Nadar

by Nigel Gosling

NY 1976 1st American Knopf. Biography of Felix Tournachon, France's greatest pioneer photographer. "A photographic pantheon - from Baudelaire to Bernhardt - of 19thc Paris." (jacket) Hardcover. Lg.4to., 298pp., illustrations, index, cloth. Fine in Fine DJ.

298 pages, Hardcover

Published January 1, 1976

Reviews

[Joyce · Rating 5 out of 5]

Read this for a class project and fell in love with great French photographer Felix Nadar. Larger than life in every aspect, he was an outrageous character who took some of the best portraits ever created of everyone who was anyone in 19th century Paris (except for the nobility, he was an ardent republican). Artists, authors, actresses, musicians, politicians, all were photographed by Nadar. Also a writer, caricaturist, balloonist and heavier than air machine supporter, he was the inspiration for Jules Verne's character "Michael Ardan" in From the Earth to the Moon He and Verne were lifelong friends as Nadar was to many others including Victor Hugo (his deathbed photo of Hugo is exquisite) and Charles Baudelaire. Nadar's photos are wonderfully distinctive and his life worth reading.

[James · Rating 4 out of 5]

This book offers a rich and engaging introduction to Félix Nadar, the legendary 19th-century French photographer whose portraits captured the essence of Parisian society. Nadar was a larger-than-life figure, not only as a photographer but also as a writer, caricaturist, and balloonist. His portraits of the era’s cultural icons—artists, authors, politicians, and more—are unforgettable, and the book highlights his most notable works with a deep sense of reverence.

One of the standout elements of this book is the way it weaves together Nadar’s photography with insightful context about the cultural and intellectual world of 19th-century France. Each portrait is accompanied by a detailed presentation of the subject and their connection to Nadar, offering a window into the social and artistic networks of the time. Through these images and their descriptions, the author (Gosling) skillfully introduces the complexities of Parisian society, showing how Nadar was not just a photographer, but also a key player in the important circles of the era.

In addition to his stunning photographic works, Nadar’s involvement with famous figures such as Jules Verne, Victor Hugo, and Charles Baudelaire further enriches the narrative. Nadar’s multifaceted life—spanning from ballooning adventures to his collaborations with literary giants—becomes a reflection of the artistic upheavals of the time. His influence is felt not only in photography but also in the larger cultural fabric.

What I found most captivating about this book is how it balances a clear presentation of Nadar's artistic achievements with a broader exploration of his impact on the French intelligentsia. The combination of visual art and cultural history makes it an insightful read for anyone interested in photography or the art history of France.

By the end, I felt I had a deeper understanding of the era’s key figures and Nadar’s significant role in shaping a visual legacy. Gosling’s presentation of both Nadar’s works and the historical context in which they were created is both informative and enlightening.