Solid Pictures: Photosculpture and the Making of Modern Likeness

Before 3D printing, there was photosculpture. Curated by Patrick R. Crowley, Associate Curator of European Art, Solid Pictures is the first major exhibition to explore these largely overlooked objects first conceived in 1859 by the twenty-nine-year-old French artist and inventor François Willème. Employing projection technologies and mechanical instruments, Willème and his team of operators translated photographic negatives into solid figures across a variety of media, aiming to create affordable portrait sculpture for the burgeoning middle class of Second Empire France. Though commercially unsuccessful, these experiments laid the groundwork for the scanning, machining, and printing technologies ubiquitous today. Bringing together these rare artifacts, the exhibition opens up a little-known chapter of history to reveal the roots and richness of our contemporary world. An accompanying catalogue features four newly commissioned essays accompanied by previously unpublished documentation, deepening our understanding of this overlooked chapter in the history of art and technology.

Image: François Willème (French, 1830–1905). Unfinished photosculpture bust, ca. 1860. Oak and twine on base. Gift of Eastman Kodak Company, ex-collection Gabriel Cromer, 1985.0517.0001. Courtesy of the George Eastman Museum

We gratefully acknowledge support for Solid Pictures: Photosculpture and the Making of Modern Likeness provided by Hal and Carol Louchheim. Sustained support generously provided by The C. Diane Christensen Fund for African Art, The Halperin Exhibitions Fund, The Hockwald Fund, The Kazak Acquisitions and Exhibitions Fund, and The Robert Mondavi Family Fund.

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