Photography’s rapid commercialisation [21] meant that many painters – or prospective painters – were tempted to take up photography instead of, or in addition to, their painting careers. Most of these new photographers produced portraits. As these were far cheaper and easier to produce than painted portraits, portraits ceased to be the privilege of the well-off and, in a sense, became democratised [22].

Some commentators dismissed this trend towards photography as simply a beneficial weeding out of second-raters. For example, the writer Louis Figuier commented that photography did art a service by putting mediocre artists out of business, for their only goal was exact imitation. Similarly, Baudelaire described photography as the “refuge of failed painters with too little talent”. In his view, art was derived from imagination, judgment and feeling but photography was mere reproduction which cheapened the products of the beautiful [23].

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