maurice tabard analysis

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Anyone today would agree that as far as photography is concerned, we have most certainly advanced far beyond what many of photography’s pioneers could have possibly imagined. The ease in which we are so readily able to document our lives through photos, along with the quality of those photos, is simply amazing. However, there is a certain authenticity that is found in the antiquated processes of photography that modern pictures simply can’t deliver.
The photo discussed in this paper (pictured on the cover sheet) was taken by French photographer Maurice Tabard in 1929, titled Untitled. The medium he used was a gelatin silver print and it measures 6 9/16 x 6 1/2". According to L. Parker Stephenson’s artist biography, Tabard was born in Lyon, France in 1897 and moved to Paterson, New Jersey at the age of seventeen. He attended the Photographic Institute of New York and went on to work with the renowned Bachrach Studios as a portrait photographer. After moving back to France in 1928, he diverged from portraiture and delved into the world of fashion photography, where he honed his skills as an avant-garde photographer and became renowned for his use of a solarization process; a process in which “the image recorded on a negative or on a photographic print is wholly or partially reversed in tone”.
However, the process of his untitled work for which this paper discusses, as previously mentioned, was done using a gelatin silver print. The George Eastman House website explains the process in detail: “A gelatin silver print is produced on paper coated with a gelatin emulsion containing light-sensitive silver salts. Like albumen prints, gelatin silver print images are suspended on a paper's surface as opposed to being embedded in its f...

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...on that what the photograph is trying to tell us as the viewer is that they are one and the same, and that the young woman is trying to come to terms with her own sexuality. I could be wrong, but we’d have to ask Maurice on that one (good luck).
As a final point, I had always wondered why artists deemed it necessary to leave some of their works untitled. Surely Tabard could have come up with a fitting title for this eye catching photograph. However, for arguments sake, what if he had given it a title so fitting in which the person observing the photo didn’t have to mull over what Tabard was trying to portray? Yes, it would still be an interesting photo, but it would lose part of its intrigue. The revelation and insight that is achieved upon dissecting a piece of fine art and coming to your own conclusion is, to me, what art is all about.

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