Diferencia entre revisiones de «Translations:Jean Baptiste Louis Gros/10/en»

De Enciclopedia | La Red Cultural del Banco de la República
(Página creada con «His paintings and photographs contributed to the development of the fields of geology and archaeology in Colombia during the nineteenth century. His photographs of Partheno…»)
 
Sin resumen de edición
 
Línea 1: Línea 1:
His paintings and photographs contributed to the development of the fields of geology and archaeology in Colombia during the nineteenth century. His photographs of Parthenon friezes and the constructions of the acropolis in Athens were catalogued as key elements for knowledge of this archaeological site. Meanwhile, paintings such as Grutas de Cacahuamilpa (Cacahuamilpa Grottos), taken during his trip to Mexico, and La cascada del Tequendama (Tequendama Falls), taken during his stay in Bogotá, served to clarify details of the topography of these regions in contrast to previous scientific observations. In particular, the latter recalls Gros's verification of the height measurement of the falls provided by Alexander von Humboldt, with whom he corresponded. Among the oil paintings and watercolors produced of this impressive Colombian waterfall in the mid-nineteenth century, Gros's.
His paintings and photographs contributed to the development of the fields of geology and archaeology in Colombia during the nineteenth century. His photographs of Parthenon friezes and the constructions of the acropolis in Athens were catalogued as key elements for knowledge of this archaeological site. Meanwhile, paintings such as Grutas de Cacahuamilpa (Cacahuamilpa Grottos), taken during his trip to Mexico, and La cascada del Tequendama (Tequendama Falls), taken during his stay in Bogotá, served to clarify details of the topography of these regions in contrast to previous scientific observations. In particular, the latter recalls Gros's verification of the height measurement of the falls provided by Alexander von Humboldt, with whom he corresponded. Among the oil paintings and watercolors produced of this impressive Colombian waterfall in the mid-nineteenth century, Gros's.
painting stands out for its frontal view centered on the falls and the fog produced by the impact of the water on the canyon below.
painting stands out for its frontal view centered on the falls and the fog produced by the impact of the water on the canyon below.
In painting, Gros was recognized for his mastery in the execution of landscapes, keeping the precepts of the academic tradition but balancing it with the scientific vision of nature. Several of his works are preserved in art collections in Latin American, including by Banco de Bogotá<ref>Moreno de Ángel, P. (2000). El daguerrotipo en Colombia. Bogotá: Bancafé.</ref> and Banco de la República in Colombia and the Soumaya Museum in Mexico City.<ref>Paisaje, 1862. Soumaya Museum, Mexico City. Accessed at Google Arts & Culture: https://artsandculture.google.com/asset/paisaje-jean-baptiste-louis-bar%C3%B3n-gros/iAGfHGG4FjUmkQ</ref>
In painting, Gros was recognized for his mastery in the execution of landscapes, keeping the precepts of the academic tradition but balancing it with the scientific vision of nature. Several of his works are preserved in art collections in Latin American, including by Banco de Bogotá<ref>Moreno de Ángel, P. (2000). El daguerrotipo en Colombia. Bogotá: Bancafé.</ref> and Banco de la República in Colombia and the Soumaya Museum in Mexico City.<ref>Paisaje, 1862. Soumaya Museum, Mexico City. Accessed at Google Arts & Culture: https://artsandculture.google.com/asset/paisaje-jean-baptiste-louis-bar%C3%B3n-gros/iAGfHGG4FjUmkQ</ref>
As for the daguerreotype, his rigorous and disciplined work in preparing images, controlling exposure times, the stability of the camera, and the preparation of the media has been noted. In Colombia, his photographic legacy is appreciated for the reconstruction of the history of art, as he is credited with the rapid introduction of the daguerreotype into the country, just a few months after its invention in France. He is the author of the two oldest preserved photographs of Bogotá and is presumed to have been responsible for passing on the craft to the first Colombian photographers, such as Luis García Hevia.
As for the daguerreotype, his rigorous and disciplined work in preparing images, controlling exposure times, the stability of the camera, and the preparation of the media has been noted. In Colombia, his photographic legacy is appreciated for the reconstruction of the history of art, as he is credited with the rapid introduction of the daguerreotype into the country, just a few months after its invention in France. He is the author of the two oldest preserved photographs of Bogotá and is presumed to have been responsible for passing on the craft to the first Colombian photographers, such as Luis García Hevia.
At the international level, several art collections hold his photographs, such as the Metropolitan Museum of New York<ref>El salón del barón Gros, 1850-1857. MET Museum, New York: https://www.metmuseum.org/es/art/collection/search/29179</ref> and the Getty Museum in Los Angeles.<ref>Copia en daguerrotipo del grabado A dream of joy, 1852-1853. Getty Museum, Los Ángeles: http://www.getty.edu/art/collection/artists/2037/baron-jean-baptiste-louis-gros-french-1793-1870/</ref>In these, the caliber of the composition and the play of light as well as the technical mastery are notable. These images also convey the social position of the French diplomat, as well as his tastes and refinements.
At the international level, several art collections hold his photographs, such as the Metropolitan Museum of New York<ref>El salón del barón Gros, 1850-1857. MET Museum, New York: https://www.metmuseum.org/es/art/collection/search/29179</ref> and the Getty Museum in Los Angeles.<ref>Copia en daguerrotipo del grabado A dream of joy, 1852-1853. Getty Museum, Los Ángeles: http://www.getty.edu/art/collection/artists/2037/baron-jean-baptiste-louis-gros-french-1793-1870/</ref>In these, the caliber of the composition and the play of light as well as the technical mastery are notable. These images also convey the social position of the French diplomat, as well as his tastes and refinements.

Revisión actual - 10:52 21 sep 2021

Información acerca del mensaje (contribuir)
Este mensaje no tiene documentación. Si sabes dónde o cómo se usa este mensaje, puedes ayudar a los otros traductores añadiendo documentación a este mensaje.
Definición del mensaje (Jean Baptiste Louis Gros)
Sus pinturas y fotografías tuvieron gran relevancia para el desarrollo científico durante el siglo XIX, sirviendo a campos como la geología y la arqueología. Sus fotografías de los frisos del Partenón y las construcciones de la acrópolis en Atenas fueron catalogadas como piezas claves para el conocimiento de este sitio arqueológico. Mientras tanto, cuadros como Grutas de Cacahuamilpa, realizado durante su viaje en México, y La cascada del Tequendama, ejecutado en su estancia en Bogotá, sirvieron para precisar detalles de la topografía de estas regiones en contraste con observaciones científicas previas. En especial, este último recuerda la verificación que el barón Gros hizo de la medida de la altura del Salto proporcionada por Alexander von Humboldt, con quien intercambió correspondencia. Entre los óleos y acuarelas realizados a mediados del siglo XIX con motivo de esta imponente cascada colombiana, el cuadro de Gros destaca por su vista frontal centrada en la caída y la niebla producida por el impacto del agua en la parte baja.
En pintura, se reconoció al barón Gros su maestría en la ejecución de paisajes, guardando los preceptos de la tradición académica pero haciendo un balance entre la visión científica de la naturaleza y varios de estos son conservados en colecciones de arte de países latinoamericanos como el Banco de Bogotá<ref>Moreno de Ángel, P. (2000). El daguerrotipo en Colombia. Bogotá: Bancafé.</ref>, el Banco de la República en Colombia y el Museo Soumaya de Ciudad de México<ref>Paisaje, 1862. Museo Soumaya, Ciudad de México. En Google Arts & Culture: https://artsandculture.google.com/asset/paisaje-jean-baptiste-louis-bar%C3%B3n-gros/iAGfHGG4FjUmkQ</ref>.
En su trabajo con el daguerrotipo se ha destacado su trabajo riguroso y disciplinado para la preparación de las imágenes, controlando los tiempos de exposición, la estabilidad de la cámara y el aprestamiento de los soportes. En Colombia, su legado fotográfico es bastante apreciado en la reconstrucción de la historia del arte, pues se le atribuye la rápida introducción del daguerrotipo al país, apenas unos meses después de su invención en Francia. Son de su autoría las dos fotografías más antiguas que se conservan de Bogotá y se presume que fue el encargado de transmitir el oficio a los primeros fotógrafos colombianos, como es el caso de Luis García Hevia. 
A nivel internacional, varias colecciones de arte conservan fotografías de su autoría, como el Museo Metropolitano de Nueva York<ref>El salón del barón Gros, 1850-1857. MET Museum, Nueva York:https://www.metmuseum.org/es/art/collection/search/291739</ref> y el Getty Museum de Los Ángeles<ref>Copia en daguerrotipo del grabado A dream of joy, 1852-1853. Getty Museum, Los Ángeles: http://www.getty.edu/art/collection/artists/2037/baron-jean-baptiste-louis-gros-french-1793-1870/</ref>. De estas piezas se destacan el calibre de la composición y los juegos de luces además del dominio técnico. Son imágenes que dan cuenta también de la posición social del diplomático francés, así como de sus gustos y refinamientos.

His paintings and photographs contributed to the development of the fields of geology and archaeology in Colombia during the nineteenth century. His photographs of Parthenon friezes and the constructions of the acropolis in Athens were catalogued as key elements for knowledge of this archaeological site. Meanwhile, paintings such as Grutas de Cacahuamilpa (Cacahuamilpa Grottos), taken during his trip to Mexico, and La cascada del Tequendama (Tequendama Falls), taken during his stay in Bogotá, served to clarify details of the topography of these regions in contrast to previous scientific observations. In particular, the latter recalls Gros's verification of the height measurement of the falls provided by Alexander von Humboldt, with whom he corresponded. Among the oil paintings and watercolors produced of this impressive Colombian waterfall in the mid-nineteenth century, Gros's. painting stands out for its frontal view centered on the falls and the fog produced by the impact of the water on the canyon below. In painting, Gros was recognized for his mastery in the execution of landscapes, keeping the precepts of the academic tradition but balancing it with the scientific vision of nature. Several of his works are preserved in art collections in Latin American, including by Banco de Bogotá[1] and Banco de la República in Colombia and the Soumaya Museum in Mexico City.[2] As for the daguerreotype, his rigorous and disciplined work in preparing images, controlling exposure times, the stability of the camera, and the preparation of the media has been noted. In Colombia, his photographic legacy is appreciated for the reconstruction of the history of art, as he is credited with the rapid introduction of the daguerreotype into the country, just a few months after its invention in France. He is the author of the two oldest preserved photographs of Bogotá and is presumed to have been responsible for passing on the craft to the first Colombian photographers, such as Luis García Hevia. At the international level, several art collections hold his photographs, such as the Metropolitan Museum of New York[3] and the Getty Museum in Los Angeles.[4]In these, the caliber of the composition and the play of light as well as the technical mastery are notable. These images also convey the social position of the French diplomat, as well as his tastes and refinements.

  1. ↑ Moreno de Ángel, P. (2000). El daguerrotipo en Colombia. Bogotá: Bancafé.
  2. ↑ Paisaje, 1862. Soumaya Museum, Mexico City. Accessed at Google Arts & Culture: https://artsandculture.google.com/asset/paisaje-jean-baptiste-louis-bar%C3%B3n-gros/iAGfHGG4FjUmkQ
  3. ↑ El salón del barón Gros, 1850-1857. MET Museum, New York: https://www.metmuseum.org/es/art/collection/search/29179
  4. ↑ Copia en daguerrotipo del grabado A dream of joy, 1852-1853. Getty Museum, Los Ángeles: http://www.getty.edu/art/collection/artists/2037/baron-jean-baptiste-louis-gros-french-1793-1870/
Obtenido de «https://enciclopedia.banrepcultural.org/index.php?title=Translations:Jean_Baptiste_Louis_Gros/10/en&oldid=23484»