RE – CREATING  THE  PAST  ……

PICTORIALISM  (1890  -  1930)

 

A way of recognition and integration of photography, as major mean of expression in the fascinating world of the “ BEAUX ARTS “ among the turn of the  19th – 20th century.

One century later, the recent development of digital image creates a more romantic revival for processes from the past like …

 

THE  “  BROMOIL “ PROCESS :

 

The process is properly originated from the oil process, which was suggested in a patent dated 1855.

Then it was in 1907 that C. WELBOURNE PIPER worked out a formula for the BROMOIL PROCESS, on a suggestion by E.J.  WALL.

BROMOIL is the “ odd one “ out in comparison with most of the other early processes.

The process was very popular in the early part of the 20th century.

The METHOD briefly , is, that the silver image, contained in gelatin on a bromide print, is bleached away and at the same time, the gelatin is hardened according to the amount of silver it contains.

Then it is fixed, washed and dried, after which it is re-soaked to condition the gelatin, and then  all surplus water is removed.

A greasy ink, such as lithographic ink, is then applied by brush and is accepted where the gelatin has hardened (black areas): but is rejected where the gelatin has swollen by the water

(the highlights)

Thus, the original conventional bromide print is built up so, that the silver image – the black and white photograph – is now an ink image and  PERMANENT  like an  “ etch “.

 

THE  IMAGE  BECOMES  AN  ARCHIVAL  VALUE  and  the  process  is  by definition  called  “NOBLE”

 

By judicious application and partial removing of the ink, the worker has fine finishingcontrol.

 

THIS IS THE STAGE AT WHICH THE PHOTOGRAPHER CROSSES OVER THE  BORDER  INTO  THE  DOMAIN  OF  THE  ARTIST  AND  ART PRINTMAKER.    Called   “ PICTORIALISM  “.

 

Pictorialism, between photography and painting, as a means of expression, was understood to be a reflection of personal values of conduct and experience, based on the notion of aesthetic significance and tradition.

The first wave of PICTORIAL PHOTOGRAPHY was SYMBOLIST oriented and the end product, mostly, was impressionist in treatment.

 

PICTORIAL  PHOTOGRAPHY  HAD  ACHIEVED  RECOGNITION  AS AN INTERNATIONAL  FINE  ARTS  MOVEMENT.

PICTORIALISM  IN  SCOTLAND

 

JAMES CRAIG ANNAN  ( 1864 – 1946 ) , was the son of  THOMAS ANNAN , the leading commercial photographer in Scotland from the 1850s to the 1880s.

By working toward the photogravure print as his final artistic product , Craig Annan placed himself alongside the Scottish artist – engraver  D. Y.  CAMERON , one of his oldest friends.

 

As a member  of  the   “ LINKED  RING  “  he assumed the pseudonym  “  The Selector  “.

The LINKED RING is a photographic society of members with pictorial aims , implied in its origin the idea to produce works of poetic beauty trough  photography .

 

In  the whole of  “ CAMERA WORK “ magazine ( 1903 – 1917 ) , Annan featured the most , after STEICHEN   and  STIEGLITZ .

The special edition  “  COLOUR PHOTOGRAPHY  “  of the magazine  “ THE STUDIO “ ( 1908 ) , reproduced  AUTOCHROMES by CRAIG ANNAN .

 

 

ARCHIBALD  COCHRANE  (  BIBLIOGRAPHY  UNKNOW ) , was settled at  HAUGH of URR

( Dumfries and Galloway ) .

 

He was member of the  EDINBURGH  PHOTOGRAPHIC  SOCIETY   and admitted in the LINKED  RING  in 1892 .

 

He regular  participated on exhibitions , home and abroad ,  with   GUM BICHROMATE prints.

An highly controllable process simular with the  BROMOIL  process .

 

 

 

PICTORIALISM IN BELGIUM:

 

In the mid 1890s, the Belgian photographer  LEONARD MISONNE (1870-1943), was well known among the avant-garde in art photography.

With an educated background and strong interest in the arts, he gave up a career in the mining industry to pursue his chosen vocation of photography in 1896.

In the following decades his work was exhibited worldwide. As with HINTON, the actual subject before the lens was far less important than the effect of light and atmosphere obtained in the print. He was later referred to as :

 THE COROT OF PHOTOGRAPHY.

 

 Fog and early –morning mist were the conditions under which he preferred to photograph. Not only to obscure the distant view in order in create a sense of intimacy, but often to serve as an atmospheric vehicle for contrejour-lighting, which produced a halo around the forms .

.

MISONNE’s compatriot and contemporary GUSTAVE MARISSIAUX (1872-1929), also applied the impressionist aesthetic to his photographic study of the coal mines in Li่ge in 1903: for which he received first prize in the photography class at the Li่ge Universal Exhibition .

 

Delicate Venetian views, quiet waterways and misty silhouettes of bell towers.