Painting – and Printing – with Light

If you can get along to London’s Tate Britain before the 25th September, I recommend Painting with Light, an exhibition celebrating the links between early photography and art in Victorian and Edwardian Britain.

It cannot be described as a glamorous blockbuster, and the images are generally small and intricate.  Not for the faint hearted, it nevertheless repays close attention (and, just, the entry price). The subject is overdue closer scrutiny, as very often painting and photography-as-art are treated in isolation.

Jane Morris (wife of William) posing for artist Dante Gabriel Rossetti

Doyens of the Pre-Raphaelite, aesthetic and impressionist movements used photographic images as inspiration, as an alternative to the preparatory sketch, or as aid to composition. Photography presented a new, revelatory way of seeing the world, and therefore seeing art. From the 1850s books and journals were illustrated with photographs instead of engravings and lithographs, and the publications of learned Victorian societies were the forums for this conversation.

Many who had trained as artists became photographers, especially portraitists. From the introduction in 1851 of the wet plate process, which produced sepia-tinted positive prints, the number of professional photographers increased from 51 to 2,534 by 1861.

The Lady of Shallot by Henry Peach Robinson, 1861

As technologies for the taking and developing of photographs improved, many artists saw landscape in new ways.  The beauty and ‘truth’ of wonderous mother nature – which Romantic artists like Constable and Turner sought to capture – was traditionally deemed to lie in the accurate rendering of detail, based on close observation. Now artists became more concerned with immersing the viewer in atmospheric effects of light, shade and colour.

Many photographers were, in turn, inspired by artists to push technical boundaries and experiment with lenses, exposures, chemical treatments etc.

I see photography in this period as essentially another form of printmaking. A couple of engravings from steel plates feature in the exhibition, demonstrating that traditional printmakers still had an important part to play in the creation, reproduction and dissemination of art.

Ultimately, this show goes to prove that whatever the chosen means of expression, art advances through the imagination and talent of the artist, and their impact on the viewer.

 

At Her Majesty’s (Reading) Pleasure

I was this morning invited, along with other arts/heritage bloggers, to preview the Royal Childhood exhibition at Buckingham Palace as part of a visit to the State Rooms, before they open to the general public for the summer season tomorrow.

A privilege to be able to wander through the gilded opulence of Nash’s theatrical interiors in select company, unhindered by hordes of the great unwashed. In fact the very polite and helpful staff in their smart uniforms considerably outnumbered the visitors.

A pity that the exterior of the Queen’s London residence – a somewhat austere and faintly institutional-looking building I always think – gives no hint of the lavish warmth and gaiety that greets the visitor within. But that’s by the by.

The exhibition itself didn’t spark much interest personally – a couple of displays of toys, family gifts and childhood outfits, padded out with photographs and film footage of royal kiddies, centred on the ballroom. A lot of smiling Will and Kates posing with little George, for the tourists.

The only item I could find of mild interest to the bibliophile or ephemerist was the below invoice addressed to Queen Victoria from bookseller, publisher and photographer Joseph Cundall (1818-1895), of 12 Old Bond Street.

His bill, dated 1845, itemises exclusively children’s books, for the royal progeny.

Cundall traded from addresses in Old and New Bond Streets (in collaboration with others) in the course of an illustrious career in the book and photographic arts, before accepting the post of supervisor of publications at the South Kensington Museum (later the V&A) in 1866.

He specialised in children’s illustrated books and in the later 1840s became increasingly interested in the photographic possibilities of illustration. He was a founder member of the Royal Photographic Society of London.