Faradisation Collection

Figure 26: Expression of painful attention and attention, attentive gaze. 1854-56, printed 1862

Figure 53: Whimpering and false laughter, 1854-56, printed 1862

Figure 39: The attention attracted by an object that provokes lascivious ideas and desires. 1854-56, printed 1862

Figure 9: A study of m. frontalis in maximum contraction, 1854-56, printed 1862

Figure 15: Meditation, mental concentration, 1854-56, printed 1862

Figure 27: Expression proportionally more pained, 1854-56, printed 1862

Figure 81: Lady Macbeth, moderate expression of cruelty, 1854-56, printed 1862

Figure 42: Gaiety expressed by the ideas of lustfulness, cynicism, and lewdness. 1854-56, printed 1862

Figure 10: Showing the expressive lines of m. frontalis in a young girl, 1854-56, printed 1862

Figure 55: Astonishment badly rendered by the subject: a ridiculous and inane expression. 1854-56, printed 1862

Figure 21: Painful recollection and recollection or calling something to mind, 1854-56, printed 1862

Figure 71: Same head as in Plate 70, 1854-56, printed 1862. Creators: Duchenne de Boulogne, Adrien Alban Tournachon
Figure 71: Same head as in Plate 70, 1854-56, printed 1862

Figure 57: Astonishment, stupefaction, amazement, 1854-56, printed 1862

Figure 73: Head of Niobe, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 73: Head of Niobe, 1854-56, printed 1862

Figure 12: A study of the contraction of and the expression produced by the superior part of m. orbicularis oculi, 1854-56, printed 1862

Figure 47: A suggestion of this same weeping, 1854-56, printed 1862

Figure 56: Surprise, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 56: Surprise, 1854-56, printed 1862

Figure 63: Expression of terror, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 63: Expression of terror, 1854-56, printed 1862

Figure 34: Grimace, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 34: Grimace, 1854-56, printed 1862

Figure 4: The face in repose of a young man, 1854-56, printed 1862

Figure 3: The face of an old man... photographed in repose. 1854-56, printed 1862

Figure 83: Lady Macbeth, ferocious cruelty, 1854-56, printed 1862

Figure 82: Lady Macbeth, strong expression of cruelty, 1854-56, printed 1862

Figure 8: Contraction of the right m. frontalis. 1854-56, printed 1862

Figure 24: Extreme pain to the point of exhaustion, the head of Christ and memory of love or ecstatic gaze. 1854-56, printed 1862

Icono-photographique. Mecanisme de la Physionomie Humaine. Fig. 65, 1854-56, printed 1862

Figure 19: Suffering, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 19: Suffering, 1854-56, printed 1862

Figure 48: Mild weeping, pity and feeble false laughter, 1854-56, printed 1862

Figure 25: Not an expression of pain, 1854-56, printed 1862

Faradisation du muscle frontal, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Faradisation du muscle frontal, 1854-56, printed 1862

Figure 52: Voluntary retraction of the lower lip, 1854-56, printed 1862

Figure 54: Voluntary lowering of the lower jaw, 1854-56, printed 1862

Figure 66: Head of Arrotino (the spy, the knife grinder, and so on), 1854-56, printed 1862

Figure 22: No painful expression, 1854-56, printed 1862

Figure 49: Painful weeping and forward looking. 1854-56, printed 1862

Figure 18: Aggression, wickedness, 1854-56, printed 1862

Figure 17: On the right, electrization of m. procerus: severity, aggression. On the left: attention. 1854-56, printed 1862

Figure 60: Fright, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 60: Fright, 1854-56, printed 1862

Figure 70: Head of the Laocoon of Rome, 1854-56, printed 1862. Creators: Duchenne de Boulogne, Adrien Alban Tournachon
Figure 70: Head of the Laocoon of Rome, 1854-56, printed 1862

Figure 45: Pain and despair. 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 45: Pain and despair. 1854-56, printed 1862

Figure 6: The grimace produced is similar to a tic of the face, 1854-56, printed 1862

Figure 75: Nun saying her prayers, 1854-56, printed 1862

Figure 62: Terror, semiprofile, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 62: Terror, semiprofile, 1854-56, printed 1862

Figure 78: Scene of coquetry, 1854-56, printed 1862. Creators: Duchenne de Boulogne
Figure 78: Scene of coquetry, 1854-56, printed 1862

Figure 16: Expression of severity, 1854-56, printed 1862

Figure 50: Affected weeping and face in repose, 1854-56, printed 1862

Figure 36: Scornful laughter and scornful disgust, 1854-56, printed 1862

Figure 20: Profound suffering, with resignation, 1854-56, printed 1862

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"Exploring the Depths of Expression: Faradisation in Art" In the world of art, capturing human emotions and expressions has always been a fascinating endeavor. One technique that delves deep into this realm is faradisation, a process that involves stimulating facial muscles to evoke various emotional responses. Through a series of captivating figures, we are transported back to the 19th century when Adrien Alban Tournachon and Duchenne de Boulogne pioneered this groundbreaking study. Figure 26 portrays an intriguing juxtaposition between painful attention and attentive gaze. The subject's face reveals an intense concentration, as if caught in a moment of profound thought or contemplation. Similarly, Figure 53 showcases whimpering and false laughter intertwined – an enigmatic blend of conflicting emotions frozen in time. Moving on to Figure 39, our attention is drawn towards an object provoking lasciviousness. The expression captured here speaks volumes about desire and temptation; it invites us to delve deeper into the complexities of human nature. Figure 9 presents us with a study focused on m. frontalis muscle contraction in maximum intensity. This glimpse into youthful innocence reminds us how even subtle movements can convey powerful messages through expressive lines etched upon one's face. Meditation takes center stage in Figure 15 as mental concentration becomes palpable through every line etched upon the subject's visage. It serves as a reminder that introspection can be just as captivating as any external display of emotion. The pain depicted in Figure 27 resonates deeply within our souls - its rawness evident through every crease on the subject's forehead. Meanwhile, Lady Macbeth embodies moderate cruelty (Figure 81), showcasing how expressions can reveal hidden facets of character beneath their surface veneer. Figures such as number 42 explore gaiety expressed by ideas like lustfulness, cynicism, and levity – reminding us that joy too has many shades beyond the obvious. Figure 10 captures the expressive lines of m.