Naturalistic Photography for Students of the Art

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S. Low, Marston, Searle & Rivington, 1890 - Art and photography - 313 pages
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Page 120 - Painting is a science, and should be pursued as an inquiry into the laws of nature. Why, then, may not landscape painting be considered as a branch of natural philosophy, of which pictures are but the experiments?
Page 302 - Striking ideas we have, and wellexecuted details we have ; but that high symmetry which, with satisfying and delightful effect, combines them, we seldom or never have. The glorious beauty of the Acropolis at Athens did not come from single fine things stuck about on that hill, a statue here, a gateway there ; — no, it arose from all things being perfectly combined for a supreme total effect.
Page 102 - To look at anything means to place the eye in such a position that the image of the object falls on the small region of perfectly clear vision. This we may call direct vision, applying the term indirect to that exercised with the lateral parts of the retina — indeed with all except the yellow spot.
Page 102 - All the other parts of the retinal image are seen imperfectly, and the more so the nearer to the limit of the retina they fall. So that the image which we receive by the eye is like a picture, minutely and elaborately finished in the centre, •but only roughly sketched in at the borders. But although at each instant we only see a very small part of the field of vision accurately, we see this in combination with •what surrounds it, and enough of this outer and larger part of the field, to notice...
Page 16 - The dignity of the snow-capped mountain is lost in distinctness, but the joy of the tourist is to recognize the traveller on the top. The desire to see, for the sake of seeing, is, with the mass, alone the one to be gratified, hence the delight in detail.
Page 120 - all the landscape," it should be seen at a certain distance — the focal length of the lens used, as a rule, and the observer, to look at it thoughtfully, if it be a picture, will settle on a principal object, and dwell upon it, and when he tires of this, he will want to gather up suggestions of the rest of the picture.
Page 299 - Art the big physical facts of nature must be truthfully rendered; that is, the leaven of Science in Art. And so we see there is a relationship between science and art, and yet they are as the poles asunder. II. We shall now endeavor to discuss briefly how our remarks apply to photography. Any student of photographic literature is well aware that numerous papers are constantly being published by persons who evidently are not aware of this radical distinction between science and art. The student will...
Page 285 - ... technique. The point is, what you have to say and how to say it. The originality of a work of art refers to the originality of the thing expressed and the way it is expressed, whether it be in poetry, photography, or painting. That one technique is more difficult than another to learn no one will deny; but the greatest thoughts have been expressed by means of the simplest technique, writing.
Page 89 - With them who do not love her and who do not trust her, she does not let herself be understood, and retires into her shell. She must be constrained and reserved with them. And, of course, they say : ' The grapes are green. Since we can not reach them, let us speak ill of them.
Page 76 - I hope to show that ours is a regularly taught profession; that it is scientific as well as poetic ; that imagination alone never did, and never can, produce works that are to stand by a comparison with realities...

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