Camera Work: A Photographic Quarterly — 1907 (Heft 17)

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in his instrument, and seeks to express quality in his playing, so the painter
and photographer, if he is in touch with modern feeling, tries for quality in
his pictures.
Herzog doesn’t. In belittling the technique of quality he proves him-
self behind the march of the last fifty years; in not caring for its expressive-
ness, he is out of touch with the modern spirit. While photography, like
painting, has been striding toward a new light, he has made a strategic move-
ment to the rear, and set his face backward, to where the sun has long since
set. In the dwindling glow of its reflection he conjures up the phantom of
Her Ancient Ladyship. Charles H. Caffin.

THE more an artist knows, the more he simplifies.
An artist’s feeling may be judged by a flower that
he has painted.
A smile is more difficult to express than tears.
Art is made for the fastidious and passes over
the heads of the vulgar; otherwise it would no longer
be art.
Violence is not strength.
A painter should not live on his memories: he should paint what he
sees, what has just moved him.
In painting there are no phenomenons; infant prodigies such as Pascal,
Mozart, Pico de la Mirandola, etc., do not exist in our art.
The grandeur of a work is not measured by its dimensions.
One is a great painter only on condition of being a great craftsman.
Air indoors is more difficult to paint than air outdoors.
A picture, like a pretty woman, needs dress.
—From The Scrip.
* Translated from the French by Mary Gould Luther.

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