The photographic news

• Bandzählung: 35.1891
• Erscheinungsdatum: 1891
• Sprache: Englisch
• Signatur: F 135
• Vorlage: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: Hochschule für Grafik und Buchkunst Leipzig
• Digitalisat: SLUB Dresden
• Rechtehinweis: Public Domain Mark 1.0
• URN: urn:nbn:de:bsz:14-db-id1780948042-189100009
• PURL: http://digital.slub-dresden.de/id1780948042-18910000
• OAI: oai:de:slub-dresden:db:id-1780948042-18910000
• Sammlungen: LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
• Sammlungen: Fotografie
• Strukturtyp: Band

• Digitalisat: SLUB Dresden
• Strukturtyp: Ausgabe

Mr. Swan Watson shows some female heads powerful in treatment, and one or two are very Rembrandtesque. Perhaps the contrast of light and shade is a little too marked to suit all tastes. A very original effect has been produced by Messrs. Annan and Sons in an enlargement from a hand-camera picture. By means of a very blue tone, the cold of dawn on the mountain side is admirably expressed. The “Dusty Miller ” is a powerful bit of light and shade, but the window spoils all; when the window panes are darker than the sash bars, one is inclined to think there is some thing wrong somewhere. The bromide enlargements are unusually good, and one of a lugger, with the shadows luminous by aid of the very transparent water—an effect so successfully painted by Mr. W. Bartlett—is wonderful when it is remembered that the effect is produced by monochrome only. Mr. Snell Anderson is to be com plimented on this achievement, and also for a landscape where the ripple caused by a boat carries the shadows, broken up into long lines of light and shade, right down to the front of the picture. Mr. H. P. Robinson has sent four of his best landscapes with figures, and no one will be surprised that he has taken a silver medal for them. They have been already described in these pages, however. The Countess Loredana da Porto exhibits, in addition to the flash-light pictures which were so much admired at Liverpool, some peasant groups which add still further to her reputation as an artist. Perhaps the best is in the genre class. Two peasant girls are near a rude wayside cross, and one is kneeling at its foot, whilst the other is clinging to its stem. The back of the kneeling figure is shown, and the face is in profile. The subject is a hack neyed one, but it has been carried out with simplicity, and the peasant costumes are so natural that there is a great air of reality about the whole picture. A little more tone in the sky would have made it much better. Mr. David R. Clark’s four landscapes are a little unequal in quality ; one of them is of such high artistic excellence that a gold medal has been awarded to it. The materials of the picture are extremely simple. Some trees in the foreground, one of which, a slender, graceful one, has fallen out of the upright, and sends its branches obliquely into the picture, whilst an expectant maiden leans against its base, furnish the principal features. The picture is full of light and atmosphere, and the chiaroscuro unusually fine. The title of the picture is the “Trysting Tree,” and it is more like one of Leader’s landscapes than a pho tograph. Mr. Horsley Hinton’s “ Where Swaying Reeds Eternal Music Make ” is a picture treated in the same manner as the one sent to Cardiff, and described in these pages a few weeksago. No sharpness anywhere, and the rough paper gives a tone value which is certainly very artistic when the beholder is far enough away to get the mystery of effect imparted by distance. When close to the picture, it presents the appearance of a powerful sketch executed by bold washes of sepia, and, when sufficiently far away to lose the texture of the paper, it might be mistaken for an etching. The title sufficiently explains the subject. I certainly like it better than the one sent to Cardiff. Mr. James Patrick’s “Lowland Shieling,” whatever that may be, for I had not time to ask, is a very charming little landscape. Only a little hollow on the hill-side, with sheep placidly browsing here and there, and a cottage in the distance—that is all the material employed; but the result is a picture the author may well be proud of. Mr. J. G. Pratt shows some pictures so red in colour that their otherwise artistic quality might easily be over looked, for the atmospheric effects are very beautiful in all. The one of Greenock from the old quay is perhaps the best of all. Landscapes in Bartolozzi red will not do. Mr. C. Reid’s cattle subjects are good, and his poultry better, but the best of all is a beautiful collie dog. The texture of the dog’s coat is quite a study for animal painters. “Rats!” and also “Rats Again!” are most successful pictures. Expectant dogs are climbing up a stable door, and eagerly look for its rapid opening. The shadows thrown by the figures of the dogs are most trans parent. There is a blaze of sunshine, but no hardness anywhere. Mr. J. Catto has taken a silver medal for this achievement.. Karl Greger still keeps to his red colour, but his groups are highly artistic; “Wood Gatherers” and “Gipsy Encampment ” are perhaps the best. Mr. W. J. Byrne’s interiors are very fine, and I would much like to see them printed in platinum, for the glazed surface makes them look so very brilliant and out of harmony with the pictures near them. Mr. Court Cole’s interiors are now so well known that they do not demand any special mention. Total absence of black shadows, and not a trace of halation anywhere, are their most striking points. Mr. John Stuart has produced the very best flash-light pictures I have yet seen. Large interiors are perfectly illuminated into the remotest corners, and children are occupied in the most unconscious manner; in fact, there is not the slightest evidence of the powerful light employed. I asked Mr. Stuart if he had any new arrangement of light for the purpose, and he answered that he just used as much light as he wanted, that was all. Mr. J. W. Wade’s hand-camera pictures are very varied, and the chiaroscuro of several of them very fine. Mr. Archibald Watson’s marine studies are full of light and yet not at all weak ; and one or two of Mr. W. D. Wel- ford’s little pictures unusually good. There is one with the sunshine breaking out from behind a dark cloud that is one of the most perfect marine studies I have ever seen. The entries in this class, however, are not nearly so numerous as might have been expected. Mr. Ralph H. Elder’s “ Snap-shots on Italian Lakes” are capital little pictures quite spoiled by the bad taste displayed in their framing. Indeed, it is almost impossible to look at them in consequence of the vividness of their surroundings. The genre class is most disappointing. Apart from several well-known subjects—Robinson’s “Primrose Time ” being among the number—there is very little new work that calls for special notice. “A Duet,” by Mr. Alex. M. Morrison, is certainly an exception. In the foreground a rustic lad is piping away on a whistle, and immediately opposite a bird on a twig is apparently trying to split his pipe in emulation. The pose of the boy is original, and the whole picture well carried out, but the selection of focus has given such sharpness to the fore ground that the distance looks painfully blurred. Just a little more diffusion of focus would have made the little scene perfect. Mr. F. Bremner has been unusually successful with several difficult Eastern subjects. The best is one called “Nature—Blasting Rocks.” Detail is carried into the