Frederick H. Evans Photogravures: Albi Cathedral & La Maison Bourgtheroulde
Two extraordinary works by British photographer Frederick H. Evans are captured in this image from an exhibition at The Phillips Collection in Washington, D.C. Displayed side-by-side, the silver bromide print Albi Cathedral France – Choir Ambulatory and the photogravure La Maison Bourgtheroulde offer a poetic meditation on architecture, light, and time.
Frederick H. Evans (1853–1943) is widely recognized as one of the foremost architectural photographers of the Pictorialist movement. His work is marked by a deep sensitivity to natural light and a spiritual reverence for sacred spaces. Here, the left photograph—Albi Cathedral France – Choir Ambulatory—draws the viewer into the tranquil hush of a gothic interior. Shafts of sunlight stream across the stone floor, illuminating carved columns and gothic arches in a study of divine geometry. The composition is masterful: Evans frames the space in such a way that it feels both expansive and intimate, inviting the eye to wander quietly through shadow and glow.
To the right, La Maison Bourgtheroulde shifts the focus to the exterior of a Renaissance mansion in Rouen, France. In contrast to the soft interior of the cathedral, this image presents a proud and intricate façade with sculpted ornamentation, turrets, and finely carved details. Evans’ use of photogravure—a process prized for its tonal richness—renders the textures of the stone and the layers of architectural history with clarity and gravitas. This is not just a document of a building; it is a portrait of place and permanence.
Together, these two prints represent Evans’ dual interest in the spiritual interior and the civic exterior—spaces built for different forms of reverence. The gallery’s lighting and neutral gray walls accentuate the tonal subtleties of the black-and-white prints, allowing Evans’ mastery of light and shadow to take center stage. The labels below the frames identify both works as gifts from Kent and Marcia Minichiello in 2015, a generous donation that enriches The Phillips Collection's holdings of early photography.
Evans, who abandoned commercial photography in favor of artistic pursuit, was a pioneer in advocating for photography as a legitimate art form. His refusal to retouch negatives and his meticulous printing process speak to his dedication to truth and clarity in his work. He famously declared he wanted his images to be "a record of the spirit of the place," and both pieces here live up to that ambition.
Photographing these two prints together honors Evans' legacy and invites reflection on how photography captures more than architecture—it captures atmosphere, intention, and emotion. Whether you're a fan of early photography, architectural detail, or the quiet resonance of historic places, this pairing offers a glimpse into the meditative beauty of Evans’ vision.
Frederick H. Evans Photogravures: Albi Cathedral & La Maison Bourgtheroulde
Two extraordinary works by British photographer Frederick H. Evans are captured in this image from an exhibition at The Phillips Collection in Washington, D.C. Displayed side-by-side, the silver bromide print Albi Cathedral France – Choir Ambulatory and the photogravure La Maison Bourgtheroulde offer a poetic meditation on architecture, light, and time.
Frederick H. Evans (1853–1943) is widely recognized as one of the foremost architectural photographers of the Pictorialist movement. His work is marked by a deep sensitivity to natural light and a spiritual reverence for sacred spaces. Here, the left photograph—Albi Cathedral France – Choir Ambulatory—draws the viewer into the tranquil hush of a gothic interior. Shafts of sunlight stream across the stone floor, illuminating carved columns and gothic arches in a study of divine geometry. The composition is masterful: Evans frames the space in such a way that it feels both expansive and intimate, inviting the eye to wander quietly through shadow and glow.
To the right, La Maison Bourgtheroulde shifts the focus to the exterior of a Renaissance mansion in Rouen, France. In contrast to the soft interior of the cathedral, this image presents a proud and intricate façade with sculpted ornamentation, turrets, and finely carved details. Evans’ use of photogravure—a process prized for its tonal richness—renders the textures of the stone and the layers of architectural history with clarity and gravitas. This is not just a document of a building; it is a portrait of place and permanence.
Together, these two prints represent Evans’ dual interest in the spiritual interior and the civic exterior—spaces built for different forms of reverence. The gallery’s lighting and neutral gray walls accentuate the tonal subtleties of the black-and-white prints, allowing Evans’ mastery of light and shadow to take center stage. The labels below the frames identify both works as gifts from Kent and Marcia Minichiello in 2015, a generous donation that enriches The Phillips Collection's holdings of early photography.
Evans, who abandoned commercial photography in favor of artistic pursuit, was a pioneer in advocating for photography as a legitimate art form. His refusal to retouch negatives and his meticulous printing process speak to his dedication to truth and clarity in his work. He famously declared he wanted his images to be "a record of the spirit of the place," and both pieces here live up to that ambition.
Photographing these two prints together honors Evans' legacy and invites reflection on how photography captures more than architecture—it captures atmosphere, intention, and emotion. Whether you're a fan of early photography, architectural detail, or the quiet resonance of historic places, this pairing offers a glimpse into the meditative beauty of Evans’ vision.