Discover the Techniques, Photographic Types and Research Potential of a Photo Collection

Since their emergence, photographs have played a key role in emotional memory, preserving moments. Beyond sentimental value, they hold cultural significance, serving as objects of study for economic, political, social, and cultural analysis, increasing their relevance.

Celso Maria de Mello Pupo was born in São Vicente on August 5, 1899. In Campinas, he became director of the State Revenue Office in 1932, a position he held for 30 years. Recognized as one of the leading researchers of local history, he also stood out as a cultural agent and preservationist in the 20th century. His research activities began around 1928 in the daily and specialized press of Campinas and other cities in the country, with emphasis on his investigations into genealogy.

Celso Maria passed away in Campinas in 2003, at the age of 103, leaving a valuable legacy for the city's historical and cultural research. His collection, with around 10,000 items from 1800 to 2003, was donated by his family to CMU in 2019 and 2024.

Far beyond mere illustrations, photographs are historical documents of unquestionable and plural value, since they provide us with multiple pieces of information. Instead of being interpreted as a free expression of reality, they should in fact be analyzed based on the technique used, the object that was photographed, its location, period and context of production, as well as the photographer's gaze and intention, and the way in which they were consumed.

Photography arrived in Brazil in 1840 with the abbot Louis Compte, a pioneer in the Daguerre technique. After him, several other daguerreotypists arrived in the country, spreading the practice and encouraging the search for new techniques and methods. It was only at the end of the 19th century that photographic production began to become popular. While some photographers established themselves in studios, others traveled the country capturing different landscapes and characters.

Family portraits sought to legitimize the hierarchy and family memory, reinforcing social relationships between its members.

Post-mortem portraits preserved the memory of the deceased, often being their only record.

Marriage records were the most common, regardless of the social class of the bride and groom. The portrait became part of the wedding ritual and, in addition to becoming a memento of the event, it was also used to make the union public.

The group and classroom portraits showed an extra-familial situation, but correlated to some extent the relationship between students/friends and teachers. The records of trips and picnics, in turn, presented family gatherings in festive situations, beyond daily experiences.

Photographs were keepsakes, often given as gifts with loving inscriptions to family and friends. Over time, these notes become valuable to historians, helping to identify people, dates, and places. Without them, portraits become anonymous over time.