Cyanotypes of algae from the first book to contain photographs are to feature in the Horniman Museum's new arts space as part of an installation developed by Serena Korda English botanical artist, collector and photographer Anna Atkins (1799-1871) was the...
Anna Atkins was trained as a botanist but became interested in photography and created beautiful contact printed cyanotypes for a scientific reference book entitled 'British Algae: Cyanotype Impressions'. She is considered the first female photographer and this is a print of one of the earliest photographs ever made. -FINE ART PRINTING- Each print is made to order and hand printed in Portland, Oregon. Prints and layouts can be customized or edited to your needs, just add a note with your order or send a message with any questions. The print has been professionally cleaned of minor imperfections, but maintains the vintage quality of the original paper. Reproduction prints are made with a top of the line archival fine art printer that produces stunning color and high detail giclee prints. -ARCHIVAL PAPER- All papers are museum quality, heavyweight, acid free, and archival. Matte Paper- Smooth fine art paper with beautiful colors and detail. -LAYOUT- Prints include a .2" white border. If you prefer a different size border please note with your order -PACKAGING AND SHIPPING- All prints sealed in a archival safe bags and mailed in cardboard envelopes or tubes. Guaranteed to arrive in good shape or I'll replace it. Thank you! Please message me with any other questions, I will gladly customize an order to your needs. *Frames not included with listing
Die englische Zeichnerin Anna Atkins (1799–1871) war in jeder Hinsicht eine moderne Frau. Für die Publikation ihrer Pflanzensammlungen nutzte sie die neueste Technik, die eben erst erfundene Cyanotypie. Damit schuf sie 1843 das erste Fotobuch der Geschichte, mit Bildern von atemberaubender Schönheit und Originalität, die oft wie moderne Kunst wirken.Zunächst arbeitete Anna Atkins mit und für ihren Vater, den Zoologen John George Children, später suchte sie sich die Objekte ihrer wissenschaftlichen Zusammenstellungen selbst aus: Algen und Farne. Atkins legte sie auf lichtempfindliches Papier, das sich nach der Entwicklung im Wasser tiefblau färbte, mit Ausnahme der Stellen, die von den Pflanzen bedeckt waren. Erst allein, dann gemeinsam mit ihrer Freundin Anne Dixon produzierte sie weit über 10.000 Kopien ihrer Fotogramme und fasste sie in wenigen Büchern wie Alben zusammen. Heute werden diese raren Exemplare als Schätze in Museen und Bibliotheken gehütet.
Anna Atkins is widely recognised as the first ever female photographer
This week's picks include a Valentine's Day tour of the MoMA, Rochelle Feinstein's book launch, and a public art project in Times Square.
Anna Atkins (1799-1871) was a British botanist and photographer. She was in direct contact with William Henry Fox Talbot, (the inventor of calotype, an early photographic technique), and with Sir John Frederick William Herschel, (the inventor of the cyanotype, a technique that allows the...
Anna Atkins French photographer Jean-Baptiste Frenet (1814-1898) http://www.princeton.edu/ One of my favourite signs of Spring is seeing green leaves on the trees around me. And suddenly today, Google surprised me with that bright Prussian blue background under some beautiful leaves like alabaster ballerinas! Google Doodle Anna Atkins' 261th Birthday https://www.google.com/doodles/ One of my favoyrite signs of spring is seeing green leaves on the trees around me. And today Google surprised me with that bright Prussian blue background under some beautiful leaves like alabaster ballerinas. I was so curious to know about this beautiful Doodle. Oh! Yeah the Google Doodle celebrates today, 16th March, the 216th anniversary of the first woman photographer and botanist Anna Atkins. Another woman in science. Google loves women in science. Anna Atkins via Arte Revista CULT English photographer noted for her early use of photography for scientific purposes. A British botanist whose use of cyanotypes - or 'sunprints' - of plants and algae in botanical studies paved the way for the use of photography in scientific publishing. The delicate leaves used to spell out the name of the search engine are slate blue against a darker blue background. This is due to the cyanotype process, which involves the exposure of a mix of ammonium iron citrate and potassium ferricyanide to ultraviolet light, leaving the paper so-called Prussian blue. Anna Atkins' book http://venetianred.files.wordpress.com/ Some biographical notes: Anna Atkins before Anna Children was born in Tunbridge, Kent, England in 1799. Her mother died while Anna Atkins was an infant, which made her particularly close to her father, John George Children, who was a highly respected scientist and a Fellow and Secretary of the Royal Society. Portrait Anna Atkins, 1861 Wikipedia https://nl.wikipedia.org/ After marrying John Pelly Atkins in 1825, she pursued her interests in botany, for example by collecting dried plants which were probably used as photograms later on. Detail of title page of Photographs of British Algae: Cyanotype Impressions http://upload.wikimedia.org/ Anna Atkins Atkins is credited with being the first to use cyanotype, a printing process the uses cyan-blue print, for photography. Initially she was trained as an English botanist and discovered photography as a means to document botanical specimens for a scientific reference book, entitled ‘British Algae: Cyanotype Impressions’. Anna Atkins' photograph https://publicdomainreview.org/ This book subsequently became considered to be the first book to demonstrate light-sensitive materials in a publication. As well as this, Atkins decided to use the Cyanotype process further by printing her hand-written text and illustrations through the means of this photographic process rather than using traditional letter pressing. And is considered to be the first book illustrated with photographs. A cyanotypee photogram made by Atkins Photographs of British Algae: Cyanotype Impressions http://upload.wikimedia.org/ In 1843 Atkins printed and published Part I of ‘British Algae’, which in turn established photography as an accurate medium for scientific illustration. These photograms became something of an artistic expression, although this was not her original goal, many of the photograms of plants can be celebrated as a significant scientific document but also for their thoughtful composition. Here Rupert Baker of The Royal Society helping us to look at the world's first photo book published by botanist and photographer Anna Atkins in 1843. From 1843 to 1853 she worked constantly to document her large collection of seaweed, which were then released as a 12-part series. In 1853 Anna Atkins teamed up with her childhood friend, Anne Dixon, who began to collaborate in creating photograms of ferns, flowers, feathers and lace. By 1854, Atkins documented all the algae of the British Isles in her hundreds of photogramme impressions. Fewer than 20 copies of her pioneering book are known to exist — with one copy still in the hands of Herschel’s descendants as recently as 1985. Through her career, Anna Atkins collected hundreds of specimens and in 1865 she donated her entire collection to the British Museum. Through her cyanotypes, Atkins — who died in Kent in 1871 — blended photographic aesthetics with scientific advances. A copy of Anna Atkins' book Rene' West, Anna Atkin's book, shot at the Metropolitan Museum, 2009 http://www.renewest.net/ Education: No doubt! Google loves women in science. Ada Lovelace, Rosalind Franklin , Marie Curie , Grace Hoper , Dorothy Hodgkin, Gaetana Agnesi, Mary Anning, Dian Fossey, and today Anna Atkins. The discussion of new discoveries and a better understanding of the role of women in many different areas of study such as humanities or science, and how these ideas and findings can lead to new markets for humanities and science knowledge are important aims. Girls and women are more and more proving in different situations at school and in business that they are equal to men in the intelligence and capacity. Constantly evolving education at all ages and levels in our ever-changing world is crucial. Anna Atkins work slide by Elaine Humpleby This begins early in school where girls must be encouraged to access to humanities, science and technology. The aim is to encourage creativity in the field of humanities, science, new technologies or arts and highlight the importance of developing innovative skills at an early age. All the initiatives are welcome. As teachers we have an important role on it. And teachers are women in great number in our days. Began by talking about yourself as a woman in a career that belonged to men for centuries. And introduce Anna Atkins' doodle to continue discussing great women. Explore the different Google Doodles who celebrate great women to motivate girls and young women in your lessons today. Anna Atkins: Cyanotypes The First Woman Photographer Daniel Ankele/ Denise Ankele Photographer: Anna Atkins https://www.amazon.co.uk/ Resources for teachers: Cyanotypes of British Algae by Anna Atkins (1843)/ The Public Domain Review Anna Atkins 1799 - 1871/ Science Museum Photographs of British algae: cyanotype impressions/ The New York Public Library/ Digital Collections The Bluest of Blues Anna Atkins & The First Book of Photographs Fiona Robinson https://www.abramsandchronicle.co.uk/ Children's book: The Bluest of Blues Anna Atkins & The First Book of Photographs by Fiona Robinson is a gorgeous picture book biography of botanist and photographer Anna Atkins–the first person to ever publish a book of photography. Weaving together histories of women, science, and art, The Bluest of Blues will inspire young readers to embark on their own journeys of discovery and creativity. Age: 6-9 "Despite some progress, women are deterred from pursuing a career in science at the highest levels. Much more must be done to address the reasons behind this potential waste of human talent." Nature, Editorial G-Souto 16.03.2015 updated 16.03.2019 copyright © 2015G-Souto'sBlog, gsouto-digitalteacher.blogspot.com® Schools : Anna Atkins : Botanist and the 1st woman photographer by G-Souto is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Digital ID: 419704. Atkins, Anna -- Photographer. 1843-53 Source: Photographs of British algae: cyanotype impressions. / Part II. (more info) Repository: The New York Public Library. Spencer Collection. See more information about this image and others at NYPL Digital Gallery. Persistent URL: digitalgallery.nypl.org/nypldigital/id?419704 Rights Info: No known copyright restrictions; may be subject to third party rights (for more information, click here)
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Museum quality Giclee print - Premium fine art paper, 100% cotton, acid-free, archival
Omschrijving: Anna Atkins (1799-1871) was een Engelse botanicus en fotografe. Zij wordt gezien als de eerste persoon die een boek uitbracht met fotografische afbeeldingen. Sommige bronnen beweren dat ze de eerste vrouwelijke fotograaf was. Zij maakte met name veel foto's door gebruik te maken van het cyanotypie-proces. Makkelijk aan te brengen vliesbehang Dit vliesbehang is aan te brengen op vrijwel elke vlakke muur. Smeer met een roller of blokkwast de muur in met lijm voor vliesbehang en breng vervolgens stotend het behang aan. Het behang krimpt niet en is probleemloos te verwijderen. Materiaal: Vliesbehang Gewicht: 160 grs./m2 Kleur: Donker-blauw Formaat: De rol is verdeeld in vier banen van 2.85 m. hoog x 48.7 cm. breed. Voldoende voor een wand van maximaal 194.8 cm. breed x 285 cm. hoog. Patroon: niet repeterend. de gehele rol bevat unieke afbeeldingen. - Afmeting: Productcode: 676732
Booklet of cyanotype impressions, 'Photographs of British Algae: Cyanotype Impressions' by Anna Atkins (1799-1871) Part 1 of Fox Talbot's own copy, sewn in original blue wrapper.
Exhibition dates: 28th September 2018 – 6th January 2019 Anna Atkins (English, 1799-1871) Snowden – from the Inn Garden at Capel Curig from an album of watercolours 1835-63 &nbs…
En el extraordinario mundo de la fotografía no sólo deben resaltar nombres de grandes hombres fotógrafos, también existen mujeres que han destacado, pero son menos conocidas. Anna Atkins fue una fotógrafa y botánica nacida en Gran Bretaña. Además de ser considerada la primera mujer fotógrafa, fue l
Little did Anna Atkins know that her book of botanical cyanotopes, created from 1843-1853, would go on to make publishing history
Captivated by the incredible blue hues of Anna Atkins' early photographic work, our second exclusive collaboration with the Natural History Museum pays homage to the cyanotype - one of the earliest forms of photography. But this medium is not solely the preserve of historical pioneers, and the popular technique is still used by artists today. One such artist is Inês Ambrosio, a Portuguese surfer and photographer who has found balance in her two passions by producing beautiful cyanotype images. 23.03.21 4 min read Words & Images by Inês AmbrosioProfile photo by Mafalda Gomes For those who don't know, what exactly is a cyanotype and how do you go about making one? A Cyanotype, also known as “blue print” was one of the first ways of making a photographic image. Discovered by John Hershel and used by many photographers, artists and architects, among others, to create images. The chemicals for this light sensitive solution make the image go blue and although it is a very simple process in comparison with many other photographic ones, it was a massive discovery at the time and I believe is coming back to focus today for the beauty of its final colour. Blue brings melancholic and nostalgic feelings out. Also peaceful ones, similar to how the ocean makes us feel. With all the modern technology available to us, what is it about this old analogue medium that you love and why did you choose to focus on producing work in this way? For me photography has always been about the physicality of it, from the early days of my practice I have realised the importance of spending time creating an image. I experimented with many alternative and analogue processes and the blue print made me feel instantly connected with my biggest passion - surfing - and my favourite element - water – not only for it’s colour but also because of the process itself. Whether it is on a piece of paper, fabric or glass, the photographic object needs to be in contact with the sun, more precisely UV light, being then washed in water. For the few years I was studying Photography at the University of Brighton, Photography became the main focus of my life and surfing was left to a secondary priority. Today, I naturally found my place and balance in Cyanotype making. Were you aware of the history of cyanotypes and the story of Anna Atkins before you started making work in this way? Or are there any other cyanotype artists that have inspired you? Yes, since I’ve chosen an academic path, all my university work was intrinsically connected to the understanding of the medium history, to all the references and artists that have used or are using the process. That led me to try to understand where I stand with it: what is it bringing to my personal artistic practice. I think that in this sense it all came together as one, I was clearly attracted to this process by Its finished colour and the rest came along organically. Anna Atkins was a botanist and her father a friend of Fox Talbot, himself a scientist involved in the discoveries of other photographic processes, so she was clearly inspired by the people surrounding her as well as for her own passion for plants. She was a pioneer in cyanotype use, following John Hershel’s discovery of this process when trying to find a way to make copies of his notes. A lot of your works focus on the sea, on plants, and on the natural world. Is there a particular message you're trying to get across in these images, or is it simply a showcase of the environment that you're drawn to? I believe we are always walking towards our most authentic self. Art helps me as much as the ocean and surfing to find my balance. Nature, plants, the sea, are all my sources of energy and what I am most passionate about in life. So, in a way, I am clearly drawn to these and therefore they are reflected in my work. There is also a big part of me trying to understand the world and people in my life, which is reflected in my work as well. I am super connected to my family and to my feelings when creating a body of work, so they are a big part of my inspiration too. You mention your connection to water in reference to much of your work. When did you first discover this connection, and what does the sea give you in your daily life? I think the first memories I have of this connection with water are from when I was really young and would go to the beach with my family. They would all go to the water with me and my father would be the one staying there longer, teaching me about respecting the force of the ocean. He also bought me my first boogieboard, I even remember it had a dolphin on it! My favourite Barbie was also a diver and I’d spend hours playing with only that one, I didn’t care about the others. I grew up in Portugal and lived by the sea when I grew up. I would surf every day and spend hours at the beach, especially from around the time I was 14 and was doing arts in college. The sea gives me so much in my daily life. Makes me feel balanced emotionally and physically when surfing; inspires me constantly; listens to me when I don’t want to speak with anyone else. Helps me always seeing the brightest side of things. Who knows where my life and work will go towards to in the next few years? One thing I’m sure: Water and the blues will always be present for me.
Little did Anna Atkins know that her book of botanical cyanotopes, created from 1843-1853, would go on to make publishing history
Cyanotype photogram in the style of Anna Atkins, inspired by the fauna of the Thames Estuary Marshes. Every cyanotype photogram is unique, handmade and original. Created by using an alternative photographic printing process. All prints are mounted and ready for framing. 21x29cm
Zu Anbruch des viktorianischen Zeitalters unternahm Anna Atkins in ihrem Freiluftlabor in Halstead, Kent, den radikalen Versuch, Pflanzenarten mithilfe eines völlig neuen künstlerischen Mediums zu dokumentieren. Die unnachahmlichen Cyanotypie-Fotogramme von Algen und Farnen, die Atkins anfertigte, bilden die ersten Bücher mit Fotografien. Ihre Alben sind die perfekte Synthese aus Kunst und Wissenschaft, markant und zugleich hauchzart.Obwohl die Drucktechnik, die Cyanotypie, von ihrem Freund John Herschel entdeckt wurde, war Atkins die erste, die ihren praktischen Nutzen für die Klassifizierung von Arten innerhalb der Botanik und ihr faszinierendes künstlerisches Potenzial erkannte. Bei diesem Druckverfahren wird das Objekt auf sensibilisiertem Papier fixiert und dem direkten Sonnenlicht ausgesetzt. Dadurch entsteht das preussischblaue Pigment, das den unverwechselbaren Hintergrund dieser Kunstwerke bildet.Atkins' Album British Algae (1843–1853) sowie das mit ihrer Freundin Anne Dixon angefertigte Buch Cyanotypes of British and Foreign Ferns (1853) sind Werke von ausserordentlicher Seltenheit. Sie werden hier zum ersten Mal in ihrer Gesamtheit abgedruckt und zeigen, dass Atkins mehrere Disziplinen beherrschte: Während die Cyanotypie es ihr ermöglichte, die Herausforderungen einer akkuraten Darstellung zu meistern, verliehen die grazilen Konturen der Exemplare vor dem intensiv blauen Hintergrund den Bildern einen zeitlosen ästhetischen Reiz.In dieser Ausgabe wurden Cyanotypien aus verschiedenen Quellen sorgfältig zusammengestellt, um Atkins' progressiven Werke vollständig abzudrucken. Sie stammen weitgehend aus den Exemplaren der New York Public Library und des J. Paul Getty Museums. Die über 550 Cyanotypien stellt Peter Walther in seinen einführenden Essays in den wissenschaftlichen und kunsthistorischen Kontext, um die bahnbrechenden Beiträge einer echten Pionierin zu würdigen.
