A previously unseen portrait of Auguste Jean
Recently discovered, the photograph of Auguste Jean by Adolphe Dallemagne, likely taken between 1862 and 1866, is to date his only known photographic portrait. Of remarkable quality, this image fascinates as much by its staging as by what it reveals about the young ceramist and the way he intended to build his artistic image.
Adolphe Dallemagne (1811-1882) was both a painter and a photographer. In the 1860s, he set up his studio at 9, avenue de Ségur, in Paris. In 1866, he notably published his “Galerie des artistes contemporains ”, a corpus of over 50 portraits including Hyppolite Lazerges, Camille Corot, Charles-François Daubigny, Honoré Daumier, but also Félix Bracquemond and Auguste Jean. The latter thus takes his place in a true photographic gallery of the artists of his time. The photograph comes at an important moment in his career: then only in his thirties, he was beginning to make a name for himself.
The composition is particularly theatrical. Jean poses in a monumental stucco frame, designed like a picture frame, accompanied by drapery that extends beyond the composition. This device, used by Dallemagne for several portraits, transforms the photograph into a true pictorial composition. But most importantly, two of his faience pieces are placed beside him. They are not mere accessories: they constitute the professional attributes that allow the identification of the person. The larger one, placed on a column, occupies the foreground. Already reproduced by J. B. Waring, it is identifiable as one of the pieces presented by Auguste Jean at the Universal Exhibition in London in 1862. He delicately places a hand on it while looking directly at the lens. The gesture thus establishes a clear link between the artist and his creation: he points to his work, but also identifies himself through it.
Everything about his appearance contributes to this construction. Elegantly dressed and coiffed, he wears a white shirt, waistcoat, tie, watch chain, and dark jacket. He appears standing, slightly three-quarters, with a calm face and assured gaze. No tools, no smock or work attire suggest the workshop. Auguste Jean does not present himself as a simple faience worker, but as an artist. He already seems to occupy the place of a recognized artist, even though he is still at the beginning of his career. Even the caption below the frame is revealing: only the name “JEAN” appears. His works placed beside him thus almost contribute to his own identification.
This photograph can thus be considered a true construction of Auguste Jean's public artistic identity. A few years earlier, his master Joseph Devers had also been photographed by Dallemagne in a comparable setup. Jean here adopts the codes of artistic representation, but now associates them with his own creations.
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Credits: Ministry of Culture (France), Médiathèque du patrimoine et de la photographie de Charenton-le-Pont, diffusion GrandPalaisRmn Photo, “Monsieur Jean”, Adolphe Dallemagne, black and white negative, 12x18 cm, 1855-1871, (APNADLM00147AB).
To view more photos by Adolphe Dallemagne: HERE.