In American Cities and Ruins (French: Cités et Ruines Américaines), Désiré Charnay undertakes a photographic and historical exploration of the ancient architectural sites of Mexico and Central America, spanning from 1857 to 1861. Charnay, a French photographer and explorer, produced this work during a pivotal period in archaeological and photographic development, capturing the enigmatic ruins of civilizations such as the Maya and Toltec in places like Mitla, Palenqué, Chichen-Itza, and Uxmal.
The project emerged within the broader context of 19th-century European curiosity about ancient American civilizations. It was also shaped by France’s colonial and intellectual ambitions during the reign of Napoleon III, under whose patronage Charnay's early publications were supported. The endeavor aimed to document and analyze the architectural feats and hieroglyphic inscriptions of these "forgotten" cities, simultaneously challenging prevailing theories of their origins. Charnay’s work stood against speculative biblical narratives and argued instead for these civilizations’ connections to Toltec lineage, positing their relative modernity compared to earlier theories of antiquity.
Charnay's artistic vision embraced themes of discovery, decay, and continuity. His photographs presented ruins as relics of advanced but fallen civilizations, evoking a dialogue between their grandiose past and their mysterious absence in the present. Through rigorous compositions, he emphasized the symmetrical beauty of facades, the intricate carvings on temples, and the grandeur of pyramidal structures. These images invited viewers to contemplate humanity's capacity for creativity and its impermanence.
The aesthetic style of American Cities and Ruins blends scientific rigor with romanticized documentation. Charnay utilized early photographic technologies, including large-format cameras and glass plate negatives, which allowed for detailed representations of architectural features. Working in challenging conditions, he achieved a clarity that highlighted architectural details. His use of scale—often including people within the frame—highlighted the enormity of these structures and their impact on the natural landscape.
Technically, Charnay advanced archaeological photography by combining it with casting techniques. Collaborating with experts like Lotin de Laval, he reproduced architectural details through photographs and molds, creating a comprehensive visual archive for study in European museums. This methodology underscored his dual role as an explorer and historian.
Upon publication, American Cities and Ruins circulated as a large folio, with selections shown at the 1862 International Exhibition in London (honourable mention) and at a photographic show at the Palais de l’Industrie, Paris (1863). Later recognition included the Logerot Prize of the Société de Géographie (1884) and appointment as an officer of the Légion d’honneur (1888). These presentations and distinctions helped establish Charnay’s photographs as an important early reference in archaeological photography.
