We didn’t decide anything.
But somehow it happened.
Thursday, 13 December 2012
Sculpture as the Sum of Its Profiles:François Willème and Photosculpture in France, 1859-1868
Between 1859 and 1868, the French sculptor François Willème perfected
two distinct methods for producing sculptural portraits by photographic
and mechanical means. Both were founded on the principle that the
reassembly of the various "profiles" of a subject would yield a
recognizable and complete likeness. The use of mechanical tools, derived
in part from those of Collas and Sauvage, would provide for a realistic
objectivity, while the finishing of the model by hand would guarantee
the final product as a work of art. The apex of photosculpture's
popularity and the critical discussions about it - by Théophile Gautier
and others - coincided with the early work of Auguste Rodin in which he
shared with Willème a fundamental system of "profiles comparées."
Robert A. Sobieszek The Art Bulletin Vol. 62, No. 4 (Dec., 1980), pp. 617-630