CURATOR’S SOLUTION #16: JULIA GRIMES THROUGH THE GETTY ANALYSIS INSTITUTE

Julia Grimes, research associate during the Getty analysis Institute, introduces a remarkable variety of pictures through the Pierre de Gigord Collection detailing Armenian life in the 19th-century Ottoman Empire, numerous through the studio of Armenian photographers Pascal Sebah additionally the Abdullah Freres.

Profiting from the continued generosity of French picture collector Pierre de Gigord, the Getty analysis Institute (GRI) has put together a thorough number of images documenting the 19th-century Ottoman Empire, particularly the region which we understand now as Turkey. An increasing number of these photographs depict the Armenian community inside the kingdom, representing spiritual leaders, families, and folks in complete dress that is ethnic. Besides those residing in Constantinople (present-day Istanbul), the Ottoman money and located area of the major photographic studios, specific pictures additionally record information on life in other towns and cities, including valuable views of the Armenian quarters.

J. Pascal Sebah (Armenian, 1823-1886), Armenian Patriarch, ca. 1880. L . A ., Getty Analysis Institute (96.R.14, Box 80)

J. Pascal Sebah (Armenian, 1823-1886), Armenian Family, ca. 1880. L . A ., Getty Analysis Institute (96.R.14, Box 80)

Photographie Tchamlidjian Studio (Armenian, active ca. 1880), Group of Armenian Men in Checkered Jackets, 1883. Los Angeles, Getty Analysis Institute (96.R.14, Box 69)

Guillaume Berggren (Swedish, 1835-1920), Entry towards the principal Street of Pera, ca. 1870. Los Angeles, Getty Analysis Institute (2008.R.3, No. 3547)

Probably the many aspect that is fascinating of Gigord collection may be the amount of pictures taken by Armenian photographers. Because of the regular work of Armenians as chemists, goldsmiths, and pharmacists, numerous possessed the relevant skills required for photography, in particular a comprehensive knowledge of the chemical processes found in development. Some of the principal studios in Constantinople were owned and operated by photographers of Armenian descent during the late-nineteenth century. Pascal Sebah, by way of example, opened his “El Chark” studio in 1857, and also by 1873 had accomplished success that is such his elegant, crisply step-by-step portraits which he exposed an additional branch in Cairo, Egypt. By the period of their death thirteen years later on, his title had become similar to studio photography in Constantinople into the degree that their studio remained active plus the managing that is new, Polycarpe Joaillier, changed its name to “Sebah and Joaillier.” The business enterprise proceeded to prosper and attain renown, even incorporating Kaiser Wilhelm II of Germany to its selection of clients in 1889 during his stop by at Constantinople.

A portrait of two Armenian males in complete dress taken circa 1875 reveals Sebah’s mastery of both the technical areas of photography and its own usage as a medium that is artistic. The men’s formal poses flaunt their wide pants, scarves, and hats, facets of old-fashioned costume that is armenian might have instantly triggered recognition among people. Their expressions match the dignity of these position. It is a studio that is posed, likely staged by Sebah along with his assistants to portray these guys being a “type,” or as representatives regarding the Armenian ethnic team to which he additionally belonged. The control over tonalities, or the way where the sepia colour of the photograph differs from light to dark, expressing regions of lighting and shadow, is amongst the characteristics which many plainly signals Sebah’s ability as an artist.

J. Pascal Sebah (Armenian, 1823-1886), Armenian Men, ca. 1875. Los Angeles, Getty Analysis Institute (96.R.14, Box 77)

comparable control over structure and tonality is visible in Sebah’s record album, Les costumes populaires de la Turquie en 1873, commissioned by Ottoman diplomat, musician, eastern european mail order brides and founder of Istanbul’s Academy of Fine Arts, Osman Hamdi Bey. In looking for a professional professional photographer to depict the individuals associated with the Ottoman Empire for the 1873 Overseas Exposition in Vienna, Osman Hamdi Bey decided Sebah because of the elegance that is refined of design. The image of a Armenian bride, the main figure in Plate V, captures this quality with all the way where the dangling tassels, necklace, and gold pattern of this bride’s costume catch the light, contrasting with all the delicate lace of her veil.

J. Pascal Sebah (Armenian, 1823-1886), Constantinople: Armenian Bride. From Osman Hamdi Bey (Turkish, 1842-1910), Les costumes populaires de la Turquie en 1873: ouvrage publie sous le patronage de la Commission imperiale ottomane pour l’Exposition universelle de Vienne. L . A ., Getty Research Institute (96.R.14, Box 139)

The standards that are high by Pascal Sebah stayed a hallmark of their studio, even with their death. The 1894 Sebah and Joaillier image regarding the quarter that is armenian Brousse, positioned over the water of Marmara from Istanbul, by way of example, presents a unique view adopted a hill. Like in the image associated with two Armenian males, the mastery of tonalities for which Sebah’s studio ended up being understood is once more on display. The bright midday sunlight posed a challenge, because it could easily clean out of the details of gestures, faces, and items, however the professional photographer deftly dealt with this particular problem by positioning the tiny son or daughter towards the right regarding the road within the final consecutively of woods, permitting the shadows to pay for the glare. Near examination reveals that every person into the image happens to be put in the shade, either of this woods or associated with the two-story structures regarding the contrary part associated with road.

Sebah & Joaillier Studio (Armenian, active 1890-1940s), Brousse: Armenian Quarter, 1894. L . A ., Getty Analysis Institute (96.R.14, Box 70)

The “Abdullah Freres” studio, run by three brothers of Armenian descent, exposed in 1858 and quickly became therefore honored for the technical abilities and artistry that simply five years later on the brothers had been called royal photographers towards the Ottoman Sultan. In 1867, they exhibited their 220 panorama that is cm-long of at the next Overseas Exposition held in Paris, going beyond the studio to show their equal cap cap ability as landscape photographers internationally. They hosted a clientele that is distinguished these years, photographing Edward, the Prince of Wales, during their stop by at Turkey, and Eugenie, the Empress of France. By 1886, their popularity had spread so far as Egypt, and also at the private demand of this Khedive (Viceroy) there, in addition they started a branch in Cairo which lasted for the decade that is next. Interestingly sufficient, their Constantinople studio merged with compared to Pascal Sebah whenever Abdullah Freres offered it to Sebah and Joaillier in 1900.

The Abdullah Freres excelled at shooting landscapes, “types,” and scenes of day to day life into the major metropolises regarding the Ottoman Empire. Their photograph regarding the Galata Bridge, the connection spanning the Golden Horn in Constantinople plus one for the town’s principal landmarks, is remarkable for the view regarding the Old City. The blurred images of boats in the middle ground suggest a bustling site of commerce, an urban landscape where the traditional meets the modern in dynamic patterns of exchange as minarets soar in the distance.

Abdullah Freres Studio (Armenian, active 1850s-1900), Galata Bridge. From Abdullah Freres, O.H. Views, 1875-1880, 1884. L . A ., Getty Analysis Institute (96.R.14, A10)

a couple of five studio photographs depicting a porter and varied forms of road vendors stages a comparable interchange, for even though the men’s vocations are conventional, they have been now being represented making use of the modern medium and conventions of photography, including backdrops, studio lighting, and carefully choreographed poses.

Sebah & Joaillier Studio (Armenian, active 1890-1940s), Porter and Street Vendors. From Abdullah Freres, O.H. Views, 1875-1880, 1884. L . A ., Getty Analysis Institute (96.R.14, A10)

Less rigorously staged, yet filled with power, could be the Abdullah Freres image of a fire brigade in Constantinople. Because of the age and proximity of numerous structures, combined with substantial utilization of wood timbers in construction, the town lived under constant risk of fire, and firefighters hence held a role that is significant the community. By dedicating a record album web web page for them particularly, the Abdullah Freres respected their value to life that is civic simultaneously showing the preparedness and modernity of Constantinople’s municipal solutions.

Abdullah Freres Studio (Armenian, active 1850s-1900), Fire Brigade. From Turquie, 1880. Los Angeles, Getty Analysis Institute (96.R.14, A25)

These brief examples expose just a small fraction associated with the level of Armenian involvement in photography through the late-nineteenth century. There have been lots of other Armenians working not just in Ottoman lands however in Eastern Europe and Central Asia whose legacy nevertheless continues to be to be explored. Given that wide range of pictures through the Gigord Collection obtainable in the Getty’s electronic collections keeps growing, it really is our hope that information regarding this remarkable historic website link between the Armenian community and photography for the reason that period can be more commonly accessible, and therefore fresh discoveries will still be made. A brief history of photography is a discipline that is relatively new and also this chapter continues to be being written.

Julia Grimes is finishing her Ph.D. in Chinese contemporary and art that is contemporary the University of Ca, Los Angeles. She’s got been an extensive research associate at the Getty analysis Institute since 2010.

Explore more photographs from the Pierre Gigord collection over during the Getty analysis Institute web site. There are many more than a hundred pictures within their Open Content Program and much more than 30 records available through their “Rosetta” database ( simply simply click on website website link in top corner that is right access records).

This post is component of our Curator’s Selection show, a feature that is monthly of a visitor article from a curator in regards to a work or band of works in another of their “open” electronic collections. The show is undertaken together with OpenGLAM making feasible through money through the Union’s DM2E that is european project.