Summary on photography and the bourgeois body

This chapter discusses the development of photography, how self-portraits improved thanks to it. Self-portrait became industrialized when people from different social classes started demanding it, and thanks to photography the painting privilege of higher classes broke and accessibility to make portraits became easier and cheaper. However, it was difficult for other classes to access the portrait, as it had to go under a complex process before becoming commercialized. But the interest people had in the new technology helped spreading it and making daguerreotype portraiture popular. It was most popular in France and England than in other European countries and was commercialized faster in the US. This popularity lead after words to the opening of galleries and the start of social activity of vising them. Many engravers, painters, and draftsmen changed their occupation to photographers due to lack of demand. In major cities in the nineteenth century, photography was focused on the production of middle class men and families’ portraits. In addition, photographs of middle-class men who represented the ideal look of a successful man started reaching people through albums, which lead to the creation of the bourgeois society. The photographs began to represent the character, intellect, and personality of the subject based on the facial expression and alignment. To achieve the goal of having a nation representation of American men, photographers did their best to capture the physicality that would represent the normative ideal, and these were called archives. These archives’ portraits all showed manifestations of physiognomy, which dictated how the people in these images should pose and what type of expressions they should make and even the lighting used.

In the next chapter, the writer goes on to discuss the domestic economy, mostly contrasting the biological traits of men and women and how they were perceived at the time. Women were viewed as biologically different than men, and that they were made to nurture, have children, and be soft, tender, emotional, and caring. While men were naturally made to be aggressive and competitive, making them more suitable for a capitalistic economy. This affected both of their social roles in society. This explains the portraits and photographs that were taken during that era: Men had photos that showed them as the typical ideal middle class man, while on the other hand women appeared as a supportive figure. When children were included, they would act as passive figures showing disciplinary love while the man gives his uninterrupted stare into the camera. Later on, the author discusses how the photographers moved their focus to the East by transforming the orient into an exotic fantasy in pictures to to experience the mythical fantasy of undressing a covered woman and making her sexually submissive.

This chapter discusses the development of photography, how self-portraits improved thanks to it. Self-portrait became industrialized when people from different social classes started demanding it, and thanks to photography the painting privilege of higher classes broke and accessibility to make portraits became easier and cheaper. However, it was difficult for other classes to access the portrait, as it had to go under a complex process before becoming commercialized. But the interest people had in the new technology helped spreading it and making daguerreotype portraiture popular. It was most popular in France and England than in other European countries and was commercialized faster in the US. This popularity lead after words to the opening of galleries and the start of social activity of vising them. Many engravers, painters, and draftsmen changed their occupation to photographers due to lack of demand. In major cities in the nineteenth century, photography was focused on the production of middle class men and families’ portraits. In addition, photographs of middle-class men who represented the ideal look of a successful man started reaching people through albums, which lead to the creation of the bourgeois society. The photographs began to represent the character, intellect, and personality of the subject based on the facial expression and alignment. To achieve the goal of having a nation representation of American men, photographers did their best to capture the physicality that would represent the normative ideal, and these were called archives. These archives’ portraits all showed manifestations of physiognomy, which dictated how the people in these images should pose and what type of expressions they should make and even the lighting used.

In the next chapter, the writer goes on to discuss the domestic economy, mostly contrasting the biological traits of men and women and how they were perceived at the time. Women were viewed as biologically different than men, and that they were made to nurture, have children, and be soft, tender, emotional, and caring. While men were naturally made to be aggressive and competitive, making them more suitable for a capitalistic economy. This affected both of their social roles in society. This explains the portraits and photographs that were taken during that era: Men had photos that showed them as the typical ideal middle class man, while on the other hand women appeared as a supportive figure. When children were included, they would act as passive figures showing disciplinary love while the man gives his uninterrupted stare into the camera. Later on, the author discusses how the photographers moved their focus to the East by transforming the orient into an exotic fantasy in pictures to to experience the mythical fantasy of undressing a covered woman and making her sexually submissive.

This chapter discusses the development of photography, how self-portraits improved thanks to it. Self-portrait became industrialized when people from different social classes started demanding it, and thanks to photography the painting privilege of higher classes broke and accessibility to make portraits became easier and cheaper. However, it was difficult for other classes to access the portrait, as it had to go under a complex process before becoming commercialized. But the interest people had in the new technology helped spreading it and making daguerreotype portraiture popular. It was most popular in France and England than in other European countries and was commercialized faster in the US. This popularity lead after words to the opening of galleries and the start of social activity of vising them. Many engravers, painters, and draftsmen changed their occupation to photographers due to lack of demand. In major cities in the nineteenth century, photography was focused on the production of middle class men and families’ portraits. In addition, photographs of middle-class men who represented the ideal look of a successful man started reaching people through albums, which lead to the creation of the bourgeois society. The photographs began to represent the character, intellect, and personality of the subject based on the facial expression and alignment. To achieve the goal of having a nation representation of American men, photographers did their best to capture the physicality that would represent the normative ideal, and these were called archives. These archives’ portraits all showed manifestations of physiognomy, which dictated how the people in these images should pose and what type of expressions they should make and even the lighting used.

In the next chapter, the writer goes on to discuss the domestic economy, mostly contrasting the biological traits of men and women and how they were perceived at the time. Women were viewed as biologically different than men, and that they were made to nurture, have children, and be soft, tender, emotional, and caring. While men were naturally made to be aggressive and competitive, making them more suitable for a capitalistic economy. This affected both of their social roles in society. This explains the portraits and photographs that were taken during that era: Men had photos that showed them as the typical ideal middle class man, while on the other hand women appeared as a supportive figure. When children were included, they would act as passive figures showing disciplinary love while the man gives his uninterrupted stare into the camera. Later on, the author discusses how the photographers moved their focus to the East by transforming the orient into an exotic fantasy in pictures to to experience the mythical fantasy of undressing a covered woman and making her sexually submissive.

This chapter discusses the development of photography, how self-portraits improved thanks to it. Self-portrait became industrialized when people from different social classes started demanding it, and thanks to photography the painting privilege of higher classes broke and accessibility to make portraits became easier and cheaper. However, it was difficult for other classes to access the portrait, as it had to go under a complex process before becoming commercialized. But the interest people had in the new technology helped spreading it and making daguerreotype portraiture popular. It was most popular in France and England than in other European countries and was commercialized faster in the US. This popularity lead after words to the opening of galleries and the start of social activity of vising them. Many engravers, painters, and draftsmen changed their occupation to photographers due to lack of demand. In major cities in the nineteenth century, photography was focused on the production of middle class men and families’ portraits. In addition, photographs of middle-class men who represented the ideal look of a successful man started reaching people through albums, which lead to the creation of the bourgeois society. The photographs began to represent the character, intellect, and personality of the subject based on the facial expression and alignment. To achieve the goal of having a nation representation of American men, photographers did their best to capture the physicality that would represent the normative ideal, and these were called archives. These archives’ portraits all showed manifestations of physiognomy, which dictated how the people in these images should pose and what type of expressions they should make and even the lighting used.

In the next chapter, the writer goes on to discuss the domestic economy, mostly contrasting the biological traits of men and women and how they were perceived at the time. Women were viewed as biologically different than men, and that they were made to nurture, have children, and be soft, tender, emotional, and caring. While men were naturally made to be aggressive and competitive, making them more suitable for a capitalistic economy. This affected both of their social roles in society. This explains the portraits and photographs that were taken during that era: Men had photos that showed them as the typical ideal middle class man, while on the other hand women appeared as a supportive figure. When children were included, they would act as passive figures showing disciplinary love while the man gives his uninterrupted stare into the camera. Later on, the author discusses how the photographers moved their focus to the East by transforming the orient into an exotic fantasy in pictures to to experience the mythical fantasy of undressing a covered woman and making her sexually submissive.

This chapter discusses the development of photography, how self-portraits improved thanks to it. Self-portrait became industrialized when people from different social classes started demanding it, and thanks to photography the painting privilege of higher classes broke and accessibility to make portraits became easier and cheaper. However, it was difficult for other classes to access the portrait, as it had to go under a complex process before becoming commercialized. But the interest people had in the new technology helped spreading it and making daguerreotype portraiture popular. It was most popular in France and England than in other European countries and was commercialized faster in the US. This popularity lead after words to the opening of galleries and the start of social activity of vising them. Many engravers, painters, and draftsmen changed their occupation to photographers due to lack of demand. In major cities in the nineteenth century, photography was focused on the production of middle class men and families’ portraits. In addition, photographs of middle-class men who represented the ideal look of a successful man started reaching people through albums, which lead to the creation of the bourgeois society. The photographs began to represent the character, intellect, and personality of the subject based on the facial expression and alignment. To achieve the goal of having a nation representation of American men, photographers did their best to capture the physicality that would represent the normative ideal, and these were called archives. These archives’ portraits all showed manifestations of physiognomy, which dictated how the people in these images should pose and what type of expressions they should make and even the lighting used.

In the next chapter, the writer goes on to discuss the domestic economy, mostly contrasting the biological traits of men and women and how they were perceived at the time. Women were viewed as biologically different than men, and that they were made to nurture, have children, and be soft, tender, emotional, and caring. While men were naturally made to be aggressive and competitive, making them more suitable for a capitalistic economy. This affected both of their social roles in society. This explains the portraits and photographs that were taken during that era: Men had photos that showed them as the typical ideal middle class man, while on the other hand women appeared as a supportive figure. When children were included, they would act as passive figures showing disciplinary love while the man gives his uninterrupted stare into the camera. Later on, the author discusses how the photographers moved their focus to the East by transforming the orient into an exotic fantasy in pictures to to experience the mythical fantasy of undressing a covered woman and making her sexually submissive.