In my May 15th post I mentioned that I would be posting a review of the 
book "The Silver Canvas: Daguerreotype Masterpieces from the J. Paul 
Getty Museum."  Today's post will be my review of the book.

"The Silver Canvas: Daguerreotype Masterpieces from the J. Paul Getty 
Museum"
by Bates Lowry and Isabel Barrett Lowry
Los Angeles: The J. Paul Getty Museum, 1998.
256 pages, 9 x 11 inches. 30 color and 74 b/w illustrations
ISBN 0-89236-368-1 (cloth) $80.00; ISBN 0-89236-536-6 (paper-available 
only at the Museum)

Reviewed by Gary W. Ewer

The Getty Museum collection of daguerreotypes began in earnest 14 years 
ago with several collections acquired as a block. The Museum continues 
to acquire important pieces and, as a result, its holdings are 
considerable and represent an archive worthy of study and appreciation. 
We are now presented with an excellent overview of the best of the 
Museum's holdings. But rather than a wonderful book of pictures-
something for the casual browser or a handsome tome for the coffee 
table-we are treated to a masterful text that is the full equal of the 
master works of the daguerreotypes depicted on its pages.
   "The Silver Canvas: Daguerreotype Masterpieces" from the J. Paul 
Getty Museum, by Society members Bates Lowry and Isabel Barrett Lowry 
is indeed a marvelous volume. The book should rightfully assume a place 
in the standard library of the daguerreotype and belongs next to the 
volumes of Taft, Gernsheim, Newhall, Wood, Rudisill, Rinhart, Welling, 
Kilgo (and others that could be mentioned.)
   But be not quick to shelve it along side of Gernsheim, etc. after 
only a brief perusal of the images and after reading a few words of 
text! This is required reading for anyone serious about furthering 
their understanding of the daguerreotype. The essays deserve careful 
study, and not a paragraph or note should be skipped. Presented here is 
not a restatement of stale information but rather fresh research that 
is both thorough, groundbreaking and engaging.
   The book features nearly eighty examples-most never previously 
published-that have been carefully selected from the Museum's 
outstanding collection. What is immediately apparent is the world-scope 
of the collection. The focus is certainly not US-centric but is rather 
a conscientious culling of masterpieces regardless of place of 
production.
   The book is composed of six chapters, each including several plates 
discussed individually at length in the context of their respective 
chapters. Following is an epilogue, notes, a "Roster of daguerreian 
Makers in the Getty Museum collection", a single page of selected 
bibliography, and an index. I must, however, single out Chapter Two as 
worthy of special mention. "Stealing from the Mirror" is a magnificent 
essay regarding portraiture and is accompanied by rich imagery. But 
does the text accompany the imagery or does the imagery accompany the 
text? The question itself is testimony to the dual strength of the 
book.
   But I consider the "Prologue" as the volume's stellar work. This 30 
page essay, "The Origins of the Daguerreotype" is worthy of the highest 
praise. I could have closed the book at that point and have felt 
entirely justified in calling the book a smashing success! Perhaps the 
strongest element of the Lowrys prologue essay is their research among 
the Daguerre-NiŽpce documents now held in the Russian Academy of 
Sciences. The Lowrys fresh look at this material (to which the 
Gernsheims paid scant attention) has allowed them to provide a clearer 
understanding of the relationship between these two men. The reader 
will be pleasantly surprised at their findings.
   I should mention a few things about the wonderful imagery of the 
book. The illustrations nearly sparkle and are rich and vibrant. The 
color reproductions are superior and the layout and design is clean and 
attractive. The book is pure visual delight and I especially 
appreciated seeing the marvelous images by the Swiss amateur Eynard 
whose deserving work is well represented in the book.
   It would be easy for this reviewer to simply "gush" regarding this 
book without finding any fault. If a fault must be found, then I
suppose that I could identify a very minor complaint. I must admit to
feeling somewhat let down by the book's "Epilogue." While I applaud
the book's world-view approach, yet it ended on a rather American theme
which seemed discordant with the preceding content. This is indeed a
minor complaint that certainly had little bearing on the sheer enjoyment
of the book as a whole.
   Both novice and expert will enjoy this production. While the Lowrys' 
scholarship is beyond reproach, their essays are never mired in 
difficult language or overly complex thought. Their words are carefully 
chosen, often with wonderful result:  ". . .almost as if the light 
itself of. . .so long ago still exists with the object. . . "
   The endeavors of The Getty Museum and the Lowrys have produced a 
finely balanced book that satisfies the reader both visually and 
intellectually. I can say, without hesitation, that the volume is 
brilliant in every respect.

For further purchase information contact;
Getty Trust Publications
P.O. Box 49659
Los Angeles CA  90049-0659
800 223-3431 North America
818 778-6943 International

On-line information and order form at URL:
   http://www.getty.edu/publications/titles/silver

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Posted for your enjoyment.     Gary W. Ewer    
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05-28-98