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THE PHOTOGRAPHIC NEWS. Vol. VI. No. 221.—November 28, 1862. THE GLASGOW ART UNION AND PHOTOGRAPHY. We have received from Mr. Annan, of Glasgow, three very exquisite reproductions from paintings, the circumstances in connection with which mark another very interesting and satisfactory step in the history of photography. These three photographs, each about 15 by 11, will be presented this year to the subscribers to the Glasgow Art Union, and will take the place of the engravings hitherto distributed. Many of our readers may be aware that in this, as in the London Art Union, each subscriber of one guinea has been in the habit of receiving a fine engraving from some original picture, and a chance in the distribution of certain prizes. The Glasgow Art Union has been distinguished by the extreme excellence of many of the engravings it has issued, and its general liberality and beneficial influence in the encouragement of art, and we hail with peculiar pleasure its recognition by this year’s distribution, of photography as amongst the sisterhood of the arts. We believe, moreover, that the project will be found successful and satisfactory, and that excellent as have been the engravings issued, three such photographs as those before us will possess a greater interest and higher value in the estimation of the picture loving public. We have no wish whatever to array the art of photo graphy against that of engraving. We do not see in the advance of one art the necessary declension of the other. The productions of each have beauties of their own. But with the reproductions in question before us, we are com pelled to echo the opinion of the able art-critic of the Times, as to “ the superiority of photography, with all its draw backs, over engraving as a medium of translating the painter's work into monochrome.” The same writer, who will scarcely be accused of undue leaning to photo graphy, after dwelling on the “ inexpressible inferiority ” of the very best engravings, which are styled “ poor and dead,” in rendering the spirit of the master, adds, “ were we certain that photographs would last, we are not sure that we should not be content to see engraving numbered amongst the extinct arts.” As we have said, we do not see in the success of the one the necessary extinction of the other, but we cannot but recall with pleasure the dictum of an art-critic of such recognized authority as Mr. Tom Taylor, in support of the innovatory step taken by the directors of the Glasgow Art Union. The paintings reproduced consist of three of the prizes intended for distribution, painted expressly for this Art Union, by G. J. Sant, A.R.A.; J. E. Millais, A.R.A.; and Noel Paton, R.S.A., respectively. The subject of Sant’s picture, which is to our taste by far the best, is “ The Better Land,” and is an illustration of Mrs. Hernans’ charming lyric, known by almost every child j who can read. Seated on a sofa is a young mother, as sweet ' and maternal-looking as a young mother should be; her ■ eyes arc bent upon a noble boy of about six summers, who ‘ kneels by her side. She is telling him of this better land; i and he is intently looking with rapt face in the direction j whither, with extended hand, she points. The words on her ■ lips, which have taken possession of the whole soul of the boy, and filled his young being with hitherto unknown reverent wonder and awe, are manifestly those in the closing lines of the poem : « Eye hath not seen, my gentle boy, Ear hath not heard its deep sound joy, Dreams cannot picture a world so fair, Sorrow and death may not enter there ; Time doth not breathe on its fadeless bloom, Far beyond the clouds, and beyond the tomb.” The pose and expression of the mother, and the pose and expression of the boy, are exquisitely beautiful, and tell the story of the picture most admirably. The general arrange- j ment of accessories, the composition, and chiaroscura, all | are harmonious with the spirit of the picture. Mr. Paton’s picture is an illustration of Tennyson's “ Morte d’Arthur.” The wounded king is laid in the “ dusky barge,” supported, and wept over, by the “ three queens with crowns of gold ; ” the deck is “ dense with stately forms, black stoled, black hooded, like a dream.” A huge canvas, covered with strange forms and mystic devices, forming the sail, stretches dark against the sky. Much of the glamour of the Laureate’s poem seems transferred to the picture, which possesses a strange interest. The shape of objects, and the devices of ornaments, the forms and expressions of men and women, all seem to belong to a far back traditional period. Millais’ “ White Cockade ” is, to our taste, by far the least interesting picture, but, then, we must confess to the heresy, as regards latter day art, of admiring the paintings of Mr. Millais, with a very qualified admira tion. Much of his excellence is of a kind in which he seems to emulate the literal detail of the photographer, and in this respect the photographer can beat him hollow. We have no objection, it is true, to a rather good-looking young woman, in the costume of the last century, sitting against a background of storied tapestry, sewing on to a three-cornered hat a white cockade, the emblem of adher ence to Prince Charlie; albeit, the said young woman may be in a somewhat awkward position. But the picture is, doubtless, well painted, and will have many admirers. As regards Mr. Annan’s work, we can speak with un qualified satisfaction ; better reproduction, we believe, it is impossible to obtain. That of Sant’s picture is, per haps, the most perfect reproduction from a painting we have ever seen, and is so perfect, as to have elicited the remark from several clever photographers to whom we have shown it, that the painting must have been executed with a view to the reproduction. It is wonderfully brilliant, and yet soft and detailed; rich, deep, and transparent in the shadows, without the slightest loss of those delicate greys and demi-tints, upon which perfect modelling, and round ness, and finish, so much depend. It would be very easy to believe that the face of the boy was photographed from nature, so perfect is the gradation of half-tone. The breadth of light, and depth of shadow are very good, and are rendered harmonious by the perfect gradation of tones with which they are united. The other pictures are just as well photographed, although from the nature of the picture this is most effective. The printing is also admirably done. We think it a subject of much satisfaction, that the Glasgow Art Union, having determined on such a course, entrusted the work to a photographer who has done such justice and credit to their determination, and, by the excellence of the results, will have contributed, we doubt not, to give perpetuity to the practice they have initiated.