Literature: Plate 16 of a series of studies on vegetation entitled 'Paysages'. Referenced in the Musée d'Orsay's archives of Egyptologist and fellow photographer Deveria, who was bequeathed Greene's negatives: ''Au dessus de Louxor''.
Extraordinarily modernist composition of bisecting light and dark.
Salt print from a paper negative mounted on bristol paper inscribed 'p 16' in the negative.
A view of the pyramid Khephren to the east of the Nile with a background view of the little pyramid of Queen Khentkaous 1 in the distance to the left of the trees. Referenced in the Musée d'Orsay's archives of Egyptologist and fellow photographer Deveria, who was bequeathed Greene's negatives: ''Au dessus de Louxor''.
J.B. Greene's life was short, yet it includes some of the boldest compositions and most dramatic landscapes of any early photographer. Andre Jammes and Eugenia Parry Janis, writing in The Art of the French Calotype, noted:
"Greene's work is atypicalHis monuments and especially landscapes seem distinctly distant. Nor do they really seem to be of anything in the normal sense. Greene also had an exceptional attitude toward the representation of landscape space. In the manner of Chinese landscape painters on scrolls, his lens seems to scan a terrain rather than extract it as a fixed whole from a single vantage point. The effect of this is greatly heightened by the emphasis on tonal nuance and an interest in slender sketches of transparent land masses rather than the usual emphasis on a solid
monument surrounded by a site. In Greene's pictures, the monuments and the sites are organically fused and seem made of the same stuff. At age twenty-two, such insights were precocious in the extreme, and his invention regarding expanses of uncharted space takes on greater meaning in the light of the evidence that seems to place him in an American context. It had been rather difficult to imagine an insular English sensibility capable of conceiving such boundless horizons in photography." (p. 121, no . 186)