
Art Appreciation: The Invention of Photography and it's Impact on Early Modern Painting
Course details
Course code
Q00021436Course date
Number of classes
1 sessionsTimetable
Tutor
Caroline LevisseFee range
How you'll learn
Venue
OnlineLevel of study
Entry Levels 1,2,3: If you have never studied this subject before and you’re not confident in your skills, Entry levels are a good starting point.
Level 1: Covers basic skills and knowledge needed for this subject
Level 2: Building on basic knowledge or experience. Similar to Grade 4/ C at GCSE or O level in England or Standards in Scotland.
Level 3: Learn about the topic in-depth and have a broad range of skills. Independent working Equivalent to an A level in England or Higher in Scotland.
Beginners: A perfect introduction if you have no experience and skills in this subject.
Improvers: The next step if you have basic skills or knowledge but want to progress them further.
Advanced: Build on the solid experience and skills you have in this subject, applying your skills and knowledge in a more complex way.
Course overview
Course description
This three-hour session explores how the invention of photography, from the 1830s, reshaped artistic practice, particularly influencing the Impressionist painters. We will begin with a brief history of early photographic techniques, from Niépce’s heliographs to Daguerreotypes and Talbot’s calotypes, examining their impact on visual culture.
The discussion will then focus on how photography challenged traditional painting, prompting artists to rethink composition, perspective, and subject matter. Impressionist painters, including Monet, Degas, and Renoir, responded by embracing looser brushwork, capturing fleeting moments, and experimenting with light and movement—qualities reminiscent of photographic snapshots. Degas in particular incorporated photographic framing techniques, cropping figures in ways that mimicked spontaneous photographic compositions. Also, these artists focused on something the photograph could not do then: bright colours.
We will consider whether photography liberated painters from the need for realism or introduced new artistic constraints.
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