Les Nus de Gustave Gain, 1910

**Gustave Gain ::** Nu féminin assis, 1910. Autochrome. | Fonds de la famille Gain · Archives de la Manche

**Gustave Gain ::** Nu féminin avec un drapé, 1910. Autochrome. | Fonds de la famille Gain · Archives de la Manche

**Gustave Gain ::** Nu féminin assis, 1910 Autochrome. [detail]

**Gustave Gain ·** Nu féminin, 1910. Autochrome. | Fonds de la famille Gain · Archives de la Manche

Sur la plage par Frères Lumière

Frères Lumière :: Sur la plage. A daring photograph for its time of a woman in a see-through dress on a beach. France, 1907-1915. | src Alamy — Frères **Lumière** :: Sur la plage. A daring photograph for its time of a woman in a see-through dress on a beach. France, 1907-1915. | src Alamy

Lumière Brothers :: Untitled early Autochrome of a woman in a silk dress standing on rocks. France, 1907-1915. | src liveauctioneers — **Lumière Brothers ::** Untitled early Autochrome of a woman in a silk dress standing on rocks. France, 1907-1915. | src liveauctioneers

Learning to fly · Kids at War

A ‘taube’ is spotted; a French 75 is immediately put into battery while ‘Pépéte’, the aviator, prepares to give chase. Paris, 19 September 1915.

**Léon Gimpel (1873-1948) ::** The aviator ‘Pépéte’ has just shot down a ‘taube’ with his machine gun. Paris, 19 September 1915.

Léon Gimpel :: Boy playing in model airplane attached to a lamppost. France, 1915. Autochrome. | src Aktuallne Magazin — **Léon Gimpel (1873-1948) ::** Boy playing in model airplane attached to a lamppost. France, 1915. Autochrome. | src SFP
L’aviateir «Pépete» vient d’abattre un «Taube» à coups de mitralleuse. Paris, 19 septembre 1915.

In 1915 Gimpel befriended a group of children from the Grenata Street neighborhood in Paris who had established their own “army”. He began to visit them regularly on Sundays, helping them to build their arsenal from whatever was to hand, providing direction in “casting”, and recording with his camera the army’s triumphs over the evil enemy, the Boche.

Gimpel was charmed by these children and came to know each of them well: the “chief”, the eldest in the garrison; his friend, who was conscripted to play the unenviable role of the Boche; and Pépète, who was “small, slightly misshaped, rather scrofulous, looking somewhat like a gnome” but who nonetheless played the part of an ace aviator. At the end of each session, Gimpel would reward the troops with barley sugar, causing all to shout with one voice, “Long live the photograph!”

quoted from Luminous-Lint online exhibition : Autochromes and Autochromists of WWI

Léon Gimpel (1873-1948)
The famous aviator ‘Pépéte’ triumphs in front of his victim. Paris, 19 September 1915. Autochrome | src SFP — Léon Gimpel (1873-1948) · The famous aviator ‘Pépéte’ triumphs in front of his victim. Paris, 19 September 1915. Autochrome | src SFP

From : La guerre de gosses, Léon GIMPEL, Paris, 1915

More images at Images en ligne de la Société française de photographie (SFP)

Lalaing female nudes, 1900-1914

Studie van een vrouwelijk naaktmodel, op de rug gezien, in het atelier van Jacques de Lalaing, voorstudie voor element voor een fontein in Musee des Beaux arts, Doornik en voor cirkelvormige fontein, Jacques Lalaing — Study of a nude female model, seen from the back, in the atelier of Jacques de Lalaing, preliminary study for element for a fountain in Musée des Beaux arts, Tournai (Doornik) and for circular fountain, Brussels, ca. 1900-1914. Attributed to Jacques Lalaing. Albumen print

Studie van een vrouwelijk naaktmodel, van voren gezien, in het atelier van Jacques de Lalaing, voorstudie voor element voor een fontein in Musee des Beaux arts, Doornik en voor cirkelvormige fontein, Jacques Lalaing — Study of a female nude model, seen from the side, in the atelier of Jacques de Lalaing, preliminary study for element for a fountain in Musée des Beaux arts, Tournai (Doornik) and for circular fountain, Brussels, ca. 1900-1914. Attributed to Jacques Lalaing. Albumen print

Studie van een vrouwelijk naaktmodel, van opzij gezien, in het atelier van Jacques de Lalaing, voorstudie voor element voor een fontein in Musee des Beaux arts, Doornik en voor cirkelvormige fontein, Jacques Lalaing (1) — Study of a female nude model, seen from the side, in the atelier of Jacques de Lalaing, Brussels, ca. 1900-1914. Attributed to Jacques Lalaing. Albumen print

All five images are part of a notebook with 108 Photographs of Models Owned by Jacques de Lalaing (1858-1917). Access to the whole notebook held at Rijksmusem, here: follow link >>> (RP-F-2001-4)

Lutz Autochromes

Vrouw in tuin, Johannes Hendrikus Antonius Maria Lutz, 1907 - 1916 | src Rijksmuseum — Johannes Hendrikus Antonius Maria Lutz :: Woman in garden, 1907 – 1916. Glass negative. Autochrome. | src Rijksmuseum

Vrouw in tuin, Johannes Hendrikus Antonius Maria Lutz, 1907 – 1916 | src Rijksmuseum (DETAIL)
This work belongs to *Portretten* (RP-F-2013-85)

Johannes Hendrikus Antonius Maria Lutz :: Woman in garden, 1907 - 1916. Glass negative. Autochrome. | src Rijksmuseum — Johannes Hendrikus Antonius Maria Lutz :: Woman in garden (Vrouw in tuin), 1907 – 1916. Glass negative. Autochrome. | src Rijksmuseum

Corbet · figures in landscape

**Charles Corbet ::** The gardener, ca. 1910. Autochrome. | src Belgian Autochromists

**Charles Corbet ::** Girl at pond with yellow flowerbush, ca. 1910. Autochrome. | src Belgian Autochromists

**Charles Corbet ::** Mrs. Corbet and daughter on the heath, ca. 1910. Autochrome. | src Belgian Autochromists

**Charles Corbet ::** Two girls, ca. 1910. Autochrome. | src Belgian Autochromists

**Charles Corbet ::** Maiden with in background Echternach (Lx), ca. 1910. Autochrome. | src Belgian Autochromists

**Charles Corbet ::** Woman and girl by a brook, ca. 1910. Autochrome. | src Belgian Autochromists

**Charles Corbet ::** Reclining woman by river, ca. 1910. Autochrome. | src Belgian Autochromists

**Charles Corbet ::** Girl in dunes, ca. 1910. Autochrome. | src Belgian Autochromists

Personnaz industrial landscapes

Antonin Personnaz :: [Usines, rivière, péniches], entre 1907 et 1914. Plaque de verre Autochrome. — **Antonin Personnaz ::** [Usines, rivière, péniches], entre 1907 et 1914. Plaque de verre Autochrome. | src ODLP

**Antonin Personnaz ::** [Rivière, usine, fumée, péniches], entre 1907 et 1936. Plaque de verre Autochrome. | src Collection SFP

[Train de péniches sur l'Oise vu depuis le pont d'Auvers (En direction de l'aval) avec bateau-lavoir et une meule sur la berge, Méry-sur-Oise - Auvers-sur-Oise, Val-d'Oise, Île-de-France, France], Antonin PERSONNAZ, entre 1907 et 1914. Autochrome — [Train de péniches sur l’Oise vu depuis le pont d’Auvers (En direction de l’aval) avec bateau-lavoir et une meule sur la berge, Méry-sur-Oise – Auvers-sur-Oise, Val-d’Oise, Île-de-France, France], entre 1907 et 1914. Plaque de verre Autochrome. | SFP

[Rivière, péniches et petit bâteau], Antonin Personnaz, entre 1907 et 1914. Plaque de verre Autochrome | src SFP

[Rivière, péniches amarrée], Antonin PERSONNAZ, entre 1907 et 1914. Plaque de verre Autochrome — **Antonin Personnaz ::** Méry-sur-Oise. L’Oise en amont d’Auvers-sur-Oise. Péniches au chargement. 1907-1914. Société française de photographie

La Vie en Couleurs – Antonin Personnaz : Photographe Impressionniste | Courtesy RMM Rouen Normandie | l’œil de la photographie

Personnaz · La vie en couleurs

**Antonin Personnaz ::** Le peintre Armand Guillaumin peignant “Baigneurs à Crozant” vers 1907. Plaque Autochrome. | src ODLP

La Vie en Couleurs : **Antonin Personnaz**, Photographe Impressionniste – Courtesy RMM Rouen Normandie / Musée des Beaux-Arts / ODLP

**Antonin Personnaz ::** [Rivière, femme peintre sur le motif], entre 1907 et 1936. Plaque de verre Autochrome

**Antonin Personnaz ::** La vie en couleurs – Antonin Personnaz, photographe impressionniste

**Antonin Personnaz ::** Effet de soleil dans les arbres. Inondations. Hiver, 1907-1914. Autochrome. | Société française de photographie

**Antonin Personnaz ::** [Chemin, forêt, inondation], entre 1907 et 1936. Plaque de verre autochrome.

**Antonin Personnaz ::** [Forêt, neige], entre 1907 et 1936. Plaque de verre autochrome.

**Antonin Personnaz ::** [Forêt, inondation, neige], entre 1907 et 1936. Plaque de verre autochrome.

**Antonin Personnaz ::** [Chemin, forêt, feuilles mortes], entre 1907 et 1936. Plaque de verre autochrome.

**Antonin Personnaz ::** [Chemin, champs inondés ou étendues d’eau, hiver, crépuscule?], entre 1907 et 1936. Plaque de verre autochrome.

**Antonin Personnaz ::** [Paysage: pêcheur en bord de rivière], entre 1907 et 1936. Plaque de verre autochrome.

**Antonin Personnaz ::** [Chemin, champs de blé, mur, petite construction], entre 1907 et 1914. Plaque de verre Autochrome.

Invented by the Lumière Brothers, Autochrome was the first color photographic process to be marketed. As soon as it was put on the market in 1907, it was an immediate success with amateur and professional photographers. This is the photographic medium used by Albert Kahn for his Archives de la planète, the world’s first global report in color. Among the early adopters stands out a singular personality. Antonin Personnaz (1854-1936) is indeed one of the most important collectors of Impressionism, and is one of the great benefactors of national museums. His 1937 bequest includes 142 first-rate works (Pissarro, Guillaumin, Sisley, Degas, Renoir, Toulouse-Lautrec, etc.), including Monet’s famous Pont d’Argenteuil, which are today among the masterpieces presented at the Musée d’Orsay and at the Musée Bonnat-Helleu. Less well known is his status as an active member of the French Photography Society (from 1896) and of the Society of Excursions for Photography Amateurs (from 1900). As such, he is at the origin of a distinction awarded to the Lumière Brothers for the invention of the autochrome plate, whose grainy and pointillist rendering seems to him to join the research of Impressionist painters, and whose aesthetic qualities he ardently defends. From 1907, Antonin Personnaz assiduously practiced autochromy himself and produced more than a thousand plates, which his widow donated to the Société française de photographie. Despite its interest in the history of Impressionism, this collection has been little studied and shown. However, because of its proximity to artists, Personnaz’s photographic work is of exceptional interest.

In fact, there are not only direct testimonies from painters working on the motif, but also many views whose kinship with the most famous impressionist landscapes is obvious. Views of rivers, countryside, snowy landscapes, peasant scenes, women with umbrellas, flowering apple trees, poppies, all the Impressionist vocabulary can be found there. It seems that Personnaz looks at sites chosen by painters and, by photographing them, mirrored a sort of collection of personal Impressionist images. This unique exhibition, produced in partnership with the Société française de photographie, will be the very first study and publication devoted to Antonin Personnaz. It will present a corpus of images that recreate the pictorialist imagination of the author, with a striking realism for today’s visitor.

A unique exhibition produced in partnership with the Société française de photographie | src ODLP