The Getty Research Institute has recently digitized over 6,000 19th- and early 20th-century Ottoman-era photographs, collected in the 1980s by French collector Pierre de Gigord during his travels through Turkey. The collection is now available to study and download for free online.
The photos encompass various walks of Ottoman life, depicting “landmark architecture, urban and natural landscapes, archeological sites of millennia-old civilizations, and the bustling life of the diverse people who lived over 100 years ago in the last decades of the waning Ottoman Empire,” according to the Iris, the Getty Research Institute’s blog.
The collection includes a 10-part panorama of Constantinople, which required stitching separate prints together to create a panoramic view of the Istanbul skyline in 1878. The shots can now be viewed in their entirety on a single screen. 82 glass plate negatives were digitized, along with 60 photographic albums documenting scenes of Ottoman life. Each individual image in the albums was photographed and digitized, allowing viewers to see up-close details alongside the calligraphic image captions.
The photos depict markets, sites of destruction, street vendors, encounters with government officials “such as the minister of war, Enver Pasha, the highest-ranking perpetrator of the Armenian genocide,” and more.
The digital files can be accessed through the Getty Research Institute catalogue or through the Gigord Collection’s finding aid. Unfortunately, two parts of the collection, according to the Iris, “were beyond the scope of this project” and therefore not digitized. Those include press photographs documenting the modernization of the Ottoman Empire and its transition to the Republic of Turkey, along with archival documentation on photographic studios. However, those materials can still be accessed by visiting the Getty Research Institute Special Collections in Los Angeles.
More information on the collection and digitization process can be found here.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.