Winter Trees, Reflected in a Pond, William Henry Fox Talbot, 1841-1842

William Henry Fox TalbotAngleterre, 1800–1877

Winter Trees, Reflected in a Pond

1841-1842 · Photograph

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Pas exposée actuellement

Où est « Winter Trees, Reflected in a Pond » aujourd’hui ? Collection: National Gallery of Art, Washington. Pas exposée actuellement. Vérifié 29 septembre 2026.

National Gallery of Art

Washington, États-Unis

Elle appartient à la collection, mais n’est pas présentée en ce moment.

Vérifié: il y a 11 jours
Dans cet état depuis: 19 août 2026
Source: Le musée

Sur la carte Page du musée

Notice

Numéro d’inventaire: 2018.6.2

Ce qu’elle montre

England Nature Landscape

Au catalogue

Photographies Tirage sur papier salé Romantisme Réalisme XIXe siècle British

Sources

National Gallery of Art
Image : National Gallery of Art — Museum open access

Dans la vie de William Henry Fox Talbot

La vie entière

1839
Daughter born: Matilda Caroline Talbot
25 January 1839
First showing of photographs at the Royal Institution
Shortly after Louis Daguerre’s daguerreotype was announced in early January, Talbot asserted his priority and, at a Friday Evening Discourse at the Royal Institution, exhibited several paper photographs he had made in 1835. Within a fortnight he described the nature of his process to the Royal Society, while Daguerre revealed no useful details of his own until mid-August.
1840
Invents the calotype
Talbot found a way to print any number of positives on salted paper from a paper negative; new chemicals cut the exposure to a minute in bright sunlight. He called the method the “calotype” (from kalos, beautiful), informally the “talbotype”: unlike the daguerreotype with its single positive, it effectively created modern photography.
1840–1841
Post: High Sheriff of Wiltshire
February 1841
Patents the calotype
Talbot obtained an English patent for the calotype process and sold licences at £20 each, later lowering the fee for amateurs to £4 while professionals paid up to £300 a year; scientists saw it as a hindrance to scientific freedom. He justified his rigour by the roughly £5,000 he had spent on photography; for science the method was free, and Talbot himself published the first known photomicrograph of a mineral crystal.
1844–1846
“The Pencil of Nature”, the first photobook, appears
Longman, Brown, Green & Longmans issued the book in separate parts: 24 prints, each pasted in by hand and accompanied by a short text. Talbot is regarded as the author of the first photographic book; scholars see in it the design of a new canon built on biblical rhetoric.