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The photographic news
- Bandzählung
- 35.1891
- Erscheinungsdatum
- 1891
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- Englisch
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 1690, January 23, 1891
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The photographic news
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January 23, 1891.] THE PHOTOGRAPHIC NEWS. 63 paint and brush, produces a masterpiece, the drawing equal to that of the lens, the tones in harmony, the colour delicate and marvellously beautiful. Read Rood’s “ Chro matics” for a hint of the manifold difficulties surrounding this subject. Then think of the amateur photographer who, if clever, can in a few iceeks turn out good, technical work. It may be asked, then, what theories on art I have. I answer, at present, none. What artists I admire ? I answer, all good artists and all good art. To what school do I now belong? None. What do I think of writings upon art and art criticisms? Mistakes. A final word. Suggestions have been made that I get some of my ideas from a book called “ Naturalistic Painting.” I have a letter in my possession from an artist, wherein is stated clearly and exactly that Mr. Bate* had read a paper of mine on “ Naturalistic Photography” before his first article appeared in the “ Artist.” At the Society of Arts the other day, a paper was read by Mr. Davison— an amateur without training, and with superficial know ledge—in which my old ideas were freely and impudently handed about, and no credit given me. It was whispered about by my enemies that this person had originated some of the ideas of Naturalistic Photography. To enlighten the public, I append a quotation from his letter to me on this point. There are plenty more confessions of “his lack of knowledge ” ; that his articles were “ drivel ”—it is his own word—and other confessions of incompetence and proofs of plagiarism, if necessary. He is now welcome to my cast-off clothes if he likes—he or anybody else. It is with deep regret I do this thing, and it is only as a duty to myself. I justify myself by stating that I wrote privately to Mr. Davison, expostulating with him for freely appro priating my ideas, and telling him that if he did not give me full credit at the Society of Arts, I should publish a history of the matter. He never replied. He can pub lish my letter in full if he likes. This was Mr. Davison’s reply to a letter I wrote to him and others asking them if they minded me thanking them in public for their support. His reply is dated from the Camera Club, Dec. 16th, 1889, ONLY A YEAR AGO. It is, “I AM GLAD AND PROUD TO BE IDENTIFIED IN ANY WAY WITH NATURALISTIC PHOTOGRAPHY, BECAUSE I BELIEVE IN WHAT I UNDERSTAND IT MORE AND MORE CLEARLY TO BE, BUT I DOUBT VERY MUCH WHETHER ANYTHING I HAVE DONE DESERVES RECOGNITION.” I sent a copy of “ Naturalistic Photography ” some time ago for review to the editor of the Journal of the Society of Arts, and it got a bad notice. All the ideas offered the other night were thus offered to the Society previously. Lastly, a special speech, read from a paper by a friend of mine, especially pointing out how I had originated these ideas, was not reported as it was read, the printed report giving altogether a different impression from what the speaker said. Those who heard the original can refer to the speech, as reported in the Journal of the Society of Arts—not Artists, as Mr. J. Pennell has aptly de scribed it. This sort of treatment, which is nothing new to me, may excuse some of my bitterly written in vectives. Finally. Some of my friends to whom I have recently privately communicated my renunciation, have wished to know how it came about. Misgivings seized me after conversations with a great artist after the Paris Exhibition; these were strengthened by the appearance of certain • This does not imply that Mr. Bato took any ideas from my paper; on the contrary, I feel sure his ideas were his own, as were mine. recent researches in psychology, and Hurter and Driffield’s papers ; and, finally, the exhibition of Hokusai’s work and a study of the National Gallery pictures after three and a half months’ solitary study of nature in my house-boat did for me. P.S.—Will every secretary of every photographic society take four wafers and a. sheet of black paper, and hide for ever the words “ To the Student ” in pictures of East Anglian life. L’envot. Having taken some earnest photographers a little way into the art world, I feel it my duty to say that, when I have fully reconsidered the limited art possibilities of photography and the general philosophy of art, I will write another book ; in the meantime, let students avoid all spurious imitations. Lastly, Dr. Emerson gives the accompanying epitaph on the cover of his pamphlet:— EPITAPH. gn femora of NATURALISTIC PHOTOGRAPHY, WHICH RAN A SHORT BUT ACTIVE LIFE, UPSET MANY CONVENTIONS, HELPED TO FURTHER MONOCHROME PHOTOGRAPHY TO THE UTMOST OF ITS LIMITED ART BOUNDARIES, STIRRED MEN TO THINK AND ACT FOR THEMSELVES, PRODUCED MANY PRIGS AND BUBBLE REPUTATIONS, EXPOSED THE IGNORANCE OF THE MULTITUDE, BROUGHT OUT THE LOW MORALITY OF CERTAIN PERSONS IN THE PHOTOGRAPHIC WORLD, BROKE DOWN THE PREJUDICE OF THE OUTSIDE PUBLIC AGAINST PHOTOGRAPHY’S VERY SLENDER ART CLAIMS, ENCOURAGED MANY AMATEURS TO BABBLE AND MAKE THE WORDS “ ABT,” “ TRUTH,” AND “NATURE ” STINK IN THE NOSTRILS OF SERIOUS ARTISTS, ENDING BY GIVING A FEW A BRUTAL SORT OF APPREHENSION OF ART, AND DYING WHEN ITS ALLOTTED TASK WAS DONE WITH A GIBB ON ITS LIPS, FOR THE “AMATEUR,” THE “PLAGIARIST,” THE “ PRATING TRUE-TO-NATURE MAN,” THE “ IMPRESSIONIST,” THE “NATURALIST,” THE “ IDEALIST,” AND THE HUMBUG. The Fourteenth Annual Stanley Cycle Show, open at the Crystal Palace from the 23rd to the 31st inst., is far more interesting than any of its predecessors, several novel features being introduced. Mr. E. R. Shipton, secretary to the Cyclists’ Tourist Club, will, on Monday evening next, read a paper on improvements in the manufacture of tyres, and sections of the various tyres will be shown on the screen by means of lantern slides. Solutions of Celluloid.—Dr. Charles Ehrmann writes : — “ Alcoholic solution of celluloid has been said to be an exceed ingly fine retouching varnish. But celluloid is in reality not more soluble in alcohol than ordinary gun-cotton or xyloidine. When small and tiny shreds of celluloid are macerated in alcohol of nine-five per cent., the substance swells up like gelatine does in water ; the alcohol permeates its pores and dissolves the camphor contained, so that the final result is a solution of camphor, nothing else. We do not deny that a thin stratum of camphor upon the gelatine film will assist materially retouching with a graphite pencil, but the medium is by no means celluloid, which has proved to be so excellent to retouch upon. After macerating the celluloid in alcohol, and a thorough dissolution of camphor, washing it in water and drying, it will burn with detonation, exactly like gun cotton does—proof enough that the alcohol had no other effect upon it than that above stated.”
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