DOI Artikel:
Holland, Clive: Some notes upon the Pictorial School and its leaders in France
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.27086#0101
SOME NOTES UPON THE
PICTORIAL SCHOOL AND ITS
LEADERS IN FRANCE.
LTHOUGH by the foundation of the “ Linked
Ring ” and the holding of the first “ Salon ”
in 1903, English pictorial workers may be
said to have organised themselves before those
of France, the Exhibition of Artistic Photo-
graphy, initiated by the well-known Photo
Club de Paris in the following year, left
French workers but little in the rear of their
British confreres. It was in that year that the
title of the “ Photographic Salon ” was first adopted in France,
the “ show ” ,being held in the well-lighted and spacious Galerie
des Champs-Elysees, where no less than six hundred prints were
hung without undue crowding or loss of effect.
The founding of the Photographic Salon by the Photo Club de
Paris was speedily destined to have even more immediately far-
reaching effects than the action of the “ Linked Ring ” in England.
The movement towards pictorialism rapidly extended to the
provinces, and in 1897 a marked endeavour was seen at places so
widely apart as Dijon, Bourges, Dunkirk, Roannes, and Rennes to
organise exhibitions which should be for the encouragement and
furtherance of the ideas and aims of the leading pictorial workers
in Paris. These efforts were warmly encouraged by the metro-
politans (in France art in any form or process of development
meets with much of the assistance which is so often denied it in
England, or if given bestowed grudgingly), and the request
from provincial organisations for the loan of pictures repre-
sentative of the best work of leading pictorialists met with a
ready response. This decentralisation has during the succeeding
years been productive of excellent results ; leading to a general
upraising of the standard of attainment, and the discovery of a
considerable number of workers gifted with artistic feeling as well
as good technique.
Although from time to time new men and women have come into
the field of pictorial photography in France, and have attained
prominent positions therein, either by reason of their artistic gifts or
originality of view, it is not an uninteresting fact to note that many
f 1
PICTORIAL SCHOOL AND ITS
LEADERS IN FRANCE.
LTHOUGH by the foundation of the “ Linked
Ring ” and the holding of the first “ Salon ”
in 1903, English pictorial workers may be
said to have organised themselves before those
of France, the Exhibition of Artistic Photo-
graphy, initiated by the well-known Photo
Club de Paris in the following year, left
French workers but little in the rear of their
British confreres. It was in that year that the
title of the “ Photographic Salon ” was first adopted in France,
the “ show ” ,being held in the well-lighted and spacious Galerie
des Champs-Elysees, where no less than six hundred prints were
hung without undue crowding or loss of effect.
The founding of the Photographic Salon by the Photo Club de
Paris was speedily destined to have even more immediately far-
reaching effects than the action of the “ Linked Ring ” in England.
The movement towards pictorialism rapidly extended to the
provinces, and in 1897 a marked endeavour was seen at places so
widely apart as Dijon, Bourges, Dunkirk, Roannes, and Rennes to
organise exhibitions which should be for the encouragement and
furtherance of the ideas and aims of the leading pictorial workers
in Paris. These efforts were warmly encouraged by the metro-
politans (in France art in any form or process of development
meets with much of the assistance which is so often denied it in
England, or if given bestowed grudgingly), and the request
from provincial organisations for the loan of pictures repre-
sentative of the best work of leading pictorialists met with a
ready response. This decentralisation has during the succeeding
years been productive of excellent results ; leading to a general
upraising of the standard of attainment, and the discovery of a
considerable number of workers gifted with artistic feeling as well
as good technique.
Although from time to time new men and women have come into
the field of pictorial photography in France, and have attained
prominent positions therein, either by reason of their artistic gifts or
originality of view, it is not an uninteresting fact to note that many
f 1