It was the first photography in fierce and expanded photography. There was a complete world of unprecedented things in this particularly realistic way. People were particularly fascinated by imperial, foreign and strange topics: queens, presidents, and serenals; Gothic cathedrals, volcanic mountains, pyramids, flock of elephants, cart. However, when the means became easier, it became also more personal. People wanted to see themselves and people who love them. The pictures not only became documents but souvenirs, and the memories they kept proud and transferred. Photographers also noticed the ordinary and wasting things around them: a shelf of glass pots, a broom in a courtyard, tree, paper. This is particularly clear as the exhibition builds from coordination to coordination – including small species, anthropologists, paper prints, and spoiling, every improvement in the end as the control of the worker concerned. Although a number of photos are attributed to well -known studios or well -known photographers such as Alice Austin, Carlton Watkins, Matthew Brady, and Eadweard Muybridge, there are no prizes here, and many modern works by unknown or unknown makers. The best values are not only connoisseurs or experts in their fields; They have something that cannot be determined, something that is not really covered by “taste” – understanding, sympathetic eye, and deadly sees the surface to something emotional and difficult to determine. “The New Art”, sponsored by Jeff Rosenheim, the Secretary of the Class and the move in the museum department in the museum, is full of pictures that were chosen for what they quoted from their moments in history: Atlanta in ruins in 1866, which is the famous interface in a famous image.
