Adrien Alban Tournachon Collection

Unidentified male portrait, 1851-1855. Creator: Adrien Alban Tournachon
Unidentified male portrait, 1851-1855

Self portrait, about 1858. Creator: Adrien Alban Tournachon
Self portrait, about 1858

Abbe de Noailles, negative 1856; print 1857-1860. Creator: Adrien Alban Tournachon
Abbé de Noailles, negative 1856; print 1857-1860. Portrait of Father Pierre-Bienvenu Noailles wearing clerical clothing and sitting with a bible in one hand

Figure 63: Expression of terror, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 63: Expression of terror, 1854-56, printed 1862

Figure 62: Terror, semiprofile, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 62: Terror, semiprofile, 1854-56, printed 1862

Vache Garonnaise, agee de 5 a6 ans, 1856. Creator: Adrien Alban Tournachon
Vache Garonnaise, agee de 5 a 6 ans, 1856

Figure 26: Expression of painful attention and attention, attentive gaze. 1854-56, printed 1862

Figure 53: Whimpering and false laughter, 1854-56, printed 1862

Figure 39: The attention attracted by an object that provokes lascivious ideas and desires. 1854-56, printed 1862

Figure 9: A study of m. frontalis in maximum contraction, 1854-56, printed 1862

Figure 15: Meditation, mental concentration, 1854-56, printed 1862

Figure 27: Expression proportionally more pained, 1854-56, printed 1862

Figure 81: Lady Macbeth, moderate expression of cruelty, 1854-56, printed 1862

Figure 42: Gaiety expressed by the ideas of lustfulness, cynicism, and lewdness. 1854-56, printed 1862

Figure 10: Showing the expressive lines of m. frontalis in a young girl, 1854-56, printed 1862

Figure 55: Astonishment badly rendered by the subject: a ridiculous and inane expression. 1854-56, printed 1862

Figure 21: Painful recollection and recollection or calling something to mind, 1854-56, printed 1862

Figure 71: Same head as in Plate 70, 1854-56, printed 1862

Figure 57: Astonishment, stupefaction, amazement, 1854-56, printed 1862

Figure 73: Head of Niobe, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 73: Head of Niobe, 1854-56, printed 1862

Figure 12: A study of the contraction of and the expression produced by the superior part of m. orbicularis oculi, 1854-56, printed 1862

Figure 47: A suggestion of this same weeping, 1854-56, printed 1862

Figure 56: Surprise, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 56: Surprise, 1854-56, printed 1862

Figure 34: Grimace, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 34: Grimace, 1854-56, printed 1862

Figure 4: The face in repose of a young man, 1854-56, printed 1862

Figure 3: The face of an old man... photographed in repose. 1854-56, printed 1862

Figure 83: Lady Macbeth, ferocious cruelty, 1854-56, printed 1862

Figure 82: Lady Macbeth, strong expression of cruelty, 1854-56, printed 1862

Figure 8: Contraction of the right m. frontalis. 1854-56, printed 1862

Figure 24: Extreme pain to the point of exhaustion, the head of Christ and memory of love or ecstatic gaze. 1854-56, printed 1862

Icono-photographique. Mecanisme de la Physionomie Humaine. Fig. 65, 1854-56, printed 1862

Figure 19: Suffering, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 19: Suffering, 1854-56, printed 1862

Figure 48: Mild weeping, pity and feeble false laughter, 1854-56, printed 1862

Figure 25: Not an expression of pain, 1854-56, printed 1862

Faradisation du muscle frontal, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Faradisation du muscle frontal, 1854-56, printed 1862

Figure 52: Voluntary retraction of the lower lip, 1854-56, printed 1862

Figure 54: Voluntary lowering of the lower jaw, 1854-56, printed 1862

Figure 66: Head of Arrotino (the spy, the knife grinder, and so on), 1854-56, printed 1862

Figure 22: No painful expression, 1854-56, printed 1862

Figure 49: Painful weeping and forward looking. 1854-56, printed 1862

Figure 18: Aggression, wickedness, 1854-56, printed 1862

Figure 17: On the right, electrization of m. procerus: severity, aggression. On the left: attention. 1854-56, printed 1862

Figure 60: Fright, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 60: Fright, 1854-56, printed 1862

Figure 70: Head of the Laocoon of Rome, 1854-56, printed 1862

Figure 45: Pain and despair. 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 45: Pain and despair. 1854-56, printed 1862

Figure 6: The grimace produced is similar to a tic of the face, 1854-56, printed 1862

Figure 75: Nun saying her prayers, 1854-56, printed 1862

Figure 78: Scene of coquetry, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 78: Scene of coquetry, 1854-56, printed 1862

Figure 16: Expression of severity, 1854-56, printed 1862

Figure 50: Affected weeping and face in repose, 1854-56, printed 1862

Figure 36: Scornful laughter and scornful disgust, 1854-56, printed 1862

Figure 20: Profound suffering, with resignation, 1854-56, printed 1862

[Bull from Glane, Canton of Fribourg], 1856. Creator: Adrien Alban Tournachon
[Bull from Glane, Canton of Fribourg], 1856

[Self-Portrait], ca. 1855. Creator: Adrien Alban Tournachon
[Self-Portrait], ca. 1855

Emmanuel Fremiet, 1854-55. Creator: Adrien Alban Tournachon
Emmanuel Fremiet, 1854-55

Electro-Physiologie, Figure 64, 1854-56, printed 1862. Creator: Adrien Alban Tournachon
Electro-Physiologie, Figure 64, 1854-56, printed 1862

Pascaline, ca. 1855-60. Creator: Adrien Alban Tournachon
Pascaline, ca. 1855-60

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EDITORS COMMENTS

Adrien Alban Tournachon, a renowned creator and artist, captured the essence of human emotions through his captivating photographs. One such masterpiece is Figure 26, where he skillfully portrays the expression of painful attention and intense focus in a young girl named Vache Garonnaise aged between 5 to 6 years old. The attentive gaze in her eyes reveals a profound level of concentration. In Figure 53, Tournachon delves into the complexities of human emotions once again. This time, he explores whimpering and false laughter with precision and sensitivity. Printed in 1862 but taken between 1854-56, this photograph showcases his ability to freeze moments that are often fleeting. Figure 39 presents an intriguing study by Tournachon on how attention can be captivated by an object provoking lascivious thoughts. His keen eye for detail allows him to capture the subtle nuances that evoke such responses from his subjects. Tournachon's expertise extends beyond capturing specific emotions; he also studies facial muscles extensively. In Figure 9, titled "A study of m. Frontalis in maximum contraction, " taken between 1854-56 and printed in 1862, he focuses on showcasing the expressive lines created when this muscle contracts intensely. The power of meditation and mental concentration is beautifully depicted in Figure 15 as Tournachon captures a moment where deep contemplation takes over someone's mind. The subject's serene expression transports viewers into their world of inner reflection. Figure 27 highlights another aspect explored by Tournachon – expressions that convey pain more prominently than others do. Through careful composition and lighting techniques employed during photography sessions held between1854-56 but printed later in1862, he brings forth these poignant moments with great sensitivity. Lady Macbeth comes alive through Tournachon's lens in Figure81 as she exhibits a moderate expression of cruelty—a testament to his ability to capture the essence of characters from literature and bring them to life.