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The photographic news
- Bandzählung
- 24.1880
- Erscheinungsdatum
- 1880
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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. 1122, March 5, 1880
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Zeitschrift
The photographic news
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Band 24.1880
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- Register Index 631
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Band 24.1880
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MARCI 5, 1880.] THE PHOTOGRAPHIC NEWS. 113 care. As in the early, so in the recent, has the work of the artist been made to do duty in interpreting through ideas and words ; and that, too, by Her Britannic Majesty through one of her pro-consuls, Sir Robert Barkly, during one of the Maori wars. Knowing nothing of the Maori speech, and less of their writteh language, he had to apply to a native artist to write a pictured proclamation that all who ran or saw might read. Thus we see that the aitist—the former, the maker, the man who has one or more ideas, and can give them physical shapes, be that as a picture, or a jug, or a carved or modelled figure or group, or a noble building—does the world good service—creates, in fact, that which previously had only existence in the realms of his own far-reaching thought. There are, no doubt, in this direction many degrees of quality—as many, perhaps, as in that idea so lucidly expressed by Thomas Carlyle in his monograph on Robert Burns, “ as much difference as there is in a voyage round the world and one to the Isle of Dogs ; " but still it must be admitted, even by photographers, and those of the modern Athens, that the ideal, and the power to represent it, take precedence of the mere copy ing of the real, and it is here where the true artist—the man of imagination—has his own acknowledged field, and that one in which, by reason of its intrinsic difficulty, there are few or no competitors. 1 suppose it would not be difficult to count within the compass of one’s ten fin gers the really great painters this planet has given birth to ; so, also, of the sculptors, so of the architect. I speak not of the other arts : they do not come within the scope of this evening’s subject; but, as I said before, it is for the good of the world, for the benefit of civilization, and for the best interests of man, that the widest diffusion of the works of true artists should be encouraged, and acquaintance with their peculiarities and beauties be culti vated. It cannot be expected that in our reproductions, taken, as they have been, at various times, and with no purpose of showing them in this way, that they will faithfully represent the works. Few photographs do that, for from the difficulties of colour, of surface, and other considera tions, the photoscript is but an indifferent representation of the living force of the original; but in many, if not in most of those to be shown, colour feeling has, to a large extent, been retained, and thus, to some extent, you will have monochrome representations keeping the light and shade as the artist intended. It has been a disputed question, and one which I will not raise this evening, whether the photographer should or should not be considered an artist. If artist meant or means only picture-maker, then, of course, my brethren of the stained fingers would come under that coveted title; but I am afraid that not only them, but many, very many, of the brethren (if they will allow me to call them so) of the palette and brush must be put in the same cate gory ; mere copyism, no matter in what medium, is not art —creative art—but simple imitation. I have heard it stated that imitation was the sincerest flattery, but I am not aware that Dame Nature ever cared much for that, and to what evils it leads may be seen in the extinct art of the grandest as the earliest nation of antiquity, Egypt, where imitation, and that of early and therefore crude forms, became a matter of religious belief, or a matter of priestly ordination and sacerdotalism, and thus crushed out of the artists of the time all power to exercise the imagination — a power which then passed to the Greeks, who became the most imaginative and perfect of all artists. So much for the ancient forms and phases of imitative art. But there exists in the Empire of China a living, if not a petrified, example of the danger of mere imita tion in art.. I need say nothing more of Chinese art than this: that if technical ability and capacity for imitation means art, then the Chinese are a race of artists. B u they are not. They have in a high degree what so many of our own possess, the capacity of copying almost as closely as does the camera ; but that does not therefore make them artists in the higher or true sense. We cannot approach them in such decorative art as painted porcelains, but there they stop. This should teach a lesson to a large proportion of our artists, that mere copying of bits from nature is not necessarily the highest form of art, but simply ranking pretty much on the same level as that of our careful and artistic photographer who studies his sub jects carefully, selects his point of view and proper time of lighting, and makes his negative which may be exceedingly fine, calls it a work of art, a thing which by its nature it cannot be (it is a pity, but it is so.) This brings us back to the fact that I at the next ordi nary meeting of the Society shall get a good word-drub bing for my heterodoxy, but I suppose I must grin and bear it, as so many heterodox believers and teachers have had to do before. The quality or qualities of the pictures to be thrown on the screen you must make yourselves judges of, and com pare, if necessary, with similar photographic subjects from nature which you may have seen; but I think, on the whole, it would not be advisable for me to make the comparison, so for this evening we will be gratified and thankful in being allowed to have use of and liberty to ex amine and criticise some of the finest of modern pictures in the form of photographs. Of sculpture I am sorry to say we are not so well sup plied as we should have wished to be ; but there seems to be a most curious and unacountable deficiency in this branch of art in this country, more especially as those who may be supposed to be able to commission such works are as a rule those who pride themselves on their high ap preciation of art; but it would seem as if portrait busts and memorial tombs were thought to be the only use our wealthy men could make of the Divine faculty granted to our sculptor. Let us hope they will get their eyes opened to the error of their way, and spend at least some small portion of their well-earned wealth in promoting the growth of that art which has as yet barely succeeded in asserting that it can and must grow, and grow to the great benefit and advantage of the whole community. FRILLING. It is to be hoped that ere long the makers of gelatine plates will find some means of getting rid of frilling for good and all. That there is a movement in that direction is evident from the fact that frilling is much less frequently mentioned than formerly in the journals and society meetings. Still one does still occasionally hear of it. When it does occur with a batch of plates, it is well to know how to deal with it. The alum bath is a capital thing for plates that show a tendency for frilling, but that, of course, cannot be used until after the plate is developed, and frilling does some times begin even while the plate is in the developing solu tion. This case can be dealt with by very simple means. If, instead of the pyrogallic acid solution being entirely aqueous, it be made with half water and half methylated spirit, and with a double dose of pyrogallic acid in it, all tendency to frill will be completely suppressed, and it will only be necessary to follow up with the alum bath, in order to bring even the tenderest of films safely through all the rest of the bathing and washing. The spirituous solution has one drawback : it seems to change more rapidly than the ordinary solution ; but that is a trifle. About double the quantity of pyrogallic acid is required to produce the same density that the normal aqueous solution produces.
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