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Julien Vallou de Villeneuve
Julien Vallou de Villeneuve (12 December 1795 in Boissy-Saint-Léger – 4 May 1866 in Paris) was a French painter, lithographer and photographer.
==Life and work==
Vallou de Villeneuve studied with Jean-François Millet, and started his career at the Salon of 1814, exhibiting images depicting daily life, fashion, regional costumes and nude studies. In 1826 he showed at the Salon ‘Costumes des Provinces Septentrionales des Pays-Bas’.〔Greeven, H., & de Villeneuve, J. V. (1828). Collection des costumes des Provinces Septentrionales du Royaume des Pays-Bas: dessinés d'après nature. chez François Buffa et fils. Chicago〕 He published in 1829 lithographs of ''Types des Femmes''. In 1830 with Achille Devera and Numas, Maurin and Tessaert, he contributed to the compendium of erotica ''Imagerie Galante'' (Paris 1830). He developed an international following for his 1839 folio-sized lithographic erotic series ''Les Jeunes Femmes, Groupes de Tetes'', depicting racy episodes in the life of young women and their lovers.〔Bajou, V., & Todd, J. M. (2013). A Hagiographic Collection: Remarks on the Taste of Louis-Philippe, Duc d'Orléans. Getty Research Journal, 55-72.〕
From 1842 de Villeneuve took up photography, not long after its invention, as an adjunct and aid to his graphic work,〔He is listed still as exhibiting an aquarelle and another non-photographic work in 1845, see Société des amis des arts du Dèpartement de la Somme (1845) ''Société des amis des arts du Dèpartement de la Somme : exposition en 1845''. Typographie de E. Yvert, p.36〕 producing some daguerreotypes but predominantly softly toned salted paper prints〔Marbot, B. (1979). A l'origine de la photographie: le calotype au passé et au présent (No. 7).〕 from paper negatives that enabled the retouching he employed for artistic effect. Following the method of Humbert de Molard, he fixed his prints with ammonia which avoided the bleaching of highlights caused in salt prints by hypo, and incidentally ensured the archival permanence of his prints, which survive today.〔Humbert de Molard, et Aubrée. 'Procédé photographique à base ammoniaque' La Lumière, no. 10, 13 Avril, 1851, 39-40〕 He had many of his prints made by photolithographer Rose-Joseph Lemercier (1803–1887). In 1850 de Villeneuve opened a photographic studio at 18 Rue Bleue, Paris, where his subjects were 'academic studies',〔Mirabelli, E. (1985). Looking and Not Looking: Pornographic and Nude Photography. Grand Street, 197-215.〕 small prints of nudes as models for artists. He printed a series of these studies as ‘Etudes d’apres nature’,〔Eric Homberger (1994) The Model's Unwashed Feet:French Photography in the 1850s' in Peter Collier. ''Artistic Relations: Literature and the Visual Arts in Nineteenth-century France'' Yale University Press, 1994〕 and many were published in ''La Lumiere'', journal of the Society Francaise de la Photographie.〔McCauley, Elizabeth Anne (1994). Industrial madness : commercial photography in Paris, 1848-1871. Yale University Press, New Haven. p.56〕 There was also a ready market for his photographs of well-known actors in full costume posing against theatrical scenery.〔Metropolitan Museum of Art (New York, N.Y.) & Tinterow, Gary & Galitz, Kathryn Calley, 1964- (2007). Masterpieces of European painting, 1800-1920, in the Metropolitan Museum of Art. Metropolitan Museum of Art ; New Haven : Yale University Press, New York, p.55〕
In 1851 he joined the ''Société héliographique''.〔Hannavy, John (2007). Encyclopedia of nineteenth-century photography. Taylor & Francis Group, New York〕〔Andre Gunthert (2002) ‘L’instiution du photographique: Le roman de la Société heliographique’ in Etudes Photographiques 12, Nov.2002. Société Française de Photographie p.37–63〕 From 1853–1854 he was a founding member of the ''Société française de photographie'' (S.F.P.).
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