Inscribed in graphite, verso: In Conte Alfred Odar de Pariguy
In an expert series of seascapes, former painting student Le Gray overcame a shortcoming in early photographic emulsions: uneven sensitivity to light from different ends of the color spectrum made it impossible to properly expose for both land and sky in a single plate. Exploiting the straight line of the horizon, Le Gray often printed his skies from one negative and his shore and water from another. Brig on the Water offers an even simpler, more poetic solution—the image is derived from a single negative which is exposed for the sky. The result is a scene that reads as a maritime nocturne.
Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013).
Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007).
Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986).
"Acquisitions of the Art Museum 1985," Record of the Art Museum, Princeton University 45, no. 1 (1986): p.16-42.
Nils Ramsteldt, "An Album of Seascapes by Gustave Le Gray" History of Photography 4, no. 2 (April 1980): 121-137.
An Educated Eye: The Princeton University Art Museum Collection (Friday, February 22, 2008 - Sunday, June 15, 2008)