TY - JOUR
T1 - Charles Marville and the Landscapes of the Carrières d’Amérique
AU - Locke, Nancy
N1 - Funding Information:
My thanks to Sarah Kennel for inviting me to speak on this topic at the symposium ‘Old Topographics: Photography and Urbanization in Nineteenth-Century Paris’ at the National Gallery of Art, Washington, DC in 2013; I would also like to thank the editors and anonymous reviewers at History of Photography for their feedback, as well as Christopher Campbell. Published with support from the George Dewey and Mary J. Krumrine Endowment and from the Department of Art History at the Pennsylvania State University.
Publisher Copyright:
© 2020, © 2020 Informa UK Limited, trading as Taylor & Francis Group.
PY - 2019/7/3
Y1 - 2019/7/3
N2 - Charles Marville’s photographs of Paris preserve the look of streets slated for demolition under Georges-Eugène Haussmann. This article examines his photographs of the Carrières d’Amérique, or America Quarries–gypsum quarries in the outlying Parisian neighbourhood of Belleville. At a time when the rezoning of districts that were formerly extra muros was still controversial, Belleville was seen as a crime-ridden area. Marville’s photographs become documents that refute contemporary narratives of criminality. Borrowing Walter Benjamin’s view that the city ‘opens up’ to the flâneur ‘as a landscape’, the article analyses Marville’s landscapes of the Carrières d’Amérique as images that juxtapose the city, the work site, and the no-man’s land or terrains vagues at Paris’s outer limits.
AB - Charles Marville’s photographs of Paris preserve the look of streets slated for demolition under Georges-Eugène Haussmann. This article examines his photographs of the Carrières d’Amérique, or America Quarries–gypsum quarries in the outlying Parisian neighbourhood of Belleville. At a time when the rezoning of districts that were formerly extra muros was still controversial, Belleville was seen as a crime-ridden area. Marville’s photographs become documents that refute contemporary narratives of criminality. Borrowing Walter Benjamin’s view that the city ‘opens up’ to the flâneur ‘as a landscape’, the article analyses Marville’s landscapes of the Carrières d’Amérique as images that juxtapose the city, the work site, and the no-man’s land or terrains vagues at Paris’s outer limits.
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U2 - 10.1080/03087298.2019.1726100
DO - 10.1080/03087298.2019.1726100
M3 - Article
AN - SCOPUS:85081730525
SN - 0308-7298
VL - 43
SP - 251
EP - 265
JO - History of Photography
JF - History of Photography
IS - 3
ER -