DOI Heft:
Nr. 211 (October 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20971#0083
Studio-Talk
BOOK ILLUSTRATION
BY W. R. E. GOODRICH (SHEFFIELD)
(National Competition, 1910)
painting; but it must be the selection of a photo-
grapher and not of a painter — that is, it must
be selection of the truth to be interpreted with
strict regard to the means in hand. Now, primarily
the concern of photography—as in the case of
every medium—must be with truth of a character
better interpreted by it than by any other medium ;
and it is in the beauty that pertains to such inter-
pretation that the true role of photography will be
found. In the exhibition under notice there was
evidence that the clear
and precise qualities
which belong to photo-
graphic statement are
held in insufficient
esteem, especially in the
case of the portrait
prints, in which the in-
effectual rivalry with the
painter-vision was often
carried to an unpleasant
point. The exhibition
contained, however,
many prints of great
interest, among which
we noted especially Mrs.
G. H. Barton’s The Soul
of the Rose; Dr. Ernest
G. Boon’s The Black
Kitten; The Ravages of
Time, by E. Masmann ;
Hotel de Ville—Cloches,
62
Apropos of Mr. Hind’s
recent article in The
Studio on “ American
Paintings in Germany,”
Mr. Edward Ertz writes
us from Kingsbridge,
Devon, as follows :—
“In referring to the
American artist, William
Morris Hunt, Mr. Hind
does not mention that Hunt was a pupil of the
celebrated French painter and teacher, Thomas
Couture, who caused such a furore in Paris dur-
ing the early sixties. I consider this important
on account of Couture’s influence generally, and
especially on Hunt, J. F. Millet, Manet, Puvis de
Chavannes, and Frederic Leighton who were all
pupils of the same master. Couture at that time
was strongly opposed to the official methods of
teaching and painting as practised by Delaroche,
BOOK ILLUSTRATION
BY W. R. E. GOODRICH (SHEFFIELD)
(National Competition, 1910)
and Portrait-arrangement
in Grey, by C. David
Kay ; Rhododendrons, by
John M. Whitehead;
Penelope fackson, by
George Porter Higgins;
Night on the Seine, by
Oscar Hardee; Slumber,
by Mrs. Jeanne E. Ben-
nett ; and Otterton, by
Miss Agnes B. Warburg.
BOOK ILLUSTRATION
BY W. R. E. GOODRICH (SHEFFIELD)
(National Competition, 1910)
painting; but it must be the selection of a photo-
grapher and not of a painter — that is, it must
be selection of the truth to be interpreted with
strict regard to the means in hand. Now, primarily
the concern of photography—as in the case of
every medium—must be with truth of a character
better interpreted by it than by any other medium ;
and it is in the beauty that pertains to such inter-
pretation that the true role of photography will be
found. In the exhibition under notice there was
evidence that the clear
and precise qualities
which belong to photo-
graphic statement are
held in insufficient
esteem, especially in the
case of the portrait
prints, in which the in-
effectual rivalry with the
painter-vision was often
carried to an unpleasant
point. The exhibition
contained, however,
many prints of great
interest, among which
we noted especially Mrs.
G. H. Barton’s The Soul
of the Rose; Dr. Ernest
G. Boon’s The Black
Kitten; The Ravages of
Time, by E. Masmann ;
Hotel de Ville—Cloches,
62
Apropos of Mr. Hind’s
recent article in The
Studio on “ American
Paintings in Germany,”
Mr. Edward Ertz writes
us from Kingsbridge,
Devon, as follows :—
“In referring to the
American artist, William
Morris Hunt, Mr. Hind
does not mention that Hunt was a pupil of the
celebrated French painter and teacher, Thomas
Couture, who caused such a furore in Paris dur-
ing the early sixties. I consider this important
on account of Couture’s influence generally, and
especially on Hunt, J. F. Millet, Manet, Puvis de
Chavannes, and Frederic Leighton who were all
pupils of the same master. Couture at that time
was strongly opposed to the official methods of
teaching and painting as practised by Delaroche,
BOOK ILLUSTRATION
BY W. R. E. GOODRICH (SHEFFIELD)
(National Competition, 1910)
and Portrait-arrangement
in Grey, by C. David
Kay ; Rhododendrons, by
John M. Whitehead;
Penelope fackson, by
George Porter Higgins;
Night on the Seine, by
Oscar Hardee; Slumber,
by Mrs. Jeanne E. Ben-
nett ; and Otterton, by
Miss Agnes B. Warburg.