Alexandre Dumas in 1855, Nadar (1820-1910).
"Photography is an art, or simply an industry any material which is confined to a few chemical preparations more or less skillfully performed?
The issue is probably moot, as she already led to rather heated controversy. It goes without saying that artists in general do not want seen in the picture than a job unworthy of them, and photographers, however, vigorously pushing the humiliating label given to this wonderful invention, see it as a new art they place almost at the other.
As always happens in such cases, there is obviously exaggerated on both sides. But to choose between the prejudices of artists and photographers claim, we would be tempted, for us to take up the cudgels for them.
No, surely, photography is an art like any other. The invention lacks: it is not a creative art. This can not be the direct work and recognize the absolute hand of man, and it can not therefore claim to a share equal to the glory it deserves in the graphic arts themselves.
But it is not, let alone a job, because success depends not only on the performance of some chemical manipulations, and the result to be satisfactory, requires from Operator tact, an instinct for the picturesque, a delicacy of taste, intelligence of nature, an appreciation of effects of light and shadow, which, all together in a single person, are precisely what we call the feeling of art. It can be very talented photographer without knowing how to draw, but it certainly can not become if one is gifted with the artistic sense.
There is no longer a wall in Paris and the province, which is crowded with events daguerreotype offered to the curiosity of passersby. Therein lies the art. After eight days of lessons, just a little intelligent man happens to produce an image on her little plate or on the wax paper; innocent Industry which makes the sun accomplice willingly or unwillingly, errors of taste which I like to think he blushed under its rays.
But how many are those who, by the same chemical processes can reproduce nature in all its harmony, the monuments of art in all their power and brilliance? Those are counted and there are more, you can recognize, for each of them knows how to give their productions a personal touch, the obvious result of how he understands the nature. Here, for cons, the job disappears and art begins.
photography has its classical and romantic; first pursuing the truth in the finite details and crisp lines, others love the clouds and play of light, and deliberately ignoring what they call minutes grasped the nature in its wider effects. Gradually the schools are formed and characterized, so now, the eye of an amateur so little exercised easily recognize the photographs of British and Italian ones are in France. All this we ask, is it not, to any extent, the fact of an art itself - art stripped I agree again, the creative faculties which are the most beautiful attribute of man's genius, but widely seen to reproductive faculties by which man appropriates to his will all external objects - art school, I admit, but which nevertheless deserves today, taking its place as a result of others?
Frequent meetings, permanent exhibition, readings of memoirs, lectures familiar, publishing a monthly newsletter, these are the ways that the French Photographic Society has implemented, and they were successful, if we judge by the results already obtained. Today the company counts among its members nearly all the photographers of some renown [...]. The contribution of its members as the first prize of the company, which is enriched further by the generous offerings of most of its members, who usually are willing to put his disposal a number of tests of their choice of productions more remarkable. Each year there is a sale. [...]
A [...] thing we hit in the last sale of the French society: it discernment, pure taste shown by the buying public. I need to say that large boards monumental MM. Baldus and Bisson were removed mostly at twice their market value? These eminent photographers were sent there as their work choices. Near them, the trials of Mr. de Noailles does not, however, paled. It is true that it had to cooperate to the African sun, with which he went to reproduce the wonderful Roman ruins buried in the Regency of Tunis. [...]
The scenery was abundantly represented in the sale. French and foreign, amateur and professional photographers, were loose in the arena, and the public seems to have greatly enjoyed their work. Among those who obtained the greatest success at auction, you must first cite the views of Switzerland, P. Perier, so fine, so bright, so harmonious, though spiritual in a word, the edges of rivers so calm and reflections so pure M. Aguado, effects of sea surprising if Mr. Legray; the magnificent views of Scotland by Mr. Fenton, the English photographer, with distant ethereal and diaphanous which he alone has the secret landscapes if Laughing, Mr. Pesme if true, those of MM. Mailand, Fortier, Fierlants and Davanne, and, above all, perhaps, the views of Mr. Holland Jeanrenaud, who seems to have inspired not only the nature he had to reproduce, but at the same time feeling The most exquisite of this great school of landscape which Holland was the cradle.
As for the figure, everyone was smiling at a friend or an acquaintance saluted flipping portraits so alive, so animated by Mr Nadar, the real Nadar, Nadar, whose signature the well-known covers alone an acre of wall space in Le Havre. What good, however many ads, when you sign for all respondents and for those smiling faces where nature is so well caught in the act? Look, right audience, recognize your friends: Janin here with his good humor and spiritual behold Dumas you smiled a little mockingly in Announcing to his imminent departure for a new voyage of discovery, and he, with his bonhomie Full of finesse which genius seeks in vain to conceal, have you not recognized Rossini? But amid the joyous circle, what is this austere figure whose features seem rather fiercely chiseled face a plaster cast an image borrowed from the rays of the day? Silent name. Success here has been lacking. M Nadar was too light for the hand of such subjects. He leaves his successful rival MG Legray care to reproduce the great figures of politics and male faces of our soldiers! "
Lasteyrie Ferdinand," The French Society of Photography, "
The Age, Friday, June 25, 1858.
The Age, Friday, June 25, 1858.
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