Art in photography by unknow

Author:unknow
Language: eng
Format: epub
Tags: Photography, Photography, Artistic
Publisher: London, New York [etc.] Offices of 'the Studio,'
Published: 1905-03-25T05:00:00+00:00

FRANCE

discretion they soon rendered their position as leaders in this particular school unassailable.

Progress in the pictorial side of photography in France has been slow during the last few years, and this fact is admitted by most of the leading workers. As M. Demachy himself has said, the progress in the more elementary features of artistic work is rapid — these can be learned in a month or two ; but afterwards — well, a year may pass with any worker without his making any very appreciable advance. The same is almost equally true of a body of workers who may be experimenting or producing along identical lines. New pictorialists of great promise seem to be discovered less frequently in France than in either England or the United States. But the first years of the new century were rich in that they produced some of the best pictures from Mile. C. Laguarde, and MM. Dubreuil, Fauchier-Magnan, Yvon, Sollet, and Ecalle. One marked feature of pictorial photography shown at the Photo Salon, and at even provincial exhibitions, has been the absence of ultra-eccentric work, a circumstance which may not be improperly traced to the fact that French workers as a whole are gifted with a sensitiveness which makes either the ridicule or severely trenchant criticism which such pictures are liable to produce distasteful and even shunned.

In 1903 Major Puyo, who had been for some time experimenting with double and multiple " gum " printing in several colours, showed some pleasing and extremely clever examples of this type of work. Since then his initiative has been followed by several prominent " gum " workers with some considerable degree of success. One of the boldest experiments of the pictorialists yet made was the Exhibition held at Nice, in 1903, of nude, draped, and genre subjects. It was an invitation one, and contained pictures by most of the leaders in these particular fields of photography. A special jury, in which there were two ladies, Mme. Binder-Mestro and Mile. C. Laguarde, was empanelled, and about half of the pictures submitted were rejected as not sufficiently carrying out the conditions which had been drawn up to govern their suitability for inclusion. It has always proved to be a difficult matter to idealise the human form when depicted by the camera, and most of the rejected works were those which, though perhaps showing excellent technique and in a sense beauty, yet failed by reason of the lack of the idealism which was recognised as a sine qua non.

Amongst the leaders of pictorial photography in France few are more deservedly prominent for having done good work than

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