Friday, March 31, 2017

Urban Truths of the 19th century

William Edward Kilburn
Chartist meeting in London
1848
daguerreotype
Royal Collection, Great Britain

"A town, such as London, where a man may wander for hours together without reaching the beginning of the end, without meeting the slightest hint which could lead to the inference that there is open country within reach, is a strange thing.  This colossal centralization, this heaping together of two and a half millions of human beings at one point, has multiplied the power of this two and a half million a hundred fold; has raised London to the commercial capital of the world, created the giant docks and assembled the thousand vessels that continually cover the Thames.  But the sacrifices which all this has cost become apparent later. After roaming the streets of the capital a day or two, one realizes for the first time that these Londoners have been forced to sacrifice the best qualities of their human nature to bring to pass all the marvels of civilization.  The very turmoil of the streets has something repulsive about it  something against which human nature rebels.  The hundreds of thousands of all classes and ranks crowding past each other  aren't they all human beings with the same qualities and powers, and with the same interest in being happy?  And aren't they obliged, in the end, to seek happiness in the same way, by the same means?  And still they crowd by one another as though they had nothing in common, nothing to do with one another, and their only agreement is the tacit one  that each keep to his own side of the pavement, so as not to delay the opposing streams of the crowd  while no man thinks to honor another with so much as a glance.  The brutal indifference, the unfeeling isolation of each in his private interest becomes the more repellent and offensive, the more these individuals are crowded together within a limited space.  And however much one may be aware that this isolation of the individual, this narrow self-seeking, is the fundamental principle of our society everywhere, it is nowhere so shamelessly barefaced, so self-conscious, as just here in the crowding of the great city."

 from The Condition of the Working Class in England (1848) by Friedrich Engels, quoted by Walter Benjamin in The Arcades Project (Harvard University Press, 1999)

William Edward Kilburn
Chartist meeting in London
1848
daguerreotype
Royal Collection, Great Britain

"This daguerreotype records the immense crowds at one of the Chartist rallies held in South London in 1848.  Calling for political reform, and spurred on by the recent February Revolution in France, the Chartist movement was seen by many as a terrifying threat to the established order.  Fears were so great that on the eve of the meeting, the Duke of Wellington stationed troops across London and the royal family were moved to Osborne House on the Isle of Wight.  In the event the rally passed peacefully and Prince Albert later spoke at a Chartist meeting about the sympathy and concern the royal family felt for the working classes.  This is one of a pair of daguerreotypes of the event acquired by Prince Albert."

 curator's notes from the Royal Collection

Anonymous photographer
Rue de Rivoli, Paris
ca. 1865
albumen silver print
Getty Museum, Los Angeles

Robert Howlett
I.K. Brunel and others observing Great Eastern launch attempt
1857
albumen silver print
Getty Museum, Los Angeles

"His 'great babe' is how engineer Isambard Kingdom Brunel referred to his creation, the Great Eastern.  At nearly twenty-two thousand tons, it was the largest ship built in the nineteenth century.  Robert Howlett was commissioned by The Illustrated Times to document its building and launching.  In this photograph Howlett swung his camera away from the enormous ship to record the human reaction to the anticipated spectacle.  The image has the casual structure of an unposed snapshot.  It was an illustration meant to accompany a newspaper account of the events.  Looking nervously expectant, the men grouped around an imperious Brunel  the short man at the center front, facing right  on the dock were investors from the syndicate that had spent three million dollars for the ship's construction.  Brunel did not want onlookers present, but the owners sold tickets and people came by the thousands.  The Great Eastern stubbornly refused to be moved down the launching ramp, and steam winch handles spun wildly out of control, killing two crewmembers and threatening the spectators.  Several more months of pushing and pulling ensued before Brunel's ship was successfully waterborne."

 curator's notes form the Getty Museum

Robert Howlett
Steamship Great Eastern
under construction at Millwall

1857
albumen silver print
Getty Museum, Los Angeles

Robert Howlett
I.K. Brunel
with launching chains of the Great Eastern

1857
albumen silver print
Metropolitan Museum of Art, New York

John Thomson
Whitechapel, London
1877
Woodburytype photograph
Getty Museum, Los Angeles

Anonymous photographer
Queen Victoria's Jubilee Procession
Thames Embankment, London

1887
albumen print
Royal Collection, Great Britain

Anonymous photographer
Queen Victoria's Jubilee Procession
Thames Embankment, London

1887
albumen print
Royal Collection, Great Britain

"As I study this age which is so close to us and so remote, I compare myself to a surgeon operating with local anesthetic: I work in areas that are numb, dead  yet the patient is alive and can still talk."

 Paul Morand, quoted by Walter Benjamin – from the section On the Theory of Knowledge, Theory of Progress in The Arcades Project (Harvard University Press, 1999)

Oliver H. Copeland
New Market, New Hampshire
1875
albumen silver print
Getty Museum, Los Angeles

Anonymous photographer
Street scene with crowd
ca. 1900
gelatin silver print
Getty Museum, Los Angeles

Underwood & Underwood
State Street, Chicago
1903
photograph
Library of Congress, Washington DC

Julius M. Wendt
Street Scene - Albany, New York
ca. 1900-1910
gelatin silver print
Getty Museum, Los Angeles

Julius M. Wendt
Street Scene - Albany, New York
ca. 1900-1910
gelatin silver print
Getty Museum, Los Angeles