Literature: Alexander D. Grishin and Denis Canguilhem, Andre Giroux, with an introduction by Vincent Pomarede, London, The Wertheimer Foundation, 2004 (reproduced p.192)
One of the greatest early photographers, Andre Giroux nevertheless has a peculiar reputation. A prolific, award-winning, well-exhibited painter and draughtsman, his career spanned several decades of the nineteenth century. Yet, he is best known today for his few known photographs taken in a short burst of activity, principally between 1853-55. This is all the more surprising given his family friendship and business relationship with Daguerre, and the shared vision evident in all Giroux's work, whether it be oil on paper or canvas, pen and ink, pencil or salt print, and given the ways in which he blurred the boundaries between these media.
As a plein-aire painter, working directly in front of the motif, he often used oil on paper, not canvas, and then reworked the result in the studio, and as a photographer he was not afraid to enhance the effect of clouds or water by adding watercolour to the negative prior to printing, or embellishing the photograph itself by painting over it in gouache or watercolour.