In photography’s early years, scientists and artists quickly realized the mechanical eye of the camera could see beyond what was visible to the human eye. The camera was viewed as a scientific instrument by both visual artists and their patrons. From 1860 to 1918, groundbreaking photographers explored the artistic and objective potential of X-rays, stop-action photography, and aerial imagery. The images that emerged were unique and kindled an insatiable public curiosity for innovative views of the familiar. Étienne-Jules Marey’s “photographic gun” and Eadweard Muybridge’s animal locomotion studies made it possible for Thomas Alva Edison to conceive the idea of motion picture photography. The discovery of X-rays and advancements in microscope optics allowed for the visualization of a world that previously existed only in arcane theory. The documentary nature of aerial and astronomical photography suggested an entirely different way of perceiving time and space allowing for the alteration of military tactical strategy. From the Industrial Revolution through the present era these new ways of seeing directly influenced visual artists and contemporary writers.[Image to the right, E.J. Marey, Sword Thrust (fencing) Circa 1890 (printed January 2005), Modern Silver Gelatin Print, Collection of Hulton Archive, courtesy of Getty Images]

Showcasing rare works from Getty Images Hulton Archive, this exhibition brings to view many photographs that radically changed humankind’s vision of the physical world and quickly inspired startling changes in the visual arts. Images from the Museum of Flight and the Henry’s Monsen Collection supplement this look at a remarkable moment when art, science, and photography overlapped. Seeing the Unseen presents works that established the canon of modern photography. Photographing Paris’ underground sewers and catacombs, Nadar used a directed lighting technique before the advent of the flash.[Image to the left, E.C. Le Grice, X Ray Potbellied Seahorses, Circa 1910 ,Vintage Silver Gelatin Print, 282mm W x 220mm H, Collection of Hulton Archive, courtesy of Getty Images]

Showcasing rare works from Getty Images Hulton Archive, this exhibition brings to view many photographs that radically changed humankind’s vision of the physical world and quickly inspired startling changes in the visual arts. Images from the Museum of Flight and the Henry’s Monsen Collection supplement this look at a remarkable moment when art, science, and photography overlapped. Seeing the Unseen presents works that established the canon of modern photography. Photographing Paris’ underground sewers and catacombs, Nadar used a directed lighting technique before the advent of the flash.[Image to the right, Félix Nadar, Catacombs, Paris (Façade with geometric ornamentation of tibias and skulls, plate 52), 1860, Vintage Toned Silver Gelatin Print, 185mm W x 255mm H, Collection of Hulton Archive, courtesy of Getty Images]

The old Paris is no more... On the streets of 1860s Paris, innovations such as the calotype process, paper negatives, and more portable equipment freed the camera from the studio. This allowed French photographers to document their own cities in a first surge of documentary photography. The urban planning of Napoleon III's prefect Baron Haussmann, tore down slums, widened streets, planted large parks, and created bombastic municipal buildings. The finely detailed images usually came out of artfully coordinating locations, timing, and materials. Baldus, who called himself a “painter-photographer” to add artistic credibility to his commercial practice, masterfully framed his shots or pieced together several negatives to create striking images. Collected and published in albums, they point to the enigmas that would soon arise as the popular audience came to equate photography with truth.[Image to the left, Félix Nadar, Sewers, Paris (Part of gallery converted into a wagon garage, plate 11), 1864-1865, Vintage Toned Silver Gelatin Print, 185mm W x 255mm H, Collection of Hulton Archive, courtesy of Getty Images]

Both exhibits were curated by Assistant Curator Sara Krajewski with concept and research assistance by Benjamin Fels. Special research assistance provided by Helen Drew for Getty Images, Hulton Archive. Seeing the Unseen is generously supported by ArtsFund, 4Culture/King County Lodging Tax Fund, The Boeing Company, the National Endowment for the Arts, the Washington State Arts Commission, and donors to the Contemporary Art Fund. The old Paris is no more... was generously supported by donors to the Henry's Contemporary Art Fund.
July 2- October 2, 2005
North Galleries
Henry Art Gallery
Faye G. Allen Center for the Visual Arts
15th Avenue NE & NE 41st Street
University of Washington Seattle Campus