Resumen de La photographie au musée de Sculpture comparée
Christine Lancestremere, Emmanuelle Polack
From the very beginning of the museum imagined by Viollet-le-Duc, photography in the Musée de Sculpture Comparée was considered to be a medium that was an absolute necessity for the dissemination of French medieval art, thus following the recommendations of the Commission des Monuments Historiques. The task assigned to photography cover a wide variety of fields of action, whether it was perceived as the concrete means of participating in the establishment of the first museography of the museum, or the participation in the dissemination of prints of the castings or the original works, it allowed for the confrontation of the copies and of the reference works, and it enriches their documentation. Photography, like copying, became indispensible for the comparative approach advocated by the first directors of the museum. The directorship of Camille Enlart, which lasted from 1903 until 1927, and more specifically the encyclopedic aims that he agree to undertake, conferred on photography a certain "golden age" in the heart of the Musée du Trcadero.
