Suche löschen...
The photographic news
- Bandzählung
- 12.1868
- Erscheinungsdatum
- 1868
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id1780948042-186800009
- PURL
- http://digital.slub-dresden.de/id1780948042-18680000
- OAI-Identifier
- oai:de:slub-dresden:db:id-1780948042-18680000
- Sammlungen
- Fotografie
- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
- Strukturtyp
- Band
- Parlamentsperiode
- -
- Wahlperiode
- -
- Bandzählung
- No. 487, January 3, 1868
- Digitalisat
- SLUB Dresden
- Strukturtyp
- Ausgabe
- Parlamentsperiode
- -
- Wahlperiode
- -
-
Zeitschrift
The photographic news
-
Band
Band 12.1868
-
- Titelblatt Titelblatt I
- Kapitel Preface III
- Ausgabe Ausgabe 1
- Ausgabe Ausgabe 13
- Ausgabe Ausgabe 25
- Ausgabe Ausgabe 37
- Ausgabe Ausgabe 49
- Ausgabe Ausgabe 61
- Ausgabe Ausgabe 73
- Ausgabe Ausgabe 85
- Ausgabe Ausgabe 97
- Ausgabe Ausgabe 109
- Ausgabe Ausgabe 121
- Ausgabe Ausgabe 133
- Ausgabe Ausgabe 145
- Ausgabe Ausgabe 157
- Ausgabe Ausgabe 169
- Ausgabe Ausgabe 181
- Ausgabe Ausgabe 193
- Ausgabe Ausgabe 205
- Ausgabe Ausgabe 217
- Ausgabe Ausgabe 229
- Ausgabe Ausgabe 241
- Ausgabe Ausgabe 253
- Ausgabe Ausgabe 265
- Ausgabe Ausgabe 277
- Ausgabe Ausgabe 289
- Ausgabe Ausgabe 301
- Ausgabe Ausgabe 313
- Ausgabe Ausgabe 325
- Ausgabe Ausgabe 337
- Ausgabe Ausgabe 349
- Ausgabe Ausgabe 361
- Ausgabe Ausgabe 373
- Ausgabe Ausgabe 385
- Ausgabe Ausgabe 397
- Ausgabe Ausgabe 409
- Ausgabe Ausgabe 421
- Ausgabe Ausgabe 433
- Ausgabe Ausgabe 445
- Ausgabe Ausgabe 457
- Ausgabe Ausgabe 469
- Ausgabe Ausgabe 481
- Ausgabe Ausgabe 493
- Ausgabe Ausgabe 505
- Ausgabe Ausgabe 517
- Ausgabe Ausgabe 529
- Ausgabe Ausgabe 541
- Ausgabe Ausgabe 553
- Ausgabe Ausgabe 565
- Ausgabe Ausgabe 577
- Ausgabe Ausgabe 589
- Ausgabe Ausgabe 601
- Ausgabe Ausgabe 613
- Register The Index To Volume XII 619
-
Band
Band 12.1868
-
- Titel
- The photographic news
- Autor
- Links
- Downloads
- Einzelseite als Bild herunterladen (JPG)
-
Volltext Seite (XML)
artist have in common with the essentially English idyllic poetry of Alfred Tennyson? In giving form and life to thoughts of the wits and humourists of his own country, in depicting the grotesque situations of Don Quixote, in becoming co-creator with Dante of some of the scenes of the Inferno, and even in giving pictorial embodiment to some of Milton’s grandest imaginings, we can understand Dore’s suc cess. But the unexaggerated sweetness and simplicity of Ten nyson’s style, even in dealing with English legends of heroic deeds in a period in which history and fable are undis- tinguishable, are the last qualities which it might readily have been said were suited to the pencil of Gustave Dore. Yet there are few, we imagine, who have seen his illustra tions to Elaine, who will not look with eagerness for those to / Vivien and Guinevere,” and regret that they must wait for twelve months before his illustrations of Enid will be issued. Few who have once seen it will readily forget the solemn grandness of that picture of “ the dead steered by the dumb” which formed the frontispiece of the first volume of his illustrated Idylls. On second thoughts, few, even of those disposed to deny Dore’s fitness for illustrating Tennyson, will be disposed to deny that something more is needed in the illustrations to a great poem besides moderately well drawn but slavish render ings of the text. These add nothing to the work of the poet, but often rather enfeeble it, and render it commonplace. Worthy illustrations to a great poem should excite the imagi nation in the same manner, if not in the same degree, as the poet has done. It is of less importance that he should servilely depict what the poet has described, than that he should catch the spirit of his author, and clothe upon it after the fashion of his own genius. In the works of M. Dore this mode of dealing with illustrations must inevitably be the case; the individuality as well as the originality of his genius is per petually manifested, and if he fails at times in embodying what Tennyson describes, he always produces a grand picture which is imbued with the spirit of the scene to be rendered. In “ Vivien and Guinevere” M. Dore has entered more fully into the spirit of Tennyson’s poetry than he succeeded -in doing in “ Elaine,” and we have some of the most exquisitely tender and beautiful scenes which he has ever drawn. The Dawn of Love in “Guinevere” is an admirable example of this. The scene depicted is that in which Launcelot and Guinevere ride together in Maytime towards Arthur’s court, "Under groves that looked a paradise Of blossom, over sheets of hyacinth, That seemed the heavens upbreaking thro’ the earth." Nothing can exceed the sweetness of this springtide land scape, the fullness of colour, and the glad beauty of every thing which surrounds the knight and the lady in the dawning time of that unfortunate love. In “Vivien” we have examples of the half-grotesque, half-weird grandeur of Dore’s pencil in the scenes in the wood, between Merlin and the lissome Vivien. We might point to almost every picture as having its especial point of excellence well worthy of the attention of the art student for lessons in composition, as well as of the admiration of the general reader. The especial claim of this edition upon the attention of our readers is the fact that M. Dore’s drawings are here rendered by photography, instead of by means of wood engraving, in which form his drawings are most familiar to the public ; or by steel engraving, as in another edition of this work issued by Messrs. Moxon and Co. The drawings of Dore essentially demand the truth of photography if it be desired to see him in the original, and not in translation. The broad washes in which they are executed, the free use made of body colour, give a character too often lost in any method of engraving. Mr. W. Jeffrey has done the fullest justice to the artist, his reproduction leaving little to desire. Even by means of photography it is easy to miss the spirit of a picture in reproducing it. Under-exposure or over-exposure, under-intensifying or over-intensifying, over-hardness or lack of vigour in the negative, or lack of judgment in the printing, would alike tend to mar the result. In the reproductions before us the photographer has done full justice to the artist, and we have rarely seen a series of more uniform photographic excellence. The work is one of which poet and artist, photographer and publishers, may alike feel proud of a share. THE LANDS OF THE BIBLE. A Series of Stereographic Pictures, by Frank Good, 47, Minories. Mr. Frank Good has, during the last two or three years, been rapidly winning a position as one of our first landscape photographers, and the series of stereographs before us will go far to render that position unchallengeable. We have iu most of these pictures something more than good pho tography, although that characterises the series throughout in a degree rarely attained in Eastern photographs. Espe cially noticeable throughout is the artistic feeling which pervades the treatment of every subject admitting of choice or discretion, such as the careful selection of point of view, the judicious lighting, and the degree of tenderness and delicacy, or vigour and brilliancy, imparted to each picture, as the nature of the subject may have rendered desirable. Here is Nazareth (No. 41 of the series) : a distant view of a town or village is rarely a picturesque subject, however interesting its associations ; bat we have here a bold, effective foreground of upland and stone and bush, with well- placed figures ; the town occupying the distance and middle distance, and an effective sky and clouds giving harmony to the whole. The Sea of Bethsaida (No. 46) is another charming picture, well composed and full of atmosphere, a calm beauty pervading, such as might fitly have been given by a painter as a poetic treatment of a scene associated with such sacred memories. Of Jerusalem we have many views, all fine, and some very full of meaning : in one we have Turkish tombs and Arab shepherds as the leading feature ; in another, Latin monks ; whilst in a third the fine Hebrew masonry of the Well of Wailing has survived the changes which time has effected on the fortunes of the once holy city. Of Sinai we have also several excellent views ; one of the best of which gives a view of Mount Horeb, with three Eastern figures seated on some stones in the vast amphitheatre formed by the hills. The judicious introduction of figures harmonizing with the spirit of the scene and aiding the effect of local colour' is a distinguishing feature of Mr. Good’s pictures. At times it is made valuable in increasing the effect of desola tion and of space in a gigantic ruin; and at other times is effective in giving the effect of the modern life of an ancient city. Of the former effect we have a striking example in the two or three figuresr looking like pigmies, in their comparative littleness, in the remains of the vast amphitheatre of the Temple of Bacchus. Of the effect of modern Eastern life we have many instances, both in the town and desert: here is a crowded street scene in Cairo, and here are European travellers on dromedaries led by Arabs. The presence of skies with fine clouds, and the feeling of space and atmosphere, is more apparent here than in the majority of Eastern pictures. Nothing that we have seen of its kind exceeds in this respect a General View of the Temple of Jupiter at Baalbek (No. 66). Standing alone amid the ruins of its broken columns, splendidly lighted, with an admirable sky, this is a subject of rare grandeur, a fine example of breadth of treament, and altogether a charming picture. Scarcely less effective is a view of the Sphynx and Great Pyramid (No. 97), taken under a blazing Eastern sun and cloudless sky; yet still a perfectly har monious picture, giving a satisfactory sense of the solitary grandeur of the head which has for so many centuries been “Staring right on with calm eternal eyes.” The Caryatides at Athens (No 84) is a very fine example
- Aktuelle Seite (TXT)
- METS Datei (XML)
- IIIF Manifest (JSON)