Tournachon Adrien Alban Collection

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. Creators: Duchenne de Boulogne, Adrien Alban Tournachon
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 63: Expression of terror, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 63: Expression of terror, 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. Creators: Duchenne de Boulogne, Adrien Alban Tournachon
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 62: Terror, semiprofile, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 62: Terror, semiprofile, 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

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"Tournachon Adrien Alban: Capturing the Spectrum of Human Emotions in 19th Century Portraits" Step into the captivating world of Tournachon Adrien Alban, a talented artist who immortalized the essence of human emotions through his remarkable portraits. One such masterpiece is "Vache Garonnaise, " a stunning depiction of a 5 to 6-year-old cow with an ageless charm that transcends time. In Figure 26, Tournachon skillfully captures the expression of painful attention and intense focus, drawing us into the subject's attentive gaze. This ability to convey emotion is further exemplified in Figure 53, where whimpering and false laughter intertwine, revealing intricate layers within each portrait. Figure 39 unveils another facet of Tournachon's artistry as he portrays lasciviousness provoking attention. The lines on m. Frontalis come alive in Figure 9, showcasing meticulous detail and maximum contraction. Meanwhile, Figure 15 invites us into moments of meditation and mental concentration – a testament to Tournachon's ability to capture introspection. The pained expressions depicted in Figure 27 evoke empathy from viewers while Lady Macbeth exudes moderate cruelty in Figure 81 – both demonstrating Tournachon's versatility as an artist capable of capturing contrasting emotions. Figure 42 delves into gaiety expressed through lustfulness, cynicism, and levity – a complex combination masterfully portrayed by Tournachon. In contrast, innocence shines through in Figure10 as expressive lines grace the face of a young girl with utmost precision. However, not all depictions are flawless; as seen in Figure55 - astonishment poorly rendered results in unintentional hilarity for subjects caught off-guard. Finally, Figue21 showcases painful recollections or calling something forth from memory—a poignant reminder that our past shapes our present selves.