Eugene Cuvelier Photography

Eugene Cuvelier

French (1837-1900)

EUGENE CUVELIER, “La Seine a Thomery”, ca. 1860, salt print, paper negative, 10" x 13 1/4"

EUGENE CUVELIER, “La Seine a Thomery”, ca. 1860, salt print, paper negative, 10″ x 13 1/4″

EUGENE CUVELIER, Untitled, Woods In Snow, France, ca. 1850s or 60s, salt print, paper negative, 10" x 13 1/4"

EUGENE CUVELIER, Untitled, Woods In Snow, France, ca. 1850s or 60s, salt print, paper negative, 10″ x 13 1/4″

EUGENE CUVELIER, “Les Nenuphars a Fampoux”, Neg. 206, ca. 1860-1865, albumen, paper negative, printed ca. Early 1860s, 10 3/16" x 7 13/16"

EUGENE CUVELIER, “Les Nenuphars a Fampoux”, Neg. 206, ca. 1860-1865, albumen, paper negative, printed ca. Early 1860s, 10 3/16″ x 7 13/16″

Biography | Bibliography

Eugene Cuvelier was born in Arras, France in 1837. His father, Adalbert Cuvelier, was a well to do merchant and an amateur painter and proficient photographer. Eugene Cuvelier’s early artistic education took place at home and in his village of Arras. Adalbert taught him the technical aspects of photography and the two premier painters of Arras-Constant Dutilleux and Xavier Dourlens took him on painting expeditions where his creative individuality would blossom. In 1852 Dutilleux introduced Adalbert to the foremost landscape painter of the time, Camille Corot, and the two quickly became best friends.

Corot, as well as other Barbizon painters such as, Jean-Francois Millet and Theodore Rousseau had a great impact on Eugene Cuvelier. As a young artist he was deeply influenced by these men as can be seen in his photographs. A large amount of his images were made at the Forest of Fontainebleau near Barbizon. This 42,000 acre forest was a haven for Eugene Cuvelier and it is here that he created his soft meditative images of landscapes in the style of Barbizon print makers and painters. Working with paper negatives, printed on both albumen and salted papers, he achieved a painterly effect which is truly reminiscent of the Barbizon style.

Bibliography

David Acton, Photography at the Worcester Art Museum: Keeping Shadows, Snoeck Publishers, Ghent, 2004.

Sylvie Aubenas, Anne Biroleau, Portraits/Visages 1853-2003, Paris: Bibliotheque Nationale de France, Gallimard, 2003.

Denise Bethel, Chris Mahoney, Charles Moffett, Polly Sartori, An Important Collection of Photographs by Eugene and Adalbert Cuvelier, New York: Sotheby’s, 2007.

Janet E. Buerger, The Era of the French Calotype, Ayer & Streb, 1982.

Peter Bunnell, Photography: Celebrating Twenty-five Years of Collecting & Teaching the History of Photography at Princeton, The Art Museum, Princeton University, 1998.

Daniel Challe, Bernard Marbot, Les Photographes de Barbizon: La Foret de Fontainebleau, Hoebeke/Bibliotheque Nationale: Paris, 1991.

Van Deren Coke, The Painter and the Photograph, Albuquerque: University of New Mexico Press, 1964.

Malcolm Daniel, Eugene Cuvelier, New York: Metropolitan Museum of Art, 1997.

Helmut Gernsheim, The Rise of Photography, 1850-1880, London: Thames and Hudson, 1981.

Chantal Georgel, La Foret de Fontainebleau au Atelier Grandeur Nature, Musee D’Orsay, Paris,: Musee D’Orsay, 2007.

Francoise Heilbrun et Philippe Neagu, Musee D Orsay Chefs-d oeuvre de la collection photographique, Reunion des Musees nationaux, Paris, 1985.

Francoise Heilbrun, Les Paysages des Impressionnistes, Editions Hazan, 1986.

Francoise Heilbrun, Bernard Marbot, Phillipe Neagu, L invention d un regard (1839-1918), Paris: Reunion des musees nationaux, 1989.

Francoise Heilbrun, Quentin Bajac, Orsay, La Photographie, French Edition, Paris: Editions Scala, 2000.

Francoise Heilbrun, Landscapes and Nature, Paris: Musee D Orsay, Five Continents, 2004.

Andre Jammes, Eugenia Parry Janis, The Art of French Calotype, 1845-1870, Princeton University Press, 1983.

Ken and Jenny Jacobson, Etude D Apres Nature: 19th Century Photographs in Relation to Art, London: Petches Bridge,1996.

Baudoin Lebon, Un dilettante chez les Primitifs: Un tour de France de la photographie de paysage (1850-1865), Paris: Mois de la Photo, November, 2004.

Kimberly Jones, In The Forest of Fontainebleau: Painters and Photographers from Carot to Monet, Washington DC: National Gallery of Art.

Naomi Rosenblum, A World History of Photography, New York: Abbeville Press, 1984.

Aaron Scharf, Art and Photography, Baltimore: Pelican Books, 1974.

George T. M. Shackelford and Fronia E. Wissman, Impressions of Light: The French Landscape from Corot to Monet, Boston: MFA Publications, 2002.

James Snyder, Gary Sokol, Beyond Time: Photographs from the Gary B. Sokol Collection, Jerusalem: The Israel Museum, 2006.

Gary Tinterow, Michael Pantazzi, Vincente Pomarede, Corot, New York: Metropolitan Museum of Art, 1996.

Henning Weidemann, Ulrike Gauss, Daniel Challe, Eugene Cuvelier, 1837-1900, Ostfildern, Germany: Hatje Cantz Verlag, 1996.