After viewing the brilliant plates made by Louis-Jacques-Mandé Daguerre, Paul Delaroche, the history painter and esteemed professor of the École des Beaux-Arts, is said to have exclaimed, „From today painting is dead.“1 It was not long, however, before Delaroche realized photography’s potential as both a means of artistic expression and as an aide-mémoire to artists: painters, for instance, could make quick, otherwise unattainable studies using the process.
light and shadow, or he can work for extreme softness or suavity, copying the same model