DOI Artikel:
Marius De Zayas, Photography and Artistic-Photography
DOI Artikel:Mary Steichen, The Skylark
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31249#0026
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It has been observed that Nature to the majority of people is amorphic.
Great periods of civilization have been necessary to make man conceive the
objectivity of Form. So long as man endeavors to represent his emotions or
ideas in order to convey them to others, he has to subject his representation of
Form to the expression of his idea. With subjectivity man tried to represent
his feeling of the primary causes. That is the reason why Art has always
been subjective and dependent on the religious idea.
Science convinced man that the comprehension of the primary causes is
beyond the human mind; but science made him arrive at the cognition of
the condition of the phenomenon.
Photography, and only Photography, started man on the road of the
cognition of the condition of the phenomena of Form.
Up to the present, the highest point of these two sides of Photography has
been reached by Steichen as an artist and by Stieglitz as an experimentalist.
The work of Steichen brought to its highest expression the aim of the
realistic painting of Form. In his photographs he has succeeded in expressing
the perfect fusion of the subject and the object. He has carried to its highest
point the expression of a system of representation: the realistic one.
Stieglitz has begun with the elimination of the subject in represented
Form to search for the pure expression of the object. He is trying to do
synthetically, with the means of a mechanical process, what some of the most
advanced artists of the modern movement are trying to do analytically with
the means of Art.
It would be difficult to say which of these two sides of Photography is
the more important. For one is the means by which man fuses his idea with
the natural expression of Form, while the other is the means by which man
tries to bring the natural expression of Form to the cognition of his mind.
Marius De Zayas.
THE SKYLARK
Oh, the skylark, the skylark,
The beautiful skylark
I heard in the month of June,
It was nothing but a dark, dark
Speck. And nothing but a tune.
And Oh! If I had some wings
I would fly up to him
And I would look down upon the things
Until the day grew dim.
Mary Steichen.*
*Age not quite nine.
H
Great periods of civilization have been necessary to make man conceive the
objectivity of Form. So long as man endeavors to represent his emotions or
ideas in order to convey them to others, he has to subject his representation of
Form to the expression of his idea. With subjectivity man tried to represent
his feeling of the primary causes. That is the reason why Art has always
been subjective and dependent on the religious idea.
Science convinced man that the comprehension of the primary causes is
beyond the human mind; but science made him arrive at the cognition of
the condition of the phenomenon.
Photography, and only Photography, started man on the road of the
cognition of the condition of the phenomena of Form.
Up to the present, the highest point of these two sides of Photography has
been reached by Steichen as an artist and by Stieglitz as an experimentalist.
The work of Steichen brought to its highest expression the aim of the
realistic painting of Form. In his photographs he has succeeded in expressing
the perfect fusion of the subject and the object. He has carried to its highest
point the expression of a system of representation: the realistic one.
Stieglitz has begun with the elimination of the subject in represented
Form to search for the pure expression of the object. He is trying to do
synthetically, with the means of a mechanical process, what some of the most
advanced artists of the modern movement are trying to do analytically with
the means of Art.
It would be difficult to say which of these two sides of Photography is
the more important. For one is the means by which man fuses his idea with
the natural expression of Form, while the other is the means by which man
tries to bring the natural expression of Form to the cognition of his mind.
Marius De Zayas.
THE SKYLARK
Oh, the skylark, the skylark,
The beautiful skylark
I heard in the month of June,
It was nothing but a dark, dark
Speck. And nothing but a tune.
And Oh! If I had some wings
I would fly up to him
And I would look down upon the things
Until the day grew dim.
Mary Steichen.*
*Age not quite nine.
H
