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CMA: Photography

@cmaphotography.bsky.social

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Sharing public domain works from the Photography department of the Cleveland Museum of Art. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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CMA: Photography @cmaphotography.bsky.social · 1h

Western Portico of the Parthenon clevelandart.org/art/1993.34

Western Portico of the Parthenon

CMA: Photography @cmaphotography.bsky.social · 2h

Camera Work: Ex Libris clevelandart.org/art/1995.199.26.g

Camera Work: Ex Libris

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CMA: Photography @cmaphotography.bsky.social · 17h

View of the Small Grotto toward the Deer Pond, Bois de Boulogne clevelandart.org/art/1989.27

Although better known for his architectural photographs of Paris, Marville also produced magical landscapes like this image. Carefully composed, the asymmetrical composition presents a picturesque scene of a waterfall flowing from a mound of boulders in the Bois de Boulogne, a forest annexed as a Parisian city park in 1852. The sunlight filtering through the foliage creates a remarkable range of tonal and textural detail, along with lively abstract patterns of light and shadow. Trained as a painter, lithographer, and engraver, Marville took up photography around 1850. He was named official photographer of Paris in 1862 and documented the buildings and neighborhoods ultimately destroyed when the boulevards and open spaces of modern Paris were built in the late 19th century.

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CMA: Photography @cmaphotography.bsky.social · 19h

Temple of Jupiter Olympius clevelandart.org/art/2009.421

Temple of Jupiter Olympius

CMA: Photography @cmaphotography.bsky.social · 21h

Loch Katrine clevelandart.org/art/1995.28

Loch Katrine

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CMA: Photography @cmaphotography.bsky.social · 23h

View of Luxor clevelandart.org/art/1995.34

On the first of three trips to Egypt, John Beasley Greene created some 200 photographs. His work rarely documented favorite tourist sites in a conventionally descriptive manner; rather, he concentrated on poetic landscapes and archaeologically significant monuments. In this haunting photograph of Luxor, Greene's ability to depict expansive pictorial space is clearly evident. By surrounding the low, blocklike forms of the site's architecture with large vistas of vacant desert and sky, he emphasized a feeling of isolation and abandonment.

CMA: Photography @cmaphotography.bsky.social · 09/10/2026

Daniel Maclise (1806-1870) clevelandart.org/art/1994.19

Depicting artists alongside one of their creations, a format borrowed from painting, identifies their occupation and advertises their abilities. Price, a noted painter, had a short but significant photography career between 1854 and 1862. Around 1858, he produced a portfolio of photographs of a dozen eminent British painters, including Irish historical painter Daniel Maclise. Emphasizing their professional status, he posed them in fine clothing amid the tools of their trade, including props and furniture. Johnston, a well-regarded painter in Cincinnati and later Baltimore, was also a camera operator for the Cincinnati branch of Whitehurst Studio. His far sparer self-portrait came from an album that contained his own and others’ photographs and clippings, including the Whitehurst photograph of Senator Pugh on the facing wall

CMA: Photography @cmaphotography.bsky.social · 08/10/2026

The Woodcutters clevelandart.org/art/1987.24

The Woodcutters

CMA: Photography @cmaphotography.bsky.social · 08/10/2026

Doorway to Sèvres Factory clevelandart.org/art/1991.37

Originally trained by his father as a painter on glass and porcelain, Louis-Rémy Robert was taught photography by Henri-Victor Regnault, a close associate and director of the Sèvres porcelain factory. Particularly known for landscape and architectural views, Robert depicted here the gateway to the Sèvres factory, where he was head of the painting and gilding studio from 1848–1871. He then became director of the factory for eight years. In this scene, the artist not only provided a sense of place, but also transformed a complex composition into a unified, compelling assemblage of shapes, textures, and tonalities. The print is shown with its original waxed paper negative—an unusual occurrence since early negatives have rarely survived the passage of time.

CMA: Photography @cmaphotography.bsky.social · 08/10/2026

Rebel Works in front of Atlanta, Georgia, No. 5 clevelandart.org/art/1988.164

Rebel Works in front of Atlanta, Georgia, No. 5

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CMA: Photography @cmaphotography.bsky.social · 08/10/2026

Echo Cliffs, Grand River Canyon clevelandart.org/art/2003.292

Echo Cliffs, Grand River Canyon

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CMA: Photography @cmaphotography.bsky.social · 08/10/2026

South Side Beverley Minster clevelandart.org/art/1991.291

South Side Beverley Minster

CMA: Photography @cmaphotography.bsky.social · 07/10/2026

Fallen Statue at the Ramesseum, Thebes clevelandart.org/art/1992.236

This mammoth print conveys the epic scale of the memorial temple of Ramesses the Great while disclosing its smallest details, such as tourist graffiti on the head of the fallen statue. Upon arrival, these tourists might have pondered Percy Bysshe Shelley’s 1818 epic poem <em>Ozymandias</em> about these ruins. The fallen ruler’s portrait urges visitors to “Look on my works, ye Mighty, and despair!” One wonders how personally European tourists took this warning about the power of time to topple mighty empires. Perhaps unconsciously, Frith’s image suggests the colonial relationship between the tourists and their Egyptian guides and servants. For the Europeans, the image is proof and a souvenir, like a modern snapshot. The Egyptians are props in someone else’s adventure.

CMA: Photography @cmaphotography.bsky.social · 07/10/2026

Along the Old Canal clevelandart.org/art/1980.128

Along the Old Canal

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CMA: Photography @cmaphotography.bsky.social · 07/10/2026

The Colossi of Memnon, Thebes clevelandart.org/art/1992.306

The Colossi of Memnon, Thebes

CMA: Photography @cmaphotography.bsky.social · 07/10/2026

Camera Work: Portrait - The Gown and the Casket clevelandart.org/art/1995.199.28.d

Camera Work: Portrait - The Gown and the Casket

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CMA: Photography @cmaphotography.bsky.social · 07/10/2026

Landscape clevelandart.org/art/1993.162

In the 1850s London lawyer Henry White was also recognized as one of Britain's most gifted landscape photographers. His work helped to establish the aesthetic standard for 19th-century British landscape photography. This charming image is an example of his best known work—intimate, lyrical landscapes taken in northern Wales. Here White carefully balanced his desire to faithfully record elaborate details with broad atmospheric effects. As with many of his photographs, this print registers a city-dweller's delight in finding himself in natural surroundings.

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CMA: Photography @cmaphotography.bsky.social · 06/10/2026

Gorge at Eaux Chaudes, Pyrenees clevelandart.org/art/1995.27

Little is known of the life and career of J. J. Heilmann. He was fascinated by the subject of civilized human life in the context of the primitive world. In this instance, the monumental stone bridge with a few tiny figures insert a human presence into what would otherwise be an overpowering natural setting. The arched structure is not only a reminder of the human ambition to compete with nature, it also blends in with the surrounding stone cliffs, suggesting a harmonious relationship.

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CMA: Photography @cmaphotography.bsky.social · 06/10/2026

Untitled (Genre scene with four women and a man) clevelandart.org/art/1986.172

Untitled (Genre scene with four women and a man)

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CMA: Photography @cmaphotography.bsky.social · 06/10/2026

Camera Work: Lady in Black clevelandart.org/art/1995.199.37.f

Camera Work: Lady in Black

CMA: Photography @cmaphotography.bsky.social · 06/10/2026

Boulogne Fisherman clevelandart.org/art/1974.50

Boulogne Fisherman

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CMA: Photography @cmaphotography.bsky.social · 06/10/2026

Opéra (Rostral Column) clevelandart.org/art/2006.6

Opéra (Rostral Column)

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CMA: Photography @cmaphotography.bsky.social · 05/10/2026

Japanese Temple Graveyard, Shuntoji, Nagasaki clevelandart.org/art/1974.51

Japanese Temple Graveyard, Shuntoji, Nagasaki

CMA: Photography @cmaphotography.bsky.social · 05/10/2026

Lord Elcho (1818-1914) clevelandart.org/art/1987.30

Lord Elcho (1818-1914)

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CMA: Photography @cmaphotography.bsky.social · 05/10/2026

The Trail in West Gallatin Cañon clevelandart.org/art/1990.118

The Trail in West Gallatin Cañon

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CMA: Photography @cmaphotography.bsky.social · 05/10/2026

The Paranirvana of Buddha, Gal Vihara, Polonnaruva, Ceylon clevelandart.org/art/1976.156

The Buddha's death is called the parinirvana, which signals the moment when he moves into an eternal blissful state, free of any suffering or future rebirths. This state, known as nirvana, is the ultimate goal for followers of Buddhism.<br><br>During the 8th century, a colossal depiction of the Buddha's parinirvana was the focus of worship at a monastic establishment on the island of Sri Lanka off the southeastern coast of India. By the 19th century, the site had fallen into ruins, and commercial photographer Joseph Lawton was selected by the British Archaeological Committee in Kandy, Sri Lanka, to document the site. Lawton's intentional inclusion of a Sri Lankan figure in a posture of adoration and a colonial Englishman clambering over the ruins provides a sense of the sculpture's impressive scale.

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CMA: Photography @cmaphotography.bsky.social · 05/10/2026

Ironworks in Reschitza clevelandart.org/art/1992.222

Ironworks in Reschitza

CMA: Photography @cmaphotography.bsky.social · 04/10/2026

Dolmen, Cap del Puetch, Ariège, France clevelandart.org/art/1995.237

A British-born photographer, Taylor lived in Marseille and became a member of the Société Française de Photographie in 1860. Taking photographs in city parks and the surrounding countryside, as well as in Ariège and Seine-et-Oise, he often worked with the establishment G. Arosa et Cie in Saint-Cloud to produce his ink-based prints made from photographs according to the publisher’s unique process. This
print is likely made from a shellac base, for Taylor wrote several articles for British and American photographic journals on a shellac printing process in 1866 and 1867. After printing, the images would
be mounted onto a heavy card stock and sold to be collected in albums. Here, the subject, a dolmen, or Neolithic tomb, reflects 19th-century interest in distant history and early monuments.

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CMA: Photography @cmaphotography.bsky.social · 04/10/2026

Untitled clevelandart.org/art/1991.311

Untitled

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CMA: Photography @cmaphotography.bsky.social · 04/10/2026

Untitled clevelandart.org/art/1991.151

Untitled

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CMA: Photography @cmaphotography.bsky.social · 04/10/2026

Camera Work: A Square - Ronda clevelandart.org/art/1995.199.45.g

Camera Work: A Square - Ronda

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CMA: Photography @cmaphotography.bsky.social · 04/10/2026

Camera Work: The Riva Schiavoni, Venice clevelandart.org/art/1995.199.8.e

Camera Work: The Riva Schiavoni, Venice

CMA: Photography @cmaphotography.bsky.social · 03/10/2026

Camera Work: East and West clevelandart.org/art/1995.199.32.a

Camera Work: East and West

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CMA: Photography @cmaphotography.bsky.social · 03/10/2026

Untitled (Winter Landscape) clevelandart.org/art/1993.28

In the decades around the turn of the 20th century, Post frequently exhibited his Pictorial photographs in the United States, Canada, and Europe. This well-regarded amateur photographer was especially known for his winter scenes, often taken in the vicinity of his home in Fryeburg, Maine. Cleverly positioned, the photographer used two mounds of earth in the foreground to frame a complex landscape of open fields populated by stands of trees and a weaving line of fences leading the eye to the distant mountain range. Post hoped his ability to compose and his mastery of powerful visual effects would earn him recognition as a master of landscape photography.

CMA: Photography @cmaphotography.bsky.social · 03/10/2026

Notre Dame, Paris clevelandart.org/art/1991.35

This extraordinary photograph clearly demonstrates Baldus’s genius both as an architectural photographer and as a printer. Centrally placed and filling the entire composition, this great architectural monument is clearly depicted, seemingly removed from time, as there are no interfering elements such as figures or clouds to distract from the building’s majesty. This large, ambitious view captures, almost
without rival, the physical and symbolic essence of Notre-Dame. Instead of the traditional frontal view, Baldus photographed the building at an oblique angle in order to articulate the volume of the structure, and he was most conscious of the negative space created by the cathedral’s contour against the unmodulated sky. His salt prints of architectural views, with their breathtaking warm gray tones, are among the most striking achievements of 19th-century photography.

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CMA: Photography @cmaphotography.bsky.social · 03/10/2026

At the Window clevelandart.org/art/1980.129

At the Window

CMA: Photography @cmaphotography.bsky.social · 03/10/2026

Ypres, Belgium clevelandart.org/art/1986.37

Ypres, Belgium

CMA: Photography @cmaphotography.bsky.social · 02/10/2026

Pavilion Richelieu, Louvre, Paris clevelandart.org/art/1991.160

Pavilion Richelieu, Louvre, Paris

CMA: Photography @cmaphotography.bsky.social · 02/10/2026

View of the Great Wall, China clevelandart.org/art/1996.248

View of the Great Wall, China

CMA: Photography @cmaphotography.bsky.social · 02/10/2026

Camera Work: Mountain Landscape clevelandart.org/art/1995.199.13.i

Camera Work: Mountain Landscape

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CMA: Photography @cmaphotography.bsky.social · 02/10/2026

Fountain of Notre-Dame at Saint-Brieuc, Brittany clevelandart.org/art/1984.17

In the early 1850s, Robert made a series of photographs that would be copied in lithography by Emile van Marcke, an accomplished artist who worked at the Sèvres factory with Robert at this time. Robert’s photographic journey captured seven sites—all featuring medieval architecture—in a small section along the northern coast of Brittany. For this picturesque view, he included the entire building, a small 15th-century Gothic pavilion erected over the fountain of Notre-Dame of Saint-Brieuc and whose square façade was positioned on a slight diagonal. Robert provided a sense of place by including a portion of the 19th-century chapel behind it, as well as flanking trees and a path leading out of the composition. For this reason, he may have also added a seated woman, dressed in traditional Breton costume, under the frontal arch. Due to the required length of exposure, the movement of the trees was recorded which, along with broad areas of bright light and dark shadows, provides a strong sense of atmosphere.

CMA: Photography @cmaphotography.bsky.social · 02/10/2026

Camera Work: Frau Mathasius clevelandart.org/art/1995.199.8.c

Camera Work: Frau Mathasius

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CMA: Photography @cmaphotography.bsky.social · 01/10/2026

Winter Landscape clevelandart.org/art/1980.141

Winter Landscape

CMA: Photography @cmaphotography.bsky.social · 01/10/2026

Camera Work: Bridge of St. Martin - Toledo clevelandart.org/art/1995.199.45.e

Camera Work: Bridge of St. Martin - Toledo

CMA: Photography @cmaphotography.bsky.social · 01/10/2026

Mount Maudit, Savoy clevelandart.org/art/1985.94

Mount Maudit, Savoy

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CMA: Photography @cmaphotography.bsky.social · 01/10/2026

Trophy of the Hunt clevelandart.org/art/1985.144

This rare photograph is from a small group (fewer than ten known negatives) of large-scale still lifes of game and hunting paraphernalia. Printed directly from a 31-x-24-inch glass negative, the photograph provides an abundance of textural information. The complex composition of overlapping forms consists of a rifle, powder horn, game bag, tree branches with leaves, and six fowl, probably three partridges and three pheasants, all tacked to a plain, richly grained wooden wall or door. Braun most likely intended such large-scale photographs to compete aesthetically with paintings of similar subject and composition.

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CMA: Photography @cmaphotography.bsky.social · 01/10/2026

Calvert Jones Seated in the Sacristy of Lacock Abbey clevelandart.org/art/1987.177

Calvert Jones Seated in the Sacristy of Lacock Abbey

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CMA: Photography @cmaphotography.bsky.social · 30/09/2026

Harbour, Swansea, Wales clevelandart.org/art/1996.353

A successful timber merchant in the Hackney area of London and photographer, Alfred Rosling is known for several bodies of photographic work. His earliest photographs were made for a stereoscope establishment, but he later became interested in taking landscape photographs and became very well connected with many British photographic circles. In addition to picturesque views of Surrey, he spent time in South Wales where Harbor, Swansea, Wales was taken. There he met John Dillwyn Llewelyn and likely the Reverend Calvert Richard Jones, Jr., as well as others in the Swansea photographic circle. His son-in-law, Frances Frith, published a number of Rosling's landscape prints.

CMA: Photography @cmaphotography.bsky.social · 30/09/2026

Temple of Ramesses II, Abu Simbel clevelandart.org/art/1992.307

Du Camp was the first photographer to depict the marvels of ancient Egypt. In 1849 a scholarly association commissioned the young writer to document Egyptian monuments and their hieroglyphics. He learned to photograph shortly before embarking for Egypt in the company of the young novelist Gustave Flaubert. In 1852 Du Camp published an album of photographs of Egypt, Nubia, Palestine, and Syria, which brought him widespread recognition. Just as Du Camp followed in the footsteps of earlier painters and scholars,later photographers like Beato often echoed his choices of subject matter.

CMA: Photography @cmaphotography.bsky.social · 30/09/2026

Historic Spanish Record of the Conquest, South Side of Inscription Rock, N.M., No. 3 clevelandart.org/art/1987.178

Historic Spanish Record of the Conquest, South Side of Inscription Rock, N.M., No. 3