketchbook newly attributed to Florentine architect, engineer, and set designer Giulio Parigi; photo albums documenting the plague pandemic in late nineteenth-century Bombay; four scrapbooks produced by Neue Sachlichkeit photographer Albert Renger-Patzsch; and the correspondence between Swiss curator Harald Szeemann and Russian artist Lev Nusberg.
The historiography of early photography has scarcely examined Islamic countries in the Near and Middle East, although the new technique was adopted very quickly there by the 1840s. Which regional, local, and global aspects can be made evident? What role did autochthonous image and art traditions have, and which specific functions did photography meet since its introduction? This collective volume deals with examples from Iran, the Ottoman Empire, and the Arab lands and with the question of local specifics, or an „indigenous lens." The contributions broach the issues of regional histories of photography, local photographers, specific themes and practices, and historical collections in these countries. They offer, for the first time in book form, a cross-section through a developing field of the history of photography.
Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces—public, private, seen, unseen, accessible, and forbidden—thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long durée or resisted those societal transformations as a result of modernization.
-This catalogue accompanies the exhibition Technologies of the Image: Art in 19th-Century Iran, on view at the Harvard Art Museums, Cambridge, Massachusetts, from August 26, 2017 through January 7, 2018.-
"In this generously illustrated book, the first ever devoted to Sevruguin and his singular work, six distinguished authors explore the photographer's life and career."--Jacket.