“Stop to see one of the earliest photographs ever made, capturing a classical bust with a dreamlike softness that reveals the innovative spirit of its creator.”
This early photograph by William Henry Fox Talbot captures a plaster bust of Patroclus, a hero from Greek mythology, rendered with a soft, almost ethereal quality. The image, made in 1840, is a salted paper print from a paper negative, a process Talbot pioneered. The texture of the paper itself is subtly visible, lending a unique tactile presence that sets it apart from later, sharper photographic techniques. The light, likely natural, falls gently across Patroclus's classical features, emphasizing the smooth contours of his face and the dramatic curl of his hair. This work exemplifies the experimental nature of early photography, where the medium itself was as much the subject as the object being depicted, pushing the boundaries of what could be captured and preserved.
- Artist
- William Henry Fox Talbot
- Date
- 1840
- Medium
- Salted paper print from paper negative
- Location
- The Metropolitan Museum of Art
- Dimensions
- Image: 15.7 x 13.6 cm (6 3/16 x 5 3/8 in.)
- Collection
- Photographs
- Credit line
- Harris Brisbane Dick Fund, 1936
What to Notice
Four details hide in plain sight. Here’s where to look.

The delicate, almost blurred quality of the bust's features.
The visible fibers of the paper, a characteristic of early salted paper prints.
The way light sculpts the classical curls of Patroclus's hair.
The subtle tonal variations, from deep shadows to soft highlights.
Stand in front of it and listen
The full narration walks you through Patroclus — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
William Henry Fox Talbot
1800–1877 · Kingdom of Great BritainThe man who invented the negative-positive process, making every photograph ever printed possible.
Further Works by Talbot
1. Aglio. 2. Cestro. 3. Poa.
1839 · The Metropolitan Museum of Art
Bowood
1839 · The Metropolitan Museum of Art
Bromus Maximus, Genoa
1839 · The Metropolitan Museum of Art
Cordella o Nastro a velo
1839 · The Metropolitan Museum of Art
Felce
1839 · The Metropolitan Museum of Art
Sisymbrium Cumingianum
1839 · The Metropolitan Museum of Art
Tavola parecchiata per colazione a Thè
1839 · The Metropolitan Museum of Art
Villaggio
1839 · The Metropolitan Museum of Art
More works to explore
Beyond Talbot: works from the same years.
Same era · 1820s–1850s
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1820s–1850s
Stormy Sea Breaking on a Shore
J. M. W. Turner · 1840 · Yale Center for British Art
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
Same era · 1820s–1850s
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1820s–1850s
Young Woman
Jean-François Millet · 1844 · Art Institute of Chicago
Same era · 1820s–1850s
Wooded Landscape
Gustave Courbet · 1848 · Art Institute of Chicago
Same era · 1820s–1850s
Mount Chocorua and Moat Mountain from North Conway
William Hart · 1850
Same era · 1820s–1850s
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
Designs for a Decorated Dish, or Platter, and a Biscuit Barrel
Alfred Henry Forrester [Alfred Crowquill] · 1845 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
Same era · 1820s–1850s
The Captive Slave (Ira Aldridge)
John Philip Simpson · 1827 · Art Institute of Chicago
