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Tuesday, 10 February 2015
I gift my CdV to you, you CdV your gifts to me
The phenomenon of "Cardomania" that raged in the late nineteenth and early twentieth decreed the success of the format Carte de Visite as a means of identification and social recognition of the bourgeoisie and the affluent middle class in Victorian times.
Del mechanism exchange that allowed to collect in the album collection of portraits of relatives, friends and acquaintances, I wrote in the previous article on the carte de visite
Photographs format carte de visite
( carte-de-visite abbreviated as CdV or CDV )
are a kind of calling card photo that enjoyed enormous popularity in the late nineteenth and early twentieth century...
carte-de-visite or carte de ville
The success of this portrait genre founded on the novelty and convenience of a product photo again, able to perform the function of a means of identification and social recognition.
The rising middle class, he found an effective solution to the desire for self-celebration and affirmation of the attributes of the class and the individual personality.
The normal size of a carte de visite is about 54.0 mm (2.125 in) × 89 mm (3.5 in) for the 'photographic image printed on paper compact and thin. This primary support was mounted, usually hot, on a card rather consisting of 64 mm (2.5 in) × 100 mm (4 in). The positive is usually printed on albumen paper.
The oldest examples may have been made on salted paper.
The CdV later are made with collodion processes, aristotipia or other processes, sometimes technically refined and rare.
Not infrequently the CdV was hand-dyed. The Parisian photographer André-Adolphe-Eugène Disdéri (Paris, March 28, 1819 - OCTOBER 4 1889) patented in 1854 the method to get eight different negatives on a single plate. This determined size which characterizes the Cdv and that made possible the successful thanks to the reduction of production costs. The negative could be printed by contact and the production of copies was therefore particularly convenient. The format was soon to establish itself in the first few years, until the day when the Emperor Napoleon III made him stop the troops leaving for the Italian campaign (II Italian War of Independence) 8 of the Boulevard des Italiens to be portrayed by Disdéri.
The episode is riposrtato in memories of the photographer Nadar, pseudonym under which he is known Gaspard-Félix Tournachon (Paris, April 6, 1820 - March 21 1910). The intention was probably to promote and celebrate the image of the emperor, spreading the knowledge of the physical appearance of the whole people, the troops and the Allies.
Disdéri was selling copies of the most famous people of his time and he gladly welcomed in his studio.
His picture taken by this photographer meant the consecration of its financial success, artistic or political.
So all those who could afford it wanted to be photographed in Cdv, then giving it to friends, acquaintances and admirers, a copy of his portrait. The success of the format carte de visite swept triggering the mechanism of chain reaction that was at its base: I gift my CdV to you, you CdV your gifts to me .
In this way we were with a decent speed large collections of carte de visite that implicated the statement of special photo albums in windows. In these containers were gathered portraits of family, friends and acquaintances, thus becoming a sort of " family atlas "which allowed the recognition of mutual ties, roles, expectations and social identifications.