Marey Muybridge

Joseph Nicephore Niepce, 1827, with a cutaway of a camera obscura building

“Light and Colour (After Goethe): After the Deluge,” J.M.W. Turner, 1843

“Through the afterimage, the sun is made to belong to the body…”

“The Eye Like a Strange Balloon Mounts Toward Infinity,” Odilon Redon, 1882

Marey’s photo gun, 1882

Eakins swimming with students, 1883

“Swimming,” Eakins, 1885

Susan Macdowell Eakins, 1883

“Arcadia,” Thomas Eakins, 1883

Eakins created an enclosed set, with a slit in the top through which the sun lit the subject. The

background was black; he used a white axis with markings one foot apart

Thomas Eakins, A May Morning in the Park or The Fairman Rogers Four-in-hand, 1879-80, oil on

canvas.

“Cowboy,” Frederic Remington, 1890

“Helene Fourment in a Fur Coat,” Rubens

“Fragment of a Crucifixion,” Francis Bacon, 1950

“Fragment of a Crucifixion (after Francis Bacon),” Paul Pfeiffer, 1999

“Morning After the Deluge,” Paul Pfeiffer, 2003, single channel DVD projection

Three Studies of Figures at the Base of a Crucifixion, Paul Pfeiffer, 2001, metal armatures,

miniature video projectors, DVD players; overall image size: 3.5 x 18.5 inches

“Sun and Wind on the Roof,” John Sloan, 1915

“A Windy Day on the Roof,” American Mutoscope & Biograph Company, 1904

“The Barefooted Child,” Mary Cassatt, 1896