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Following the appearance of the earliest Daguerreotypes in the late1830s and above all after the subsequent discovery of photographicprinting on paper, the relationship between photography and paintingbecame an extremely close one. The camera's artificial eye in the work of photographers such as Le Gray, Cuvelier, Nadar and Disderi, tomention just a few, stimulated Manet, Degas and the youngImpressionists to develop a new way of looking at the world.Impressionism used the medium not just as an iconographic source butwas also inspired by it technically in its scientific observation oflight, its representation of an asymmetrical, truncated pictorialspace and its exploration of spontaneity and visual ambiguity. Inaddition, the new Impressionist type of brushstroke led somephotographers to become interested in the materiality of their imagesand to look for ways of making their photographs less precise and more pictorial in effect.