Camera Work: A Photographic Quarterly (1903 (Heft 2))

THE elaborate patterns of Morris have given way to wall-paper of one
uniform color, and modern furniture is slowly freeing itself from the
influence of former historic periods and trying to construct a style of its
own, based on lines which nature dictates. Whistler and Alexander have
preached the very same lesson in the backgrounds of their portraits. Every-
where in their pictures we encounter the thin black line of the oblong frame
which plays such an important part in the interior decoration of to-day, and
which invariably conveys a delightful division of space.
THE artistic photographer has elaborated on the black frame and white
mat. He has created in his frame innumerous harmonies of color, form, and
material, and if there shall ever be a demand for them, and if they shall ever
serve as suggestions for interior decoration, we shall surely be able to steer
clear of monotony; for I must confess that if the majority of rooms were
furnished in the Whistler fashion (as suggested in “His Mother” and
“Carlyle”), it would be as unbearable as the present museum style.
ALSO, the advanced professional photographers, slowly falling in with the
steps of the artistic photographers, help the cause. The former way of
mounting photographs on stiff board, which could only be put in albums or
bric-à-brac frames on mantelpieces, etc., had no artistic pretence about it
whatever. Their present way, mounting the print on large gray sheets of
paper with rough edges and overlapping covers is really nothing but an
invitation to buy a frame for the print and hang it on the wall. The pro-
fessional print has acquired a pictorial significance.
BUT it is, after all, an open question whether these efforts will be crowned
with success. We are too much interested in the utilitarian equipments of
our homes, ever to give, as the Japanese do, first consideration to harmony.
And harmony, perfect harmony, is necessary to adapt their style of interior
decoration successfully, the elaborate details of which in turn are lost in the
background, which is impossible with our present system of house-building.
As long as door-jambs and window-sills and mantelpieces are manufactured
wholesale, and as long as our rooms are infested with stereotype chandeliers,
registers, etc., a burlap-wall, with a few " Secession ” prints will not save us.
And to go to the extreme, as some esthetes are apt to do—and they have
to go to extremes from our view-point — will always be regarded as an
eccentric, visionary accomplishment. I personally have never been sensitive
to my surroundings; I like a general harmony of effect, but would tire of
any room that carried out a distinct line-orcolor-scheme, and I would find
it rather ridiculous to build a special sanctuary for a Whistler etching, a
Dewing silver print, or a Steichen print. In Japan furniture is scant, and
the interiors of the houses generally kept in a neutral tint, to which the
details lend thecolor-notes.. If our interiors were as simple and artistic as
the Japanese ones, we should have a good basis to work on.
AS it is, the photographic prints are finger-posts in the right direction.
Whether we can pursue the indicated path to the very end, is a question
which the future has to decide.
SlDNEY ALLAN.

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