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Pierson became interested in photography while the medium was in its infancy in the early 1840s. He had a photography studio in Paris as early as 1844, and enjoyed a solid reputation. For many years, he located his studio at 5, boulevard des
Capucines, where he was associated with the Mayer brothers
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In 1889, the company became Braun, Clément & Compagnie. Their working studio was rebuilt and completely electrified between 1897 and 1899. In 1910, the company was renamed Braun et
Compagnie. By this time, the company had opened already a branch studio in New York City and would open one in
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Nonetheless, during the countess's lifetime these photos were hers and
Pierson's secret. Between 1856 and 1895, the countess posed for more than 450 portraits. This frenetic series of photos, quite rare for the time, was one of the first examples of the photographic self-portrait.
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Between 1855 and 1862, at the peak of the
Pierson-Mayer studio's prominence, people of all types came to have their pictures taken there, including the imperial court, the aristocracy, powerful businessmen, actresses and musicians. Pierson and the Mayer brothers photographed the
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with the goal of reproducing photographically some 7,000 works of art. The photographs deposited into the inventory of the museum became the property of the French state, and in exchange, the Braun company became the official photographers for the Louvre.
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in 1856, and he would remain her official photographer for forty years. In 1867, Pierson exhibited his portrait of the countess posed as the
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Pierson and the countess began an intense photographer–model collaboration between 1861 and 1867, wherein she became a master of the art of
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La comtesse de
Castiglione, beauté insolente et photographe secrète de sa vie (1837–1899) sur France-Culture
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Pierre
Apraxine Xavier, La Divine Comtesse: Photographs of the Countess de Castiglione, Demange
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from the brink of collapse. From then on, Pierson's photographic collection belonged to Braun.
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John
Hannavy, Encyclopedia of Nineteenth-Century Photography, Routledge, 2013, p. 909
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In 1883, the Braun
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came to prefer their studio, particularly once he established the
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In 1878, Pierson went into partnership with his son-in-law
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Photographer of His
Majesty the Emperor Napoléon III
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626:(New York, N.Y.), New Haven; London :
220:Photographer of the Countess of Castiglione
196:Pierson created numerous portraits of the
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656:Les frères Mayer et Pierre-Louis Pierson
244:in the French section of photography at
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200:during the apex of the Second Empire.
232:by Pierre-Louis Pierson in the 1860s.
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385:Eugène Chevandier de Valdrôme
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