Description
A painter by trade, Le Gray took up photography in 1847 and became a master of light-filled landscapes and seascapes. His early portraits depict his social circle of artists and writers, including his friend and neighbor the playwright Cottinet. He is portrayed here as if in a reverie, perhaps composing a new play in his head. This effect is partly created by the low shooting angle and isolation of the subject in a corner between two bare walls, a rare and casual approach for the time. Posing subjects this way would become a standard ploy for the famed 20th-century photographer Irving Penn, although it is highly unlikely he ever saw this work.
Gustave Le Gray
Gustave Le Gray French, 1820-1884
A master both technically and aesthetically, Gustave Le Gray (born in Villiers-le-Bel) was one of the most important figures in 19th-century French photography, bringing to the medium artistic integrity and visual imagination. Le Gray, trained as a painter, was exhibiting his work in the Paris Salons in the late 1840s and early 1850s when he became interested in photography. Along with Henri Le Secq and Charles Nègre, he was a student of Paul Delaroche, a painter of considerable reputation and ability who was one of the first to grasp the importance of photography.
In 1851 Le Gray announced his invention of a waxed paper negative, a significant improvement over earlier paper methods that was later adopted by Louis de Clercq, Dr. August Jakob Lorent, and others. That same year the Commission des Monuments historiques named him as one of five photographers of the Mission héliographique, for which he produced well-known studies of army maneuvers at Chalons. Le Gray also worked with François Arago, the scientist and champion of Louis-Jacques-Mandé Daguerre, and later proposed a new method of toning prints, among other innovations.
Le Gray was perhaps most admired for the effects he achieved with water and sky. To capture the subtle qualities of cloud patterns in some of his seascapes, he employed two negatives to produce the final image. His commissioned studies of historic monuments are classic examples of early architectural photography. In the early 1850s he worked in the Barbizon tradition at Fontainebleau and, in 1860, documented the uprising against François II in Palermo. He was a founding member of the Société héliographique and the Société française de photographie. Despite his influence and artistic success, Le Gray left Paris in 1865 to become a professor of design at the École Polytechnique in Cairo. He died in Egypt. T.W.F.