Eugénie Schlosser et Coralli 1863

This photographic album page from mid-19th century France, by André-Adolphe-Eugène Disdéri, shows a series of eight individual photographs arranged in a grid-like format. The images depict two performers, Eugénie Schlosser and Coralli, from the operetta ‘La Muette de Portici’, a hugely influential work associated with the political turmoil of the 1830 Belgian Revolution. Disdéri, a shrewd businessman, patented this ‘carte de visite’ format. The rise of photography coincided with a period of rapid industrialization and urbanization, influencing social structures. These photographic calling cards enabled the distribution of images far and wide, and democratized representation. These images are powerful because they show how art, commerce, and politics were becoming increasingly intertwined. The images and the operetta upon which they are based, offer rich insights into 19th century cultural values. To explore this further, we might look to popular print media, theatre programmes, and government records. The role of the art historian lies in uncovering such social and institutional contexts.