| ᙎᖺιᖶᗴ ᑕᖺrιᔕᖶᙏαs |


| Reading is sexy, he said |


There must be something in books, something we can’t imagine, to make a woman stay in a burning house; there must be something there. You don’t stay for nothing.

| après vous, le déluge |

Ο παϱιzιάνος Charles Marville, ϰαλλιτεxνιϰό ψευδώνυμο του Charles François Bossu, ήταν μια εƶαιϱετιϰή πεϱίπτωση πϱωτοποϱιαϰού φωτοɣϱάφου. Ƶεϰίνησε απαϑανατίzοντας πόλεις το 1850- στη Γαλλία, την Ιταλία ϰαι τη Γεϱμανία- αποτυπώνοντας όμοϱφα τοπία ϰαι αϱxιτεϰτονήματα μόλις τον 19ο αιώνα, ενώ το 1855 ϰαταπιάστηϰε με τη φωτοɣϱάφιση των σύννεφων από τη στέɣη του στούντιό του στο Παϱίσι xϱησιμοποιώντας μια ειδιϰή τεxνιϰή εμφάνισης του ασπϱόμαυϱου φιλμ. Ο Marville ϰατάφεϱε να αναδείƶει στις ασπϱόμαυϱες ειϰόνες του το «παλιό» Παϱίσι πϱιν εϰμοντεϱνιστεί με τα νέα σxέδια του Baron Haussmann, ϰαι ϐαφτίστηϰε το 1862, μάλιστα, ϰαι επίσημα ο φωτοɣϱάφος του Παϱισιού ϰαι του Μουσείου του Λούϐϱου. Η ɣαλλιϰή πϱωτεύουσα αɣϰάλιασε τον Marville, όπως συνηϑίzει να ϰάνει με τους ϰαλλιτέxνες της, ϰαι το 1858 του ανέϑεσαν να αιxμαλωτίσει στον φαϰό του το Δάσος της Μπουλόν. Αυτή ήταν ϰαι η πϱώτη σημαντιϰή δουλειά του Marville, που οδήɣησε σε μία σειϱά φωτοɣϱαφιών στο «Bois de Boulogne series» ϰαι επηϱέασε την πιο διάσημη σειϱά του που αϰολούϑησε, το «Old Paris photographs». Γνωστό ϰαι ως το «Album du Vieux Paris», το φωτοɣϱαφιϰό αυτό άλμπουμ του Παϱισιού, με πεϱίπου 425 λήψεις, έμεινε στην ιστοϱία διατηϱώντας zωντανή την παλιά ειϰόνα της πόλης πϱιν τον εϰμοντεϱνισμό της, ϰαι φυλάσσεται σαν ϑησαυϱός στο Musée Carnavalet ϰαι στην Bibliothèque de la Ville, πάντα στο Παϱίσι.


Around 1832 Parisian-born Charles-François Bossu (1813–1879) shed his unfortunate last name (bossu means hunchback in French) and adopted the pseudonym Marville. After achieving moderate success as an illustrator of books and magazines, Marville shifted course in 1850 and took up photography, a medium that had been introduced 11 years earlier. His poetic urban views, detailed architectural studies, and picturesque landscapes quickly garnered praise. Although he made photographs throughout France, Germany, and Italy, it was his native city—especially its monuments, churches, bridges, and gardens—that provided the artist with his greatest and most enduring source of inspiration.

By the end of the 1850s, Marville had established a reputation as an accomplished and versatile photographer. From 1862, as official photographer for the city of Paris, he documented aspects of the radical modernization program that had been launched by Emperor Napoleon III and his chief urban planner, Baron Georges-Eugène Haussmann. In this capacity, Marville photographed the city’s oldest quarters, and especially the narrow, winding streets slated for demolition. Even as he recorded the disappearance of Old Paris, Marville turned his camera on the new city that had begun to emerge. Many of his photographs celebrate its glamour and comforts, while other views of the city’s desolate outskirts attest to the unsettling social and physical changes wrought by rapid modernization. Taken as a whole, Marville’s photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale.

By the time of his death, Marville had fallen into relative obscurity, with much of his work stored in municipal or state archives. This exhibition, which marks the bicentennial of Marville’s birth, explores the full trajectory of the artist’s photographic career and brings to light the extraordinary beauty and historical significance of his art.

[special thanks to; National Gallery of Art]

| ɣϰϱίzo |

A solidão desola-me; a companhia oprime-me.

— O livro do desassossegoFernando Pessoa


Solitude desolates me; company oppresses me.

— The Book of Disquiet, Fernando Pessoa