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Most of Aguado's photographs consist of landscapes (especially trees, rivers, and pastoral scenes) and portraits. He had a penchant for experimenting with new photographic processes, and thus produced photographs using numerous different mediums. Surviving Aguado daguerreotypes include
195:. Aguado's photographs during this period included a number of staged portraits that poked fun at the mores and habits of Second Empire nobility. By the end of the 1860s, Aguado had largely lost interest in photography, and produced few photographs in subsequent decades. He died in
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Aguado was a member of the early French photographic organization, the Société héliographique, in the early 1850s. In 1854, he was a founding member the Société héliographique's more inclusive successor, the French
Photographic Society
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135:(1808-1814). Following the war, he went into exile in Paris, and rose to become one of the wealthiest bankers in France. In the 1820s and 1830s, he negotiated a series of loans that saved Spain from bankruptcy, and King
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Some of Aguado's most interesting images consist of a series of staged family portraits, or "living pictures," taken in the 1860s as an apparent critique of Second Empire nobility. The most well-known of these include
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Olympe's younger brother, Onésipe (1830–1893), was also a photographer, and the two collaborated on a number of projects. A nephew of Olympe Aguado, Henry Tenre, was a noted early-20th-century painter.
103:(3 February 1827 – 25 October 1894) was a Franco-Spanish photographer and socialite, active primarily in the 1850s and 1860s. One of several early photographers who learned the practice from
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later that year). Later in the decade, he experimented with enlargement processes. Like Le Gray, Aguado taught photography to a number of his friends, among them
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on glass. In 1854, he and
Edouard Delessert developed the carte-de-visite printing method as a way to add portraits to visiting cards (the process was patented by
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In the late 1840s, Aguado learned photography from pioneering French photographer
Gustave Le Gray. From his studio on the
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photographs and photographic enlargement processes. He was also a founding member of the influential
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of Spain conferred on him the title of "Marquis de las
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127:(1784–1842) and Maria de Carmen Vidoire Moreno. Alexandre Aguado had been a supporter of
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238:(1855). He initially preferred collodion on glass for portraits, but later switched to
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The
History of Photography from the Camera Obscura to the Beginning of the Modern Era
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Aguado was born in Paris in 1827, the second son of the
Spanish-born Marquis
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Olympe Aguado (right, standing), with his brother, Onésipe, c. 1853
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Aguado's photographs are included in the collections of the
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493:, Metropolitan Museum of Art. Retrieved: 21 February 2012.
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Olympe-Clemente-Alexandre-Auguste Aguado de las
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Aguado was a frequent figure at the court of
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The Artist, His Mother, and
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466:(New York: Charles Scribner's Sons, 1898), p. 132.
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451:(London: National Portrait Gallery, 2010), p. 22.
481:(London: D. Appleton and Company, 1920), p. 358.
267:Strasbourg Museum of Modern and Contemporary Art
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532:Getty Search Gateway search for Aguado, Olympe
386:Encyclopedia of Nineteenth-Century Photography
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422:(New York: McGraw-Hill, 1969), pp. 191, 293.
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514:"Filiation du peintre Henry Tenre,"
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85:and Maria de Carmen Vidoire Moreno
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236:Study of Trees, Bois de Boulogne
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491:Emperor Napoleon III photograph
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252:La Lecture
248:Admiration
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71:Compeigne
73:, France
273:Gallery
193:Eugénie
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