JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門
The article examines the figure of Jules Itier (1802-1877) as a cultural and technical mediator between the invention of photography in the Franco-European sphere and its reception in Macao. The author argues that the presence of a "French daguerreotypist" in the territory should not be understood m...
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| Published in: | Review of Culture |
|---|---|
| Main Author: | |
| Format: | Articles |
| Published: |
Instituto Cultural de Macau
2017
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| Subjects: | |
| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40055/2288 |
| _version_ | 1877196269912326144 |
|---|---|
| author | Barbara Staniszewska |
| author_autocomplete | Barbara Staniszewska |
| author_browse | Barbara Staniszewska |
| author_facet | Barbara Staniszewska Barbara Staniszewska |
| author_sort | Barbara Staniszewska |
| container_title | Review of Culture |
| container_title_str | Review of Culture |
| container_volume | 55 |
| container_volume_str | 55 |
| description | The article examines the figure of Jules Itier (1802-1877) as a cultural and technical mediator between the invention of photography in the Franco-European sphere and its reception in Macao. The author argues that the presence of a "French daguerreotypist" in the territory should not be understood merely as a biographical episode, but rather as part of broader dynamics involving the circulation of knowledge, commercial networks, and visual projects linked to European interest in the Orient. Methodologically, the text draws upon historical frameworks of photographic technology, reconstructing the genealogy of the daguerreotype (from the camera obscura to the fixation process on metal plates), and articulates this trajectory with the contextualization of Macao as a node of Sino-European relations in the nineteenth century. The investigation highlights how the characteristics of the daguerreotype—singular positive image, high definition, and difficulty of reproduction—conditioned the practices, value, and uses of portraiture and the representation of space. In conclusion, the article proposes that Itier contributed to consolidating in Macao a modernized visual culture, in which photography functions simultaneously as an instrument of observation, a form of prestige, and a technology of cultural translation. |
| first_indexed | 2026-09-11T02:56:59Z |
| format | Articles |
| genre | Articles |
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| hierarchy_parent_id | zotero-coll-76L3BRGH |
| hierarchy_parent_title | Review of Culture |
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| hierarchy_top_title | News |
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| issn | 1682-1106 |
| last_indexed | 2026-09-11T02:56:59Z |
| latest_content_date | 2026-09-11T02:56:59Z |
| publishDate | 2017 |
| publishDateRange | 2017 |
| publishDateSort | 2017 |
| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
| publisherStr | Instituto Cultural de Macau |
| record_format | zotero |
| spelling | JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門 The article examines the figure of Jules Itier (1802-1877) as a cultural and technical mediator between the invention of photography in the Franco-European sphere and its reception in Macao. The author argues that the presence of a "French daguerreotypist" in the territory should not be understood merely as a biographical episode, but rather as part of broader dynamics involving the circulation of knowledge, commercial networks, and visual projects linked to European interest in the Orient. Methodologically, the text draws upon historical frameworks of photographic technology, reconstructing the genealogy of the daguerreotype (from the camera obscura to the fixation process on metal plates), and articulates this trajectory with the contextualization of Macao as a node of Sino-European relations in the nineteenth century. The investigation highlights how the characteristics of the daguerreotype—singular positive image, high definition, and difficulty of reproduction—conditioned the practices, value, and uses of portraiture and the representation of space. In conclusion, the article proposes that Itier contributed to consolidating in Macao a modernized visual culture, in which photography functions simultaneously as an instrument of observation, a form of prestige, and a technology of cultural translation. Instituto Cultural de Macau Macau Review of Culture Articles 2017 Barbara Staniszewska |
| spellingShingle | JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門 Barbara Staniszewska |
| title | JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門 |
| title_autocomplete | JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門 |
| title_full | JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門 |
| title_fullStr | JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門 |
| title_full_unstemmed | JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門 |
| title_short | JULES ITIER (1802-1877) : A FRENCH DAGUERREOTYPIST IN MACAO埃迪爾：法國銀版攝影師在澳門 |
| title_sort | jules itier (1802-1877) : a french daguerreotypist in macao埃迪爾：法國銀版攝影師在澳門 |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40055/2288 |
| zotero_collection_key | 76L3BRGH |