The Smolnoi Monastery, Roger Fenton, 1851-52
Roger Fenton, portraitRoger FentonBritish, 1819–1869

The Smolnoi Monastery

1851-52 · Photograph

Can I see it?

Not on view at present

Where is “The Smolnoi Monastery” now? Collection: Art Institute of Chicago, Chicago. Not on view at present. Checked September 29, 2026.

Art Institute of Chicago

Chicago, United States

It belongs to the collection, but is not on display at present.

Checked
In this state since
Source
The museum

Details

Accession number
1982.1407

In the catalog

Sources

In the life of Roger Fenton

The whole life
  1. 1851

    The Great Exhibition in Hyde Park: discovering photography

    Fenton visits the Great Exhibition in Hyde Park and is impressed by the photography on display; the new technique grips him so keenly that within a year he begins exhibiting his own photographs.

  2. c. 1851 – 1852

    To Paris to learn the waxed paper calotype

    Fenton travels to Paris to learn the waxed paper calotype process, most likely from Gustave Le Gray, who had modified the methods of its inventor, William Henry Fox Talbot.

  3. c. 1852

    Photographing Kiev, Moscow and St Petersburg

    Fenton travels to photograph Kiev, Moscow and St Petersburg, and also photographs views and architecture around Britain.

  4. 1852

    A manifesto for a Photographic Society

    Together with the commercial photographer Antoine Claudet, Fenton publishes a manifesto, “Proposal for the Formation of a Photographic Society”.

  5. 1853

    Founding the London Photographic Society

    Fenton becomes a founder and first secretary of the London Photographic Society, later the Royal Photographic Society under the patronage of Prince Albert.

  6. 1854

    Commissioned to document the Crimean War

    Probably in autumn 1854, powerful friends and patrons — among them Prince Albert and the Duke of Newcastle, Secretary of State for War — urge Fenton to go to the Crimea; the London print publisher Thomas Agnew & Sons becomes his commercial sponsor. The photographs may have been meant to offset the war's unpopularity and to counter the critical reporting of William Howard Russell of The Times: they were to be converted into woodblocks for the less critical Illustrated London News.

All works

On view at Art Institute of Chicago

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