Louis-Jacques-Mandé Daguerre and Charles Marie Bouton’s Diorama and Its Historical Origins

Yıl 2015, Cilt: 24 Sayı: 2, 139 - 160, 17.08.2016

Burcu Böcekler

https://doi.org/10.29135/std.273893

Cited By: 2

Öz

Diorama was
invented by Louis-Jacques-Mandé Daguerre and Charles Marie Bouton.  Diorama consists from two Greek words: dia
which means “through” and –orama which means “scene-sight”. Paintings painted
with camera obscura by Louis-Jacques-Mandé Daguerre and his partner painter
Charles Marie Bouton. These paintings were exhibited in dark hall in Diorama. The
subjects of the displayed paintings are Gothic cathedrals, avalanche falling,
harbour views and fires. Primary purpose of Diorama, give to audience time and motion perception with different
light and filter systems.

Firstly,
in this study, will be examined short history of displays before Diorama. After,
will be explained history of Diorama, exhibition system in Diorama and
exhibited paintings in Diorama. 

Anahtar Kelimeler

Louis-Jacques-Mandé Daguerre, Panorama, Diorama, Eidophusikon, Illusion, Charles Marie Bouton

Louîs-Jacques-Mandé Daguerre Ve Charles Marie Bouton’un Dioraması Ve Tarihsel Kökenleri

Öz

Diorama,
Louis-Jacques-Mandé Daguerre ve Charles Marie Bouton tarafından icat
edilmiştir. Diorama kelimesi, Yunanca “bir uçtan bir uca” anlamına gelen dia ve
“sahne-manzara” anlamına gelen -orama kelimelerinin birleşmesinden oluşmuştur.
Diorama’da Louis-Jacques-Mandé Daguerre ve ortağı ressam Charles Marie Bouton tarafından
camera obscura ile yapılan resimler Diorama’daki karanlık bir salonda
sergilenir.  Sergilenen resimlerin
konusunu kent görünümleri, Gotik katedraller, çığ düşmesi, liman sahneleri ve yangınlar oluşturur. Diorama’nın temel amacı,
farklı ışık ve filtre sistemleri ile
izleyiciye hareket ve zaman algısını vermektir.

Bu çalışmada, öncelikle Diorama’dan
önce gerçekleştirilen gösterilerin tarihi incelenecektir. Ardından Diorama’nın tarihi, Diorama’daki
sergileme sistemi ve Diorama’da sergilenen resimler anlatılacaktır.

Anahtar Kelimeler

Louis-Jacques-Mandé Daguerre, Panorama, Diorama, Eidophusikon, yanılsama, Charles Marie Bouton

Kaynakça

• ALTICK, R. D. (1978), The Shows of London, Harvard University Press, Harvard.
• BATCHEN, G. (1997), Burning With Desire: The Conception of Photography, MIT Press, Cambridge.
• COMMENT, B. (1999), The Panorama, Reaktion Publishing, Londra.
• CRARY, J. (2004), Gözlemcinin teknikleri: On Dokuzuncu Yüzyılda Görme ve Modernie, Çev: Elif Daldeniz, Metis Yayınları, İstanbul.
• DUBBINI, R. (2002), Geography of the Gaze: Urban and Rural Vision in Early Modern Europe, University of Chicago Press, Chicago.
• FAIRHOLT, F. W. (1870), “Phantasmagoria”, A Dictionary Of Terms in Art, s. 339, Oxford Üniversitesi.
• HUHTAMO, E. (2013), Illusions in Motion:Media Archaeology of the Moving Panorama and Related Spectacles, MIT Press, London.
• HYDE, R. (1988), Panoramania!:Art and Entertainment of the All-Embracing View, Trefoil Publications and Barbican Art Gallery Publication, Londra.
• KAREL, D. (1992), Dictionnaire des artistes de langue française en Amérique du Nord: peintres,sculpteurs, dessinateurs, graveurs, photographes, et orfèvres, “Sebron, Hippolyte Victor-Valentin”, s. 743-744.1992, Presses Université Laval, Laval.
• LOWRY, B. ; LOWRY I. B. (2000), The Silver Canvas: Daguerreotype Masterpieces from the J. Paul Getty Museum, Getty Publications, Los Angeles.
• MANNONI, L. (2000), CRANGLE R. (Ed), The Great Art Of Light And Shadow: Archaeology of the Cinema, University of Exeter Press, Exeter.
• MARSH, A. (2003), The Darkroom: Photography and the Theatre of Desire, Images from World-Wide Collections, Macmillan Education AU, Melbourne, s. 79.
• MAYER, R.A (1985), Journal of Photography and Motion Pictures of the International Museum of Photography at George Eastman House, Vol. 28., No.2, June 1985, s. 18-19.
• NEWHALL, B. (2009), The History of Photography: from 1839 to the present, Museum of Modern Art Publishing, New York.
• NICOLL, A., ROSENFELD, S.M. (1981), The Garrick Stage: Theatres and Audience in the Eighteenth Century, Ed. Sybil Marion Rosenfeld, Manchester University Press, Manchester.
• OETTERMANN, S. (1997), The Panorama: History of a Mass Medium, Zone Books, NewYork.
• PAYNE, J.B. (Ed.)(1870), Joseph, H. “Robertson (Etienne Gaspard Robert)”, Haydn's universal index of biography from the creation to the present time: for the use of the statesman, the historian, and the journalist, E. Moxon, son, and co., s. 473.
• PINSON, S. C., (2008), “Daguerre, Louis Jacques Mandé (1787–1851)”, Encyclopedia of Nineteenth-Century Photography, J. Hannavy (Ed.), Taylor & Francis, New York.
• ROOB, A. (2014), Alchemy&Mysticism, Taschen Publishing, Köln.
• TIMBS, J. (1855), Curisities of London : Exhibiting the Most Rare and Remarkable Objects of Interest in the Metropolis, s. 252-253, D. Bogue, Londra.
• WARD, G. W.R. (2008), “Magic Lantern”, The Grove Encyclopedia of Materials and Techniques in Art, s. 351-352, Oxford University Press, New York.
• WARNER, M. (2006), Phantasmagoria: Spirit Visions, Metaphors, and Media Into the Twenty-first Century, Oxford University Press, New York.
• ATAY, S. (2009), Aydibi Üniteleri: Fotoğrafı Düşünüyorum, Gözlerim Kapalı, Fotoritim e-Fotoğraf Dergisi, Haziran 2009. (Erişim: 21 Ağustos 2015, http://www.arsivfotoritim.com/yazi/simber-atay-eskier-aydibi-uniteleri-fotografi-dusunuyorum-gozlerim-kapali/, Fotoritim e-Fotoğraf Dergisi.)
• WOOD, R. D. (1997), Daguerre And His Diorama in The 1830s: Some Financial Announcements, Photoresearcher (European Society for the History of Photography, Croydon, UK.), No 6 (1994/95/96), s. 35-40. http://www.midley.co.uk/midley_pdfs/Diorama_Paris_Wood.pdf, Midley History of early Photography.
• The Gentlemen’s Magasine and Historical Chronicle (September 1825), Dioramas, 95. Cilt, 2. Bölüm, s. 259-260., London.
• Journal des Luxus und der Moden, (1825), Jahrgang 40, Mai, Heft 39, s. 307-313.
• The Gentleman’s Magazine and Historical Chronicle, (April 1839),. 11. Cilt, s. 424, Londra.
• The Literary Gazette: A Weekly Journal of Literature, Science, and the Fine Arts,(7 April 1821), s. 216-217-218, H. Colburn, London.
• Güzel H.C., Çiçek, K., Salim Koca, (Ed) (2014), S. ATAY, S., “Osmanlı İmparatorluğu’nda Fotoğrafın Başlangıcı”, Türkler Ansiklopedisi, , Yeni Türkiye Yayınları, 15.Cilt, s. 518-523.
• http://www.vam.ac.uk/content/articles/g/gainsboroughs_showbox/ (Erişim 22 Ocak 2016)
• http://www.oxforddictionaries.com/definition/english/diorama, (Erişim 12 Kasım 2015)
• http://daguerre.org/resource/history/history.html, (Erişim 11 Kasım 2015)
• Edward Francois Burney, Eidophusikon Çizimi, 1782. http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=12290001&objectId=748338&partId=1#more-views (Erişim 21.05.2015)
• Diderot’un Encyclopedie’sinde yer alan Camera Obscura Çizimleri. http://quod.lib.umich.edu/d/did/did2222.0001.436/--drawing?rgn=main;view=fulltext;q1=camera+obscura , (Erişim 20.05.2015)
• Athanasius Kircher’in Büyülü Fener İllustrasyonu, Büyük Işık ve Gölge Kitabı 1671.
• Fantazmagorya Gösterisini Anlatan Bir Gravür http://deliveryimages.acm.org/10.1145/2510000/2500096/figs/f2.html (Erişim 22.05.2015)
• Fantazmagorya’da Kullanılan İki adet fener düzeneği. http://www.parisenimages.fr/en/collections-gallery/13729-11-fantascope-belgian-physician-etienne-gaspard-robert-known-robertson-a-sort-magic-lantern-used-particular-theatre-soirees-fantastiques-paris-1798 (Erişim 22.05.2015)
• Thomas Gainsborough, Gösteri Kutusu (Show Box), 18. Yüzyıl. http://www.vam.ac.uk/content/articles/g/gainsboroughs_showbox/ (Erişim :21.08.2015).
• Thomas Gainsborough’un Sergilediği Resimlerden Bir Örnek yüzyıl (Wooded Moonlight Landscape with Pool and Figure at the Door of a Cottage), 18. yüzyıl. http://www.vam.ac.uk/content/articles/g/gainsboroughs_showbox/, (Erişim :21.08.2015)
• Paris’teki Diorama’yı Gösteren Bir Gravür. https://graphicarts.princeton.edu/2015/02/22/daguerres-diorama/, (Erişim : 21.08.2015).
• Londra Regent’s Park’ta bulunan Diorama’yı Gösteren Bir Gravür http://brightbytes.com/collection/diorama.html, (Erişim : 21.08.2015)
• Louis Jacques Mandé Daguerre, Alaaddin’in Sihirli Lambası’nın Dekorunu Gösteren Bir Çizim, 1822. http://www.artlyriquefr.fr/personnages/Daguerre%20Jacques.html (Erişim 15.11.2015)
• Diorama’nın Kesiti. http://zs.thulb.uni-jena.de/rsc/viewer/jportal_derivate_00217562/JLM_1825_0363.tif , Erişim (06.05.2015)
• Londra Regent’s Park Diorama, Kesit ve Planı, 1825. http://zs.thulb.uni-jena.de/rsc/viewer/jportal_derivate_00217562/JLM_1825_0363.tif , Erişim (06.05.2015)
• Diorama Gösterisini İzleyen İzleyicileri Gösteren Bir Gravür http://www.midley.co.uk/diorama/Diorama_Wood_3a.htm (Erişim 08.05.2015)
• L. J. M. Daguerre, Holyrood Şapeli Harabeleri, Ahşap Baskı, 1823.http://www.midley.co.uk/diorama/Diorama_Wood_3a.htm (Erişim 08.05.2015)
• L. J. M. Daguerre, Holyrood Şapeli Harabeleri, Yağlıboya, 1824, http://www.liverpoolmuseums.org.uk/picture-of-month/showlarge.aspx?id=12 (Erişim 08.05.2015)
• Goldau Vadisi’ndeki Yangın http://www.midley.co.uk/diorama/Diorama_Wood_3a.htm (Erişim 08.05.2015)
• Gece Yarısında Ayin, St. Etienne Du Mont, 1850. http://image.eastmanhouse.org/files/GEH_1985_28_02.pdf , (Erişim, 08.05.2015)