DOI article:
Holland, Clive: Artistic photography in Great Britain
DOI Page / Citation link:https://doi.org/10.11588/diglit.27086#0026
GREAT BRITAIN
any for particular notice ; but perhaps his “ Lord Lovat,” a splendid
example of a clearly modelled head in the light, and his “ Portrait
of a Lady,” hung in the Photographic Society’s Exhibition in 1901,
may be mentioned as exhibiting the chief qualities of his work in
this field. But Mr. Crooke has also produced charming studies
which come mid-way between that of portraiture and of figure
work ; an example of this work is that reproduced in the present
volume.
Of the work of the veteran pictorial portraitist, Mr. Frederick
Hollyer, there is little need to write. Few of the important
exhibitions of recent years have been without several examples of
his unfailing skill. A memory of the novel and daring portrait
of his son—labelled “ Portrait en Chapeau,” a three-quarter length
picture of a young gentleman in overcoat and “ top ” hat, just
about to step out through a slightly open door—lingers, although
it is nearly ten years ago since the work was hung at the Salon.
Since then Mr. Hollyer must have shown some scores of portraits
of distinction and originality at the various Exhibitions. Few,
however, have exceeded in either interest or strength those of the
late Sir Edward Burne Jones, and the fine portrait of Mrs. Patrick
Campbell, reproduced in the present volume.
Any attempt to deal with the work of leaders in the branches of
figure studies and portraits would be inexcusably incomplete without
at least a passing (and we fear from lack of space an inadequate)
reference to Mrs. Barton, whose pictures in both these branches of
pictorial work have been notable during the last three or four years.
There is a breadth of treatment and boldness as well as an originality
about her pictures which has assisted her more than mere technique
to come rapidly to the front ; and, indeed, has placed her at the
head of lady workers who follow figure study and portraiture in
preference to other departments of photographic work. Some of
Mrs. Barton’s pictures show that the pre-Raphaelite school has
influenced her considerably. Of her most successful works we may
mention “The Awakening,” “St. Dorothea,” and “A Country
Gentleman,” in the Salon of last year.
Amongst those who may be very properly considered as leaders in
architectural photography of the best and most pictorial character,
Mr. Frederick H. Evans, Mr. Eustace Calland, and Mr. Walter
Benington, are prominent. But it must be added that all these
workers have produced notable pictures at various times, either in
the schools of portraiture, figure studies or landscape.
We venture to think, however, that it is Mr. Evans’ impressive and
G B 12
any for particular notice ; but perhaps his “ Lord Lovat,” a splendid
example of a clearly modelled head in the light, and his “ Portrait
of a Lady,” hung in the Photographic Society’s Exhibition in 1901,
may be mentioned as exhibiting the chief qualities of his work in
this field. But Mr. Crooke has also produced charming studies
which come mid-way between that of portraiture and of figure
work ; an example of this work is that reproduced in the present
volume.
Of the work of the veteran pictorial portraitist, Mr. Frederick
Hollyer, there is little need to write. Few of the important
exhibitions of recent years have been without several examples of
his unfailing skill. A memory of the novel and daring portrait
of his son—labelled “ Portrait en Chapeau,” a three-quarter length
picture of a young gentleman in overcoat and “ top ” hat, just
about to step out through a slightly open door—lingers, although
it is nearly ten years ago since the work was hung at the Salon.
Since then Mr. Hollyer must have shown some scores of portraits
of distinction and originality at the various Exhibitions. Few,
however, have exceeded in either interest or strength those of the
late Sir Edward Burne Jones, and the fine portrait of Mrs. Patrick
Campbell, reproduced in the present volume.
Any attempt to deal with the work of leaders in the branches of
figure studies and portraits would be inexcusably incomplete without
at least a passing (and we fear from lack of space an inadequate)
reference to Mrs. Barton, whose pictures in both these branches of
pictorial work have been notable during the last three or four years.
There is a breadth of treatment and boldness as well as an originality
about her pictures which has assisted her more than mere technique
to come rapidly to the front ; and, indeed, has placed her at the
head of lady workers who follow figure study and portraiture in
preference to other departments of photographic work. Some of
Mrs. Barton’s pictures show that the pre-Raphaelite school has
influenced her considerably. Of her most successful works we may
mention “The Awakening,” “St. Dorothea,” and “A Country
Gentleman,” in the Salon of last year.
Amongst those who may be very properly considered as leaders in
architectural photography of the best and most pictorial character,
Mr. Frederick H. Evans, Mr. Eustace Calland, and Mr. Walter
Benington, are prominent. But it must be added that all these
workers have produced notable pictures at various times, either in
the schools of portraiture, figure studies or landscape.
We venture to think, however, that it is Mr. Evans’ impressive and
G B 12