{"id":1893,"date":"2015-01-07T12:50:56","date_gmt":"2015-01-07T11:50:56","guid":{"rendered":"https:\/\/bicentennial-of-photography.org\/daguerre-invention-photo-2\/"},"modified":"2024-12-11T03:32:47","modified_gmt":"2024-12-11T02:32:47","slug":"daguerre-invencion-foto","status":"publish","type":"page","link":"https:\/\/bicentennial-of-photography.org\/es\/daguerre-invencion-foto\/","title":{"rendered":"Daguerre y la invenci\u00f3n de la Fotograf\u00eda"},"content":{"rendered":"<style>.kb-row-layout-id1893_25440f-e3 > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id1893_25440f-e3 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id1893_25440f-e3 > .kt-row-column-wrap{column-gap:var(--global-kb-gap-md, 2rem);row-gap:var(--global-kb-gap-md, 2rem);padding-top:var(--global-kb-spacing-sm, 1.5rem);padding-bottom:var(--global-kb-spacing-sm, 1.5rem);grid-template-columns:minmax(0, 2fr) minmax(0, 1fr);}.kb-row-layout-id1893_25440f-e3 > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 1024px){.kb-row-layout-id1893_25440f-e3 > .kt-row-column-wrap{grid-template-columns:minmax(0, 2fr) minmax(0, 1fr);}}@media all and (max-width: 767px){.kb-row-layout-id1893_25440f-e3 > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id1893_25440f-e3 alignnone wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-left-golden kt-tab-layout-inherit kt-mobile-layout-row kt-row-valign-top\">\n<style>.kadence-column1893_ffaf56-f2 > .kt-inside-inner-col,.kadence-column1893_ffaf56-f2 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column1893_ffaf56-f2 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column1893_ffaf56-f2 > .kt-inside-inner-col{flex-direction:column;}.kadence-column1893_ffaf56-f2 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column1893_ffaf56-f2 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column1893_ffaf56-f2{position:relative;}@media all and (max-width: 1024px){.kadence-column1893_ffaf56-f2 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column1893_ffaf56-f2 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column1893_ffaf56-f2\"><div class=\"kt-inside-inner-col\">\n<p class=\"wp-block-paragraph\">Louis Jacques Mand\u00e9 Daguerre (1787-1851) era pintor y decorador de teatro. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fue alumno de Degotis, creador de decorados en la Opera, con el cual comenz\u00f3 a la edad de 16 a\u00f1os, luego de Pierre Pr\u00e9vost (1766-1823), especialista de los panoramas, esos inmensos decorados circulares pintados sobre los muros de una rotonda y expuestos a la vista de los espectadores instalados en el centro.<\/p>\n<\/div><\/div>\n\n\n<style>.kadence-column1893_97b905-57 > .kt-inside-inner-col{display:flex;}.kadence-column1893_97b905-57 > .kt-inside-inner-col,.kadence-column1893_97b905-57 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column1893_97b905-57 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column1893_97b905-57 > .kt-inside-inner-col{flex-direction:column;align-items:center;}.kadence-column1893_97b905-57 > .kt-inside-inner-col > .kb-image-is-ratio-size{align-self:stretch;}.kadence-column1893_97b905-57 > .kt-inside-inner-col > .wp-block-kadence-advancedgallery{align-self:stretch;}.kadence-column1893_97b905-57 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column1893_97b905-57 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column1893_97b905-57{position:relative;}@media all and (max-width: 1024px){.kadence-column1893_97b905-57 > .kt-inside-inner-col{flex-direction:column;justify-content:center;align-items:center;}}@media all and (max-width: 767px){.kadence-column1893_97b905-57 > .kt-inside-inner-col{flex-direction:column;justify-content:center;align-items:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column1893_97b905-57\"><div class=\"kt-inside-inner-col\">\n<figure class=\"wp-block-image\"><a href=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/01\/Daguerre-invention-photographie-portrait.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"256\" src=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/01\/Daguerre-invention-photographie-portrait-300x256.jpg\" alt=\"Daguerre 1787-1851\" class=\"wp-image-203\" srcset=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/01\/Daguerre-invention-photographie-portrait-300x256.jpg 300w, https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/01\/Daguerre-invention-photographie-portrait.jpg 469w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><figcaption class=\"wp-element-caption\">Daguerre 1787-1851<\/figcaption><\/figure>\n<\/div><\/div>\n\n<\/div><\/div>\n\n\n<p class=\"wp-block-paragraph\">Si las obras de Daguerre expuestas en los salones de pintura no tuvieron un gran \u00e9xito, en revancha, los decorados que realiz\u00f3 de 1817 a 1822 para los espect\u00e1culos del teatro l\u2019Ambigu-Comique o de la Opera, atrajeron las loas un\u00e1nimes de la cr\u00edtica y del p\u00fablico. Hizo prueba en efecto de originalidad en los juegos de luz, creando la salida de la luna, o bien soles en movimiento que permanecieron en las memorias. Llev\u00f3 luego el arte del decorado al rango de verdadero espect\u00e1culo asoci\u00e1ndose con otro estudiante de Pr\u00e9vost, Charles Marie Bouton (1781-1853) para crear \u00ab que llevar\u00e1 el nombre de Diorama \u00bb.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En 1824, Daguerre fue hecho Caballero de la Legi\u00f3n de Honor. Hab\u00eda aprendido a servirse de la c\u00e1mara obscura con Pr\u00e9vost quien lo emple\u00f3 para preparar sus inmensas telas en \u00ab trompe-l\u2019\u0153il \u00bb. El \u00f3ptico que aprovisionaba Daguerre era Vincent Chevalier, el mismo que en cuya casa Ni\u00e9pce encargaba sus lentes. En efecto, es por intermedio de Chevalier que Daguerre obtuvo la direcci\u00f3n de Ni\u00e9pce.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">El Diorama de Daguerre<\/h2>\n\n\n<style>.kb-row-layout-id1893_a234cd-c4 > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id1893_a234cd-c4 > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id1893_a234cd-c4 > .kt-row-column-wrap{column-gap:var(--global-kb-gap-md, 2rem);row-gap:var(--global-kb-gap-md, 2rem);padding-top:var(--global-kb-spacing-sm, 1.5rem);padding-bottom:var(--global-kb-spacing-sm, 1.5rem);grid-template-columns:minmax(0, calc(55% - ((var(--global-kb-gap-md, 2rem) * 1 )\/2)))minmax(0, calc(45% - ((var(--global-kb-gap-md, 2rem) * 1 )\/2)));}.kb-row-layout-id1893_a234cd-c4 > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 1024px){.kb-row-layout-id1893_a234cd-c4 > .kt-row-column-wrap{grid-template-columns:repeat(2, minmax(0, 1fr));}}@media all and (max-width: 767px){.kb-row-layout-id1893_a234cd-c4 > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id1893_a234cd-c4 alignnone wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-equal kt-tab-layout-inherit kt-mobile-layout-row kt-row-valign-top\">\n<style>.kadence-column1893_5f7c35-34 > .kt-inside-inner-col,.kadence-column1893_5f7c35-34 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column1893_5f7c35-34 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column1893_5f7c35-34 > .kt-inside-inner-col{flex-direction:column;}.kadence-column1893_5f7c35-34 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column1893_5f7c35-34 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column1893_5f7c35-34{position:relative;}@media all and (max-width: 1024px){.kadence-column1893_5f7c35-34 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column1893_5f7c35-34 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column1893_5f7c35-34\"><div class=\"kt-inside-inner-col\">\n<p class=\"wp-block-paragraph\">Es en 1822 que Bouton y Daguerre se hab\u00edan asociado con vista al \u00ab establecimiento de un espect\u00e1culo que llevar\u00eda el nombre de Diorama \u00bb. Los dos hombres creaban all\u00ed, decorados de teatro de grandes dimensiones, buscando a exponer escenas de un gran realismo. Para ello, no dudaban de disponer de toda clase de elementos animados con la excepci\u00f3n de personajes vivientes (juegos de agua, animales\u2026).<\/p>\n<\/div><\/div>\n\n\n<style>.kadence-column1893_5eddc3-fd > .kt-inside-inner-col{display:flex;}.kadence-column1893_5eddc3-fd > .kt-inside-inner-col,.kadence-column1893_5eddc3-fd > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column1893_5eddc3-fd > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column1893_5eddc3-fd > .kt-inside-inner-col{flex-direction:column;align-items:center;}.kadence-column1893_5eddc3-fd > .kt-inside-inner-col > .kb-image-is-ratio-size{align-self:stretch;}.kadence-column1893_5eddc3-fd > .kt-inside-inner-col > .wp-block-kadence-advancedgallery{align-self:stretch;}.kadence-column1893_5eddc3-fd > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column1893_5eddc3-fd > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column1893_5eddc3-fd{position:relative;}@media all and (max-width: 1024px){.kadence-column1893_5eddc3-fd > .kt-inside-inner-col{flex-direction:column;justify-content:center;align-items:center;}}@media all and (max-width: 767px){.kadence-column1893_5eddc3-fd > .kt-inside-inner-col{flex-direction:column;justify-content:center;align-items:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column1893_5eddc3-fd\"><div class=\"kt-inside-inner-col\">\n<figure class=\"wp-block-image\"><a href=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/01\/Daguerre-diorama.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"470\" height=\"297\" src=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/01\/Daguerre-diorama.jpg\" alt=\"Diorama de Daguerre\" class=\"wp-image-207\" srcset=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/01\/Daguerre-diorama.jpg 470w, https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/01\/Daguerre-diorama-300x190.jpg 300w\" sizes=\"auto, (max-width: 470px) 100vw, 470px\" \/><\/a><figcaption class=\"wp-element-caption\">The Diorama of Daguerre<\/figcaption><\/figure>\n<\/div><\/div>\n\n<\/div><\/div>\n\n\n<p class=\"wp-block-paragraph\">Por otra parte, Daguerre desarrollaba toda su ciencia de la iluminaci\u00f3n, adquirida durante los a\u00f1os durante los cuales fue decorador en la Opera, el Ambigu etc.\u2026para cambiar la atm\u00f3sfera de una misma escena. El conjunto creaba la ilusi\u00f3n de la realidad, a tal punto que el Diorama conoci\u00f3 un gran \u00e9xito. A continuaci\u00f3n, los socios adoptaron a esos inmensos decorados, el principio que consist\u00eda en mirar las vistas de \u00f3ptica que eran iluminadas por delante o por detr\u00e1s. En el segundo caso, la escena era observada con iluminaci\u00f3n atenuada, de all\u00ed el efecto nocturno que se acentuaba pintando en el reverso de la vista un decorado apuntando a enmascarar algunas partes de la imagen para hacer aparecer sombras nuevas correspondientes a la noche. Pasando de uno a otro de las dos iluminaciones, en una misma escena se pasaba progresivamente del d\u00eda a la noche.<\/p>\n\n\n<style>.kb-row-layout-id1893_65c9ab-9a > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id1893_65c9ab-9a > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id1893_65c9ab-9a > .kt-row-column-wrap{column-gap:var(--global-kb-gap-md, 2rem);row-gap:var(--global-kb-gap-md, 2rem);padding-top:var(--global-kb-spacing-sm, 1.5rem);padding-bottom:var(--global-kb-spacing-sm, 1.5rem);grid-template-columns:repeat(2, minmax(0, 1fr));}.kb-row-layout-id1893_65c9ab-9a > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 1024px){.kb-row-layout-id1893_65c9ab-9a > .kt-row-column-wrap{grid-template-columns:repeat(2, minmax(0, 1fr));}}@media all and (max-width: 767px){.kb-row-layout-id1893_65c9ab-9a > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id1893_65c9ab-9a alignnone wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-equal kt-tab-layout-inherit kt-mobile-layout-row kt-row-valign-top\">\n<style>.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col{display:flex;}.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col,.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col{flex-direction:column;align-items:center;}.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col > .kb-image-is-ratio-size{align-self:stretch;}.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col > .wp-block-kadence-advancedgallery{align-self:stretch;}.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column1893_0fb5a6-0b{position:relative;}@media all and (max-width: 1024px){.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col{flex-direction:column;justify-content:center;align-items:center;}}@media all and (max-width: 767px){.kadence-column1893_0fb5a6-0b > .kt-inside-inner-col{flex-direction:column;justify-content:center;align-items:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column1893_0fb5a6-0b\"><div class=\"kt-inside-inner-col\">\n<figure class=\"wp-block-image\"><a href=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/03\/2013028-Daguerre-invention-photographie-effet-lumiere.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"350\" height=\"501\" src=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/03\/2013028-Daguerre-invention-photographie-effet-lumiere.jpg\" alt=\"\" class=\"wp-image-1706\" srcset=\"https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/03\/2013028-Daguerre-invention-photographie-effet-lumiere.jpg 350w, https:\/\/bicentennial-of-photography.org\/wp-content\/uploads\/2015\/03\/2013028-Daguerre-invention-photographie-effet-lumiere-210x300.jpg 210w\" sizes=\"auto, (max-width: 350px) 100vw, 350px\" \/><\/a><figcaption class=\"wp-element-caption\">El Diorama de Daguerre : efectos de luces de d\u00eda y de noche<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n<style>.kadence-column1893_534f59-1a > .kt-inside-inner-col,.kadence-column1893_534f59-1a > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column1893_534f59-1a > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column1893_534f59-1a > .kt-inside-inner-col{flex-direction:column;}.kadence-column1893_534f59-1a > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column1893_534f59-1a > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column1893_534f59-1a{position:relative;}@media all and (max-width: 1024px){.kadence-column1893_534f59-1a > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column1893_534f59-1a > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column1893_534f59-1a\"><div class=\"kt-inside-inner-col\">\n<p class=\"wp-block-paragraph\">En Diciembre 1827, Daguerre har\u00e1 el encuentro con Ni\u00e9pce durante su pasaje por Paris antes de dirigirse Inglaterra. Los dos hombres se apreciar\u00e1n mutuamente. Ni\u00e9pce quedar\u00e1 fascinado por el Diorama. Daguerre tambi\u00e9n hab\u00eda tenido la idea de captar las im\u00e1genes de la c\u00e1mara obscura. Para esto, dispon\u00eda polvos fosforescentes en el fondo de su c\u00e1mara obscura. La imagen proyectada sobre este polvo, luego quedaba visible durante varias horas antes de que desapareciese poco a poco. Ambos volver\u00e1n a verse cuando Ni\u00e9pce regresa de Inglaterra en febrero de 1828.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Comenzar\u00e1n despu\u00e9s a intercambiar ideas por correo y en 1829, Ni\u00e9pce ofrecer\u00e1 a Daguerre de formar una asociaci\u00f3n para contribuir al desarrollo de la invenci\u00f3n de la heliograf\u00eda.<\/p>\n<\/div><\/div>\n\n<\/div><\/div>\n\n\n<p class=\"wp-block-paragraph\">Una vez el contrato de asociaci\u00f3n firmado en diciembre de 1829, Daguerre se aplicar\u00e1 a trabajar sobre el procedimiento. Aportar\u00e1 una contribuci\u00f3n importante dado que los dos inventar\u00e1n en 1832 un nuevo m\u00e9todo : el fisautotipo. Luego de la muerte de Ni\u00e9pce, Daguerre continuar\u00e1 solo las investigaciones sobre la captura de im\u00e1genes e inventar\u00e1 el Daguerrotipo, procedimiento fotogr\u00e1fico cuya pr\u00e1ctica se volv\u00eda mas f\u00e1cil, dado que el tiempo de exposici\u00f3n no era mayor que de algunos minutos. El daguerrotipo provocar\u00e1 un inmenso entusiasmo y Daguerre conocer\u00e1 la celebridad en el mundo entero.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Luego de haberse retirado a Bry-sur-Marne, Daguerre morir\u00e1 el 11 de julio de 1851.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/speos-photo.com\/es\/\" target=\"_blank\" rel=\"noreferrer noopener\">&gt; Descubra Sp\u00e9os, la escuela de fotograf\u00eda que conserva la Casa Ni\u00e9pce<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Louis Jacques Mand\u00e9 Daguerre (1787-1851) era pintor y decorador de teatro. Fue alumno de Degotis, creador de decorados en la Opera, con el cual comenz\u00f3 a la edad de 16 a\u00f1os, luego de Pierre Pr\u00e9vost (1766-1823), especialista de los panoramas, esos inmensos decorados circulares pintados sobre los muros de una rotonda y expuestos a la&#8230;<\/p>\n","protected":false},"author":1,"featured_media":26643,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"class_list":["post-1893","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Daguerre y la invenci\u00f3n de la Fotograf\u00eda - Nic\u00e9phore Ni\u00e9pce&#039;s House Museum<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bicentennial-of-photography.org\/es\/daguerre-invencion-foto\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Daguerre y la invenci\u00f3n de la Fotograf\u00eda - Nic\u00e9phore Ni\u00e9pce&#039;s House Museum\" \/>\n<meta property=\"og:description\" content=\"Louis Jacques Mand\u00e9 Daguerre (1787-1851) era pintor y decorador de teatro. 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