“Talbot’s Rouen Window: Romanticism, Naturphilosophie and th
It would seem that Anne McCauley’s essay on Henry Fox Talbot and his “Rouen Window” photograph is designed to establish Talbot as an artist. It is through the descriptions of his photographs that the author conveys her thoughts of the way the images are composed in comparison to early French photographers. Seemingly the French were more interested in documenting historical monuments, places, etc where Talbot’s interest rested in his ability to capture what a person might see at any given time during the course of the day. Where many French photographers would keep objects in the foreground, Talbot wanted the subject to appear unobstructed and was known to redirect his camera lens in something appeared or there was too much movement (creating an apparitional effect).
Another way McCauley tries to establish Talbot as an artist is by comparing his “Rouen Window” to a painting that is similar in nature by Friedrich. While the compositions of the images are quite similar it is qui
McCauley also uses 17th century philosophers/scientists like Locke and Westwood as a means of comparison, thought the way this portion of the essay is written is barely comprehensible at first after a long, unnecessary introduction to these characters the point is finally made clear that when a person is looking at a object then closes their eyes the mind’s eye will retain that image briefly just as it appeared. It is in this way that Talbot’s images are finally compared in terms of composition and perspective. At a time when other photographers were using vantages not every person would be able to see, Talbot was busy creating images that would be easily viewable by just about any person.
te difficult to say that Talbot was going for the artistically inspiring image or the philosophically deep representation of the eye’s window as portrayed. Meaning of photographs is something that seems to have been overdone since the beginning of the form; each person that views an image will hav