Emily Talbot

Norton Simon Museum, Curatorial, Chief Curator

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Emily Talbot specializes in nineteenth- and twentieth-century art in Europe.
Address: Norton Simon Museum
411 West Colorado Boulevard
Pasadena, CA 91105

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7 Papers
1 Book Reviews
7 Conference Presentations
2 Talks

Papers by Emily Talbot

‘Mechanism’ Made Visible: Process and Perception in Henry Peach Robinson’s Composite Photographs

History of Photography, 2017

This article analyses Henry Peach Robinson's method of making composite photographs in the contex... more This article analyses Henry Peach Robinson's method of making composite photographs in the context of widespread belief that the photographer's 'mechanism' was perceptible in the appearance of his prints. By examining Robinson's preparatory and darkroom procedures, as well as the photographer's extensive writing about his photographic practice, I suggest that composite photographs invited viewers to pay attention to process, and to take it into account in their evaluation of an image. This attitude challenged key tenets of academic art theorythe paradigm for nascent concepts of art in photographyby refusing to subordinate manual labour to that of the mind. While many nineteenth-century critics rejected Robinson's approach, the debates engendered by composite techniques reveal a persistent fascination with making that advanced photographic practice as a marker of artistic value.

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Documenting Art, Writing Biography

Journal of Family History, 2015

This article concerns six generations of the Silvestre family: a succession of artists, royal dra... more This article concerns six generations of the Silvestre family: a succession of artists, royal drawing masters, and art collectors whose social ascent began in the late seventeenth century in parallel with the Bourbon Monarchy and continued after its fall. In this article, we show how the Silvestres legitimized a path of social mobility from seventeenth-century artisans to nineteenth-century aristocrats by narrating and documenting the family’s history in three texts—two catalogues raisonnés that recorded the Silvestre art collections and a family biography that traced the dynasty through the French Revolution. By establishing and advancing the family’s reputation or crédit, the Silvestres built a narrative bridge that carried them across the revolutionary divide.

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Emily Talbot. Review of "The Painted Face: Portraits of Women in France, 1814–1914" by Tamar Garb

caa.reviews, 2008

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The Photographic Effect: Making Pictures After Photography, 1860-1895

I am indebted to the libraries, museums, and scholars that enabled my research over the past four... more I am indebted to the libraries, museums, and scholars that enabled my research over the past four years. I would like to thank the librarians, archivists, and staffs of the Fine Arts Library at the University of Michigan and the Getty Research Institute in Los Angeles, my two home bases during the process of writing this dissertation. In France, I am obliged to the librarians and staffs of the Institut national d'histoire de l'art, the Bibliothèque nationale de France, and the Salle de documentation at the Musée d'Orsay. For providing access to the Delacroix/Durieu album, and for discussing my research at its earliest stages,

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"Mechanism" Made Visible: Process and Perception in Henry Peach Robinson's Composite Photographs, History of Photography, vol. 41, iss. 2, May 2017

This article analyses Henry Peach Robinson’s method of making composite photographs in the contex... more This article analyses Henry Peach Robinson’s method of making composite photographs in the context of widespread belief that the photographer’s ‘mechanism’ was perceptible in the appearance of his prints. By examining Robinson’s preparatory and darkroom procedures, as well as the photographer’s extensive writing about his photographic practice, I suggest that composite photographs invited viewers to pay attention to process, and to take it into account in their evaluation of an image. This attitude challenged key tenets of academic art theory – the paradigm for nascent concepts of art in photography – by refusing to subordinate manual labour to that of the mind. While many nineteenth-century critics rejected Robinson’s approach, the debates engendered by composite techniques reveal a persistent fascination with making that advanced photographic practice as a marker of artistic value.

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"Documenting Art, Writing Biography: Construction of the Silvestre Family History, 1660-1868," co-authored with Dena Goodman. Journal of Family History, vol. 40, iss. 3, July 2015

by D. Goodman and Emily Talbot

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"Bourgeois Ambition and Whist for Wives in John Everett Millais’s 'Hearts are Trumps'," immediations: The Courtauld Institute of Art Journal of Postgraduate Research, vol. 2, no. 1, 2008

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