Gisèle Freund's 1936 Photography Thesis Reissued
Christian Bourgois and Imec have reissued Gisèle Freund's 1936 doctoral thesis on 19th-century French photography. Originally published by Adrienne Monnier, the work examines the medium's slow start, experimental phase, and eventual industrialization through portrait commerce. Freund, who studied sociology with Karl Mannheim, Norbert Elias, and Theodor Adorno, argues that art and society are interdependent, influenced by Frankfurt School Marxist philosophy yet maintaining intellectual independence. She analyzes writings and archives of photographers, inventors, and artists, linking photography's popularization to the rise of the bourgeoisie. While Daguerre is a pioneer, the profession of photographer only emerged with Nadar. A chapter on early photographers offers a romantic depiction of Parisian bohemia and their precarious livelihoods. The reissue, supported by Imec, prefigures Freund's 1974 work 'Photographie et Société.'
Key facts
- Gisèle Freund wrote a doctoral thesis on photography in 19th-century France.
- The thesis was published as an essay by Adrienne Monnier in 1936.
- Freund studied sociology with Karl Mannheim, Norbert Elias, and Theodor Adorno.
- The thesis argues art and society are interdependent.
- It is influenced by Frankfurt School Marxist philosophy but shows independent thought.
- Freund uses writings and archives of photographers, artists, and inventors.
- She links photography's popularization to the rise of the bourgeoisie.
- Daguerre is a pioneer, but Nadar established photography as a profession.
- A chapter describes the precarious life of early Parisian photographers.
- The reissue was supported by Imec and prefigures Freund's 1974 book 'Photographie et Société.'
Entities
Artists
- Gisèle Freund
- Louis Daguerre
- Nadar
Institutions
- Christian Bourgois
- Imec
- Adrienne Monnier
- Frankfurt School
Locations
- France
- Paris
Sources
- artpress —