Le Rhinocéros, 2004 © Didier Massard/Baudoin Lebon
Cuban Mine Horse, 1995 © Allan Jenkins
Animal Locomotion, 1887. Eadweard Muybridge Courtesy Estate Harry Lunn
An Emperor Penguin, Captain Scott1s Antarctic Expedition,1910-1913 by Herbert G. Ponting
Portrait of a Monkey with books, 2008 © Olivier Richon/Courtesy Ibid Projects/Galerie Bendana Pinel
Cabinet de curiosités, Muséum d’Histoire Naturelle, Elbeuf, 2008-2009 [ Click here to get back to story ] © Nicolas Wilmouth/Courtesy Galerie Van Kranendonk
Homage to the Crosstar Filter Photograph, Buffalo, New York, 1970 by Les KRIMS
Chat solitaire dans un environnement inhospitalier, Paris, 1973 Courtesy Estate Sieff / Galerie Baudoin Lebon
Maître-Grand, Rayogramme d’araignée, 1988 © Patrick Bailly-Maître-Grand / Courtesy Galerie Baudoin Lebon
Etude d’Ours, 1889 by Ottomar Anschütz. Courtesy Estate Harry Lunn
Tracing my Heart, Zoo de Vincennes, Paris, 2001-2006 © Yoshiko Murakami / Courtesy Galerie Baudoin Lebon
Chien, Circa 1857-1865 by André Adolphe and Eugène Disdéri Courtesy Estate Harry Lunn
La Lettre de la Photographie
In this first section, animals are used essentially for scientific study. Eadweard Muybridge (1830-1904) shows a cat walking then running through a sequential series of photos, while Herbert G. Ponting (1870-1935) accompanied Captain Scott on his expedition in the Antarctic from which he brought back over 1,700 glass negatives, including a strikingly beautiful profile of a penguin on an ice floe.
In the 20th centuruy photos, we notice a change in behaviour towards animals. In this part of this exhibit, we see how photographers gained control over their medium, playing with the camera, the printing of their negatives or with the image they chose to give to the animal. This was often done with humour as can be seen in the photo by Jean-Loup Sieff of a solitary cat in an inhospitable environment (1973), or sometimes in a more poetic vein, such as in the works of Didier Massard.
The photographer works in his studio, creating a decor for his animals that then evolve in imaginary landscapes like The Rhinoceros (2004), majestic and radiant in a silver-toned light. As for Patrick Bailly-Maître-Grand, he prefers insects. He chose to conserve the traces of insect movements within geometric frames. In his Rayogramme of the Spider (1988), the arachnid designs resemble brushstrokes in an abstract painting.
Le Bestiaire imaginaire
Animal photography from the 19th century to the present
Until january 16
Quai Albert Besson