Notes^:

1. Roland Barthes, Camera Lucida, trans. Richard Howard (New York: Noonday Press, 1988).p. 68

2. Ibid. p. 70.

3. Ibid.

4. Ibid, p. 27.

5. Made in 1890, the photograph is several decades later than the images from Nadar's celebrated Panthéon.

6. Barthes, p. 87.

7. Max Kozloff, "Nadar and the Republic of Mind," Photography in Print, Writings 1816 to the Present,ed. Vicki Goldberg (Albuquerque: University of New Mexico Press, 1981) p. 134.

8. Barthes, p. 76-77.

9. "Certain forms of communication demand meaning, order, obviousness - namely, all those forms which, having a practical function ¼need to be understood univocally, with no possibility for misunderstanding or individual interpretation. Others, instead, seek to convey to their readers sheer information, an unchecked abundance of possible meanings. This is the case with all sorts of artistic communications and aesthetic effects." The Open Work,(Cambridge: Harvard University Press, 1989), pp. 93-4.

10. Kozloff, p. 129.

11. Ibid, p. 137.

12. As Griselda Pollock writes, "We cannot ignore the fact that the terrains of artistic practice and of art history are structure in and structuring of gender power relations." "Modernity and the Spaces of Femininity" in Vision and Difference - Femininity, Feminism and the History of Art (London: Routledge, 1988) p. 55.

13. Francoise Heilbrun, "Nadar and the Art of Portrait Photography," in Nadar (New York: Metropolitan Museum of Art, 1995). p 49.

14. "Who are these women? Young or not-so-young actresses, models, occasionally women of respectable society. They are never women of high fashion, since these preferred to be photographed by Mayer & Pierson or Disdéri 1988) p. 55.

15. Ibid., p. 58.

16. On the topic of splitting and doubling, it is interesting to think of Nadar's studies of hermaphrodites.

17. Although, as Elizabeth Anne McCauley writes, "...Women's hesitency to be caricatured extended to photography...In response to these sentiments, Nadar and his fellow operators softened their characteristic lighting, directing it from the front rather than above the sitter. They favored profile and even back views (as in one study of the coiffure of the actress Marie Laurent), rather than the normal three-quarter angle, and moved farther away from female sitters to reduce the visibility of facial flaws." Industrial Madness: Commercial Photography in Paris, 1848-1871. (New Haven: Yale Univeristy Press, 1994). p. 137.

18. Barthes, p. 101.

19. "The young Sarah Bernhardt was still unknown in 1864. It was only because of the fame she later achieved that her portraits, misunderstood, were included in those studies." Heilbrun, Fn 67, p.58.

20. McCauley, p. 134.

21. Maria Morris Hambourg, "A Portrait of Nadar," Nadar (New York: Metropolitan Museum of Art, 1995) p. 21.

22. Pollock, p. 71.

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