DOI Artikel:
Thovez, Enrico: Artistic photography in Italy
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.27086#0155
ITALY
big felt hat, who looks at one so slily as he holds in his fingers the
long and slender tube of clay. At once one remarks how great
the care for historic accuracy in costume and in details bestowed
by M. Rey on his compositions. The same figure appears in the
next picture, Prelude. A lady is playing the guitar, and the man
seated at the table looks at her and listens. Terburg need not have
hesitated to sign this most harmonious composition. From the
photographic point of view the exquisite softness of the blended
tones is remarkable, for they rid the ensemble of all trace of photo-
graphic realism and translate the work into the sphere of individual
creative art.
With the Dejeuner intime we start the numerous series of works
devoted to subjects inspired by the graceful and frivolous period of
Louis XV. The gallant and the sprightly soubrette have finished
their little meal, and their chatter is becoming more intimate.
The joyous, piquant character of the laughing life of the age is
herein depicted with much humour and grace, while, historically,
the setting is perfect. Quite different in sentiment is the scene
which follows, entitled Un coin tranquille, in which we behold a
lady seated near a window, working at her embroidery in quiet
meditation. The Lecture de la Bible and the Communiante transport
us to the pious land of Brittany. In the one it is the father who is
making his child read from the sacred Book ; in the other the
mother or the elder sister is arranging the young communiante's
veil. This last is, perhaps, one of M. Rey's most successful scenes ;
it is of high artistic value, and is admirably composed. The feeling
it produces is deep and mystical ; the dreamy softened light has a
delicacy quite in keeping with the poetry of the subject. A ray of
sunlight glides through the window-panes across the light texture
of the curtains, and, playing among the folds of the pure white veil,
lights up the face of the young girl as with an aureole. Thus the
poetic suggestion of the theme is obtained by a poetic effect of
light. From the technical standpoint this is one of M. Rey’s
happiest efforts. Some of the critics, surprised by the harmony
of its light and shade, even suggested that certain of the whites
were obtained by retouching, of which, however, there is not the
slightest trace, either here or elsewhere.
In every way worthy of a place beside this last work is the scene
of the Enfant qui lit—a child reading near a window, seated in a
large arm-chair. Here again we have an effect of half-light. This
work may be described in very few words : a curtained window,
a child wearing a little cap, a cushion, a table cover, a vase with
!• 5
big felt hat, who looks at one so slily as he holds in his fingers the
long and slender tube of clay. At once one remarks how great
the care for historic accuracy in costume and in details bestowed
by M. Rey on his compositions. The same figure appears in the
next picture, Prelude. A lady is playing the guitar, and the man
seated at the table looks at her and listens. Terburg need not have
hesitated to sign this most harmonious composition. From the
photographic point of view the exquisite softness of the blended
tones is remarkable, for they rid the ensemble of all trace of photo-
graphic realism and translate the work into the sphere of individual
creative art.
With the Dejeuner intime we start the numerous series of works
devoted to subjects inspired by the graceful and frivolous period of
Louis XV. The gallant and the sprightly soubrette have finished
their little meal, and their chatter is becoming more intimate.
The joyous, piquant character of the laughing life of the age is
herein depicted with much humour and grace, while, historically,
the setting is perfect. Quite different in sentiment is the scene
which follows, entitled Un coin tranquille, in which we behold a
lady seated near a window, working at her embroidery in quiet
meditation. The Lecture de la Bible and the Communiante transport
us to the pious land of Brittany. In the one it is the father who is
making his child read from the sacred Book ; in the other the
mother or the elder sister is arranging the young communiante's
veil. This last is, perhaps, one of M. Rey's most successful scenes ;
it is of high artistic value, and is admirably composed. The feeling
it produces is deep and mystical ; the dreamy softened light has a
delicacy quite in keeping with the poetry of the subject. A ray of
sunlight glides through the window-panes across the light texture
of the curtains, and, playing among the folds of the pure white veil,
lights up the face of the young girl as with an aureole. Thus the
poetic suggestion of the theme is obtained by a poetic effect of
light. From the technical standpoint this is one of M. Rey’s
happiest efforts. Some of the critics, surprised by the harmony
of its light and shade, even suggested that certain of the whites
were obtained by retouching, of which, however, there is not the
slightest trace, either here or elsewhere.
In every way worthy of a place beside this last work is the scene
of the Enfant qui lit—a child reading near a window, seated in a
large arm-chair. Here again we have an effect of half-light. This
work may be described in very few words : a curtained window,
a child wearing a little cap, a cushion, a table cover, a vase with
!• 5