Many of us remember the days when enthusiastic disciples of the wonderful new art of photography prophesied that no other would soon be needed, and that the draughtsman's craft would before long cease to exist. And further, they maintained it only required the discovery of a means to photograph colour for the painter's art also to be demolished. Artists, however, knew better. What was valuable in the records of photography, and what was of most intrinsic worth in the records created through means of the human hand and eye, were absolutely incomparable quantities. The treatment of nature in a photographic picture, however admirable and complete, must always be lacking in the evidence of any preference, reverence, or enthusiasm in the sacred fire, in fact, which inspires the draughtsman's pencil and the painter's brush. Photography is indiscriminate; human art is selective, and is precious as it evinces and secures a choiceness in selection. However truthfully a photograph may record beauty of line and form in nature, it inevitably also records in its want of discrimination any facts which may exist in the view photographed; these counterbalance the effect of such beauty, and mar the subtle impression of charm which scenes in nature produce on a mind sensitive to beauty.Vol. II here.
A related post: Photographs and Paintings
Not unrelated: The Stranglers' Golden Brown, a song in praise of opiates, filmed in Leighton House.
|Frederic Leighton, Idyll (c. 1880)|