Hnas. Oliver de zagalas, copia JO gelatina de plata virada al sepia, algo iluminada,1899Óleo s/reverso copia JOCopia JO iluminada a la albúmina, con deterioro, 1899Copia JO iluminada a la albúmina, 1905Postal con copia JO, ampliada e iluminada a la albúmina, 1926Copia JO, 2ª ampliación, iluminada a la albúmina, 1954Autorretrato con antifaz, copia JO gelatina de plata virada al sepia, s/papel artístico emulsionado, Buenos Aires, 1904Postal JO, autorretrato con antifaz, copia iluminada a la albúmina, Buenos Aires, 1904Autorretrato con antifaz, collage con copia iluminada a la albúmina, en Diario 3, Buenos Aires, 1905Autorretrato con antifaz, collage en Diario JO 18, con copia ampliada e iluminada, Bs. As., 1952Pedro y Josefina Oliver, copia JO gelatina de plata virada al sepia, Chacra San Vicente, Pcia de Bs. As., 1900Copia iluminada JO s/ papel artístico emulsionado, 1900Nueva copia iluminada JO s/ papel artístico emulsionado, 1946Hnas Oliver y Elvira Grau, copia JO gelatina de plata virada al sepia, S Vicente, Pcia. Bs. As., 1900Copia JO iluminada a la albúmina, 1905Ampliación iluminada por JO, Bs. As., 1951Collage c/ nueva ampliación iluminada, Bs. As., 1954. Catalina Oliver, Elvira Grau, copia JO gelatina de plata virada...Hnas Oliver, copia JO gelatina de plata virada al sepia, Bs. As., 1903Hnas Oliver, copia iluminada JO s/ papel artístico emulsionado, 1903Hnas Oliver, copia iluminada JO, 1954JO y amigas, Carnaval, copia iluminada JO, Bs. As., 1904JO y amigas, Carnaval, nueva copia iluminada Jo en Diario JO 3, Bs. As., 1904JO y amigas, Carnaval, collage en postal c/ nueva copia iluminada JO, Bs. As., 1904Autorretrato de andaluza II, collage en postal c/ nueva copia iluminada JO, Diario 16, Bs. As., 1948Nuevo collage en postal c/nueva copia iluminada JO, Diario 16, Bs. As., 1903Collage c/nueva copia iluminada JO en Diario JO 4, Bs. As., 1904Nueva copia iluminada JO en álbum JO, Bs. As., 1904
VARIATIONS
As an artist, Josefina Oliver pursues themes that move her to copy her photos several times, which are illuminated in different ways, making up different works.
She perceives the growth, the distinctive features, which the colouring gives to her photo:
‘(…) Mercedes sent Flor’s photograph which is adorable. I illuminated it at the moment, and it was twice as beautiful (…).’ Postc PV 011 b
‘(…) Catalina sends me a postcard of the children which I have immediately illuminated and it is beautiful, children have gained 80 per cent (…).’ PostFt MT_016b
It is worth remembering that photography was always black and white or sepia. The Autochrome glass plates began being sold in 1907. It was the first and the only commercialisation available in colour until 1935. However, its use was limited.
This is why Josefina Oliver’s photos attracted her friends so much. She was aware of the streak she had discovered and made full use of it while she explored its possibilities.
