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Photography and Corporate Culture

Bulloz, Manzi and editors in the publishing industry, he defended the principles of copyright and the right of reproduction as well as the liberty to photograph in public museums and libraries, notably in the Louvre. On this last point, Giraudon and all the private photographers lost the game, because by this time the photographic reproduction of monuments and works of art was integrated into the public service (today known as the Reunion des musees nationaux). The commercial and often friendly relationships between the agency and more than 200 photographers are revealed in detail in an important biographical dictionary that is the most significant part of the book. Among the photographers distributed by Giraudon in Paris, one can cite Paul Berthier, Brogi, Briickrnann, Deveria, Famin, Fierlants, Fiorillo, Jean Geiser, Guerinet, Hanfstaengl, Hautecoeur, Lampue, Leon & Levy, Marconi, Martin-Sabon, Neurdein, Pamard and Sebah. Each photographer is supplied with an up-to-date biography and a scrupulous analysis of his relationship with Giraudon. If some of the photographers were already known, like Marville, some others were unrecognized, like Joly-Grangedor, Jules de Laurirere and Mansell. Thanks to this important work of research and documentation (the dictionary includes almost 950 notes), Monique Le Pelley Fonteny has made a considerable contribution to photographic history. Thus, one learns that Joly-Grangedor (Jules Joly, 1819-1871) was initially a painter who came to photography through a pedagogical project of drawing instruction and 'taste formation' that Felix Ravaisson-Mollien (1813-1900) tried to set up. Joly-Grangedor worked for him publishing photographs of plaster copies of antique sculptures. In 1861, he bought Poitevin's patent for the carbon process and subsequently used photographs in his work as a drawing teacher at the Elisa Lemmonier art school in Paris. Joly-Grangedor was a regular contributor to the Gazette des Beaux-Arts with articles on the Salons and the principles of drawing instruction. He taught art history, and later photographic history, at the 'Union centrale des Beaux-Arts appliques a l'industrie', where he was a member of the consultative commission. He also wrote for the bulletin of the SFP in 1869-70 on photo mechanical processes and their importance for the progress of general education. A chronology of the Giraudon business and family, together with a list of the agency stamps, an inventory of the published catalogues, a table of dating, a list of collaborators from 1977 to 2000, an archives list and bibliography, and an index at the end of the book complete the historical essays. Altogether, this book reveals the importance of an international documentary photographic market in Europe from 1870 to the middle of the twentieth century, established and dominated by photographic firms and agencies of photographer-editors like Giraudon. It also provides a crucial tool to scholars searching for biographical information on photographers of the period, establishing a new and important reference for the study of the history of photography in France and Europe. Laure Boyer