. Ritratto . auto su essere un maestro di spazzolatura è sicuro di imbragare la vernice per diverse oreogni giorno, se per niente altro che per mantenere il suo braccio intrim, non a differenza del virtuoso pianistico che è costretto a topractice mezzo giorno per rendere le sue dita flessibili e capaci di quel meccanismo quasi inconscio che isobedient ai suggerimenti più lievi della sua mente. Itrequires una padronanza completa di draftsmaestria e pratica costante. I migliori effetti, abbastanza veri, sono stati prodotti accidentalmente in molti casi, ma si basavano su una superiore destrezza manuale. E il photog-rapher non ha né il tempo libero né opportu

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. Portrait . self on being a master ofbrushwork is sure to sling paint for several hoursevery day, if for nothing else but to keep his arm intrim, not unlike the piano virtuoso who is forced topractice half a day to make his fingers flexible andcapable of that almost unconscious mechanism which isobedient to the slightest suggestions of his mind. Itrequires a thorough mastery of draughtsmanship andconstant practice. The best effects, true enough, areproduced accidentally in many instances, but they arebased on superior manual dexterity. And the photog-rapher has neither the leisure nor opportunity toacquire this accomplishment. Frank Duveneck and J. Frank Currier, who furnishthe illustrations for this discussion, are both Americanpupils of the Munich School and have played an im-portant part in the technical revival which occurred inthis country in the eighties. The Munich School laidspecial stress on draughtsmanship. Both artists haveprofited by this training; they belong to our foremost PORTRAIT. Whistling Boy by Frank Duveneck, United States PORTRAIT technical exponents. Their brush work, however, is sovirile and brilliant that it is more Gallic than Teutonicin character. To them the essence of a visible object consists of thespot of interesting shapes and flourishes. All spots areendowed with distinct definite character, and it is theartists task to weave them into harmonies in preciselythe same manner that a composer combines the tonesof the musical scale. Each stroke must possess a beautyof its own, some delicacy of touch, some happy grace, so that their combined effort enters the eye by a thou-sand little paths. All this is based, it is claimed, on thescientific truth that each part of a picture as it is re-corded in the field of sight, appears but as a single spotmodified by those that surround it. But it is a difficult problem to play thus at will withdetails and then to gather them together into a con-sistent whole. The complexity, the independence, andthe

Parole chiave associate all'immagine

• bookcentury1900
• bookdecade1900
• bookidpo
• booksubjectphotography