File:The artistic side of photography in theory and practice (1910) (14595309520).jpg

Identifier: artisticsideofph00ande (find matches)
Title: The artistic side of photography in theory and practice
Year: 1910 (1910s)
Authors: Anderson, A. J. (Arthur James), b. 1863
Subjects: Photography
Publisher: London, S. Paul & Co
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries

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set pieces with dressed-upmodels ; of the combination printing in which moun-tains and mud-banks were successfully blended intoone picture ; of printing through a sheet of glassuntil the outlines of the image became blurred andbleary; or of enlarging so that the threads of theintervening bolting-silk were visible ? Where arethe Rembrandt lightings, the moonlight effects,and the low-toned noonday nocturnes ? Has gum-bichromate proved to be the way of salvation, oroil-printing sounded the knell of sepia drawing ? So now the pictorial photographers find that, inspite of passing pangs of artistic progress whichtempted their men to wear long locks and their womenflowing gowns, they are only standing near whereHill left off; and, if they be thoughtful, they arebeginning to review the situation. If this be true—and it is true—the way in whichphotographers reconsider the artistic possibilities ofphotography is of the utmost importance. III. It is seldom that equal powers of memory and 16
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PORTRAIT OF A BOY. By D. O. Hill. 17 <fe How to Approach the Subject reason are found in one and the same person ; and,although either faculty may be developed to a greatextent, the particular natural power is the one thatis usually cultivated. An accurate memory is the foundation on whichpure history, languages, and dogmatic theology arebuilt up ; the gift of reason is the rock on whichmathematics, science, speculative theology, and thefine arts are founded. In fact, the creator (whetherhe devise a picture, a sewing-machine, or a new reli-gion) must be better endowed with a sense of logicthan with a memory for detail: it was the artist of theRenaissance, and not the scholar, who planned earth-works and created fortifications. Now, I am not arguing for one moment that theartistic mind and the mathematical mind are one,for the mathematical mind will probably lack thatquality of imagination which is essential in artisticexpression. What I am really arguing is that the artistic mindbe

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