Malo 1ere; Simon 2e; Ribet

Art Historical Context

In 1863, French photographer André-Adolpheugène Disdéri *Malo 1ere; Simon 2e; Ribet*, an albumen print from a glass negative exemplifies the vibrant portraiture of mid-19th-century Europe. This image, measuring 7 3/8 × 9 1/4 inches and mounted on a larger album page, likely depicts three individuals—possibly competitors or figures of note, as suggested by the evocative title— with the crisp detail characteristic of the era's photographic innovations. Disdéri a pioneer in commercial photography, revolutionized the medium in 1854 with the carte de visite, a small, affordable portrait format that sparked a collecting frenzy across social classes. Though larger than a standard carte, this work employs the wet-collodion process on glass negatives, coated with albumen (egg white) for rich tonal depth and luminosity. Printed in 1863, it reflects photography's transition from elite novelty to everyday cultural staple, preserving personal and public identities with unprecedented realism. Housed in The Metropolitan Museum of Art's Gilman Collection, this piece offers a window into Second Empire France, where such prints adorned albums in bourgeois homes, blending artistry with social documentation. Its enduring appeal lies in Disdéri's mastery of light and composition, making the past feel intimately present.

About the Artist

André-Adolphe-Eugène Disdéri · 1819–1889

**André-Adolphe-Eugène Disdéri** (1819–1889) was a pioneering French photographer whose innovations transformed portraiture into a mass medium during the Second Empire. Born on March 28, 1819, in Paris, Disdéri pursued diverse careers in commerce, acting, and politics early on, while studying art amid personal hardships following his father's death, which compelled him to support his mother, sibli...