![Chevreul, Michel Eugène. (1786–1889) [Nadar, Paul. (1856 - 1939)] Original Photograph](http://www.schubertiademusic.com/cdn/shop/files/Chevreul_Maurice_Original_Photograph_20840a.jpg?v=1722190173)
![Chevreul, Michel Eugène. (1786–1889) [Nadar, Paul. (1856 - 1939)] Original Photograph](http://www.schubertiademusic.com/cdn/shop/files/Chevreul_Maurice_Original_Photograph_20840b.jpg?v=1722190173)
Chevreul, Michel Eugène. (1786–1889) [Nadar, Paul. (1856 - 1939)]. Original Photograph.
Original photograph of the important French chemist whose work influenced several areas in science, medicine, and art, and evidently related to the important 1886 photographic series by Paul Nadar "L'entretien de M.Nadar avec M.Chevreul." This unsigned gelatin silver print printed somewhat later. Prominent silvering, crease to lower right corner, else fine. Photograph 4 x 5.75 inches (10.2 x 14.6 cm.); matted to an overall size of 13.6 x 16 inches (34.5 x 40.6 cm.).
Literature: Néagu p.163-164; Notes: Chicago, The Art Institute 1977-1978, No.78 [Néagu p.163-164].
On September 5, 1886 Le Journal Illustré in Paris published on pp. 284-88 "L'Art de vivre cent ans. Trois entretiens avec Monsieur Chevreul." This appeared in Vol. 23, No. 36 of the periodical. Besides the portrait of Chevreul on the cover, the article included half-tone reproductions of a series of twelve unposed photographs taken on August 18, 1886 by photographer Paul Nadar of his father, the photographer and aeronaut Félix Nadar, interviewing the chemist and sceptic Michel Eugène Chevreul on Chevreul's 100th birthday. This was the first ever photographic interview, sometimes called the first media interview. In front of the camera, Nadar and Chevreul discussed photography, color theory, Molière and Pasteur, the scientific method, the crazy ideas of balloonists, and – of course – how to live for 100 years. It was a lively and interesting conversation between two legends of the 19th century: one born before the French revolution; the other destined to see the marvels of the airplane and motion pictures.
Chevreul's theories of color "provided the scientific basis for Impressionist and Neo-Impressionist painting" (Itten, Johannes, The Art of Color), and his 1839 publication The Principles of Harmony and Contrast of Colors is one of the earliest systematic studies of color theory and perception. He is one of the 72 French scientists, mathematicians, and engineers whose names are inscribed on the Eiffel Tower; of those 72, Chevreul was one of only two who were still alive when Gustave Eiffel planted the French Tricolor on the top of the tower on 31 March 1889.
Pierre Petit began his experimental career as a photographer making daguerreotypes. A pioneer in photography, he was one of the first to successfully use electric light in his portraits. Some of Petit's additional "firsts" include his attempts at underwater photography and printing photographs on fabric. A prolific portraitist, Petit's straightforward style and willingness to photograph on location, as opposed to working strictly out of a studio, made him a photographer of choice for a growing list of patrons. In 1861, Petit included a series of portraits of writers in the publication Galerie des illustrations contemporaines that he used to advertise his services.
Chevreul, Michel Eugène. (1786–1889) [Nadar, Paul. (1856 - 1939)]. Original Photograph.
Original photograph of the important French chemist whose work influenced several areas in science, medicine, and art, and evidently related to the important 1886 photographic series by Paul Nadar "L'entretien de M.Nadar avec M.Chevreul." This unsigned gelatin silver print printed somewhat later. Prominent silvering, crease to lower right corner, else fine. Photograph 4 x 5.75 inches (10.2 x 14.6 cm.); matted to an overall size of 13.6 x 16 inches (34.5 x 40.6 cm.).
Literature: Néagu p.163-164; Notes: Chicago, The Art Institute 1977-1978, No.78 [Néagu p.163-164].
On September 5, 1886 Le Journal Illustré in Paris published on pp. 284-88 "L'Art de vivre cent ans. Trois entretiens avec Monsieur Chevreul." This appeared in Vol. 23, No. 36 of the periodical. Besides the portrait of Chevreul on the cover, the article included half-tone reproductions of a series of twelve unposed photographs taken on August 18, 1886 by photographer Paul Nadar of his father, the photographer and aeronaut Félix Nadar, interviewing the chemist and sceptic Michel Eugène Chevreul on Chevreul's 100th birthday. This was the first ever photographic interview, sometimes called the first media interview. In front of the camera, Nadar and Chevreul discussed photography, color theory, Molière and Pasteur, the scientific method, the crazy ideas of balloonists, and – of course – how to live for 100 years. It was a lively and interesting conversation between two legends of the 19th century: one born before the French revolution; the other destined to see the marvels of the airplane and motion pictures.
Chevreul's theories of color "provided the scientific basis for Impressionist and Neo-Impressionist painting" (Itten, Johannes, The Art of Color), and his 1839 publication The Principles of Harmony and Contrast of Colors is one of the earliest systematic studies of color theory and perception. He is one of the 72 French scientists, mathematicians, and engineers whose names are inscribed on the Eiffel Tower; of those 72, Chevreul was one of only two who were still alive when Gustave Eiffel planted the French Tricolor on the top of the tower on 31 March 1889.
Pierre Petit began his experimental career as a photographer making daguerreotypes. A pioneer in photography, he was one of the first to successfully use electric light in his portraits. Some of Petit's additional "firsts" include his attempts at underwater photography and printing photographs on fabric. A prolific portraitist, Petit's straightforward style and willingness to photograph on location, as opposed to working strictly out of a studio, made him a photographer of choice for a growing list of patrons. In 1861, Petit included a series of portraits of writers in the publication Galerie des illustrations contemporaines that he used to advertise his services.