White, Edward Steichen and Alfred Stiglitz. In 1902, Stiglitz created the Photo-Session group. At the same time, he began to publish the illustrated journal Camera Work, dedicated to photography, and in 1905 opened the 291 Gallery on Fifth Avenue in New York. Along with photographs, paintings by A. What French and English pictorialists could not fully realize, namely, to achieve recognition of photography as a form of fine art, was done by American masters of light painting Clarence H. Venezia. Photo by Dragomir Joseph Ruzicki, 1920-1930s © Drahomír Josef R?ži?ka / Galerie AmbrosianAĪn unrivaled master of pictorial photography in France was Robert Demachy. Demashi proved to be a wonderful portrait painter, the picturesque solution of his photographs subtly conveys the character of the model. In his works, the line between photography and painting is erased: bold, wide strokes frame the figures of people, swirl around them with a swirl of strokes. To create such effects, Demashi applied a special retouch: he scraped areas of too dense places on the negative. He also introduced the practice of transferring oil images from gelatin paper to Japanese, which gave the image the character of a graphic work. Pictorialists used soft-focusing lenses, which provide images of reduced contrast by reducing their sharpness, and monocles, which made it possible to convey air haze, sea distance with greater freedom, to give a vague picture.Įuropean pictorial photographers sought to raise the painting to the level of high art. The activities of many famous painters were associated with photographic clubs. English photographer Alexander Keighley was one of the founders and most famous member of The Linked Ring photo club, established in London in 1892. Cagley has been engaged in light painting for many years and during this time created outstanding examples of pictorial photography. He, like many pictorialists, sought to create some idealized world, and this partly determines the choice of his subjects. Cagley's favorite motifs are the romantic ruins of ancient temples, pastoral landscapes of the countryside, forest glades flooded with streams of sunlight. With the advent of the new method, photographers were able to apply light-sensitive silver salts with a brush. Photos after such processing resembled drawings made by charcoal or watercolor. Pigment printing (chromogenic print) brought the photograph closer to the engraving. To obtain color (pigment) images, a special pigment paper was used, poured with a gelatin layer containing finely ground water-insoluble dye. The Flatiron. Photo by Edward Steichen, 1904 © Edward Steichen / 2000–2007 The Metropolitan Museum of Art
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