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COLOUR 
PHOTOGRAPHY 

AND  OTHER  RECENT 
DEVELOPMENTS  OF  THE 
ART     OF     THE     CAMERA 


EDITED  BY  CHARLES  HOLME 


MCMVIII 

OFFICES  OF,, THE  STUDIO" 

LONDON,  PARIS  &  NEW  YORK 


PREFATORY    NOTE. 

IN  considering  the  recent  important  developments  which  have 
taken  place  in  photography,  more  especially  as  regards  the 
question  of  colour,  the  fact  should  not  be  lost  sight  of  that, 
notwithstanding  the  introduction  of  many  improved  processes  during 
recent  years,  colour-photography  is  still  in  its  infancy.  It  is,  there- 
fore, the  Editor's  intention  to  deal  with  this  important  branch  of  the 
subject  only  as  regards  the  results  which  have  so  far  been  obtained, 
and  to  do  so  with  a  view  to  contemplating  its  artistic  possibilities 
rather  than  its  scientific  aspects. 

Much  has  already  been  said  and  written  about  photography  in 
relation  to  the  Arts.  Attempts  have  been  made  to  draw  comparisons 
between  the  work  of  the  painter  and  that  of  the  photographer  ;  and 
in  dealing  with  colour-photography  the  tendency  to  join  issue 
with  the  painter  is  naturally  increased.  But  the  Editor  considers 
that  it  is  to  the  best  interests  of  photography  that  it  should  be 
regarded  apart,  and  any  artistic  success  that  may  be  obtained  is  better 
judged  on  its  own  merits  rather  than  by  the  standards  set  up  by  the 
painter  or  engraver.  Endeavours  to  reproduce  effects  obtained  by 
these  artists  are  in  themselves  opposed  to  the  spirit  of  true  photo- 
graphy, and  only  display  a  lack  of  appreciation  of  the  possibilities 
of  the  camera,  and  the  opportunity  it  offers  for  the  attainment  of 
original  effects.  In  this  respect  it  is  gratifying  to  find  that  many 
of  the  plates  which  have  been  submitted  in  connection  with  this 
volume  bear  distinct  evidence  of  the  independence  of  the  photo- 
grapher, and  justify  the  belief  that  colour-photography  will  be 
developed  on  original  and  progressive  lines. 

Whilst  photography  in  natural  colours  cannot  be  regarded  as  an 
entirely  new  development,  it  is  only  quite  recently  that  it  has  been 
brought  within  the  range  of  practical  pictorial  work  by  the  intro- 
duction of  the  autochrome  plate,  and  fourteen  of  the  coloured 
illustrations  given  here  are  reproduced  from  plates  of  this  nature.  In 
selecting  them  the  Editor  has  endeavoured  to  show  various  effects  that 
can  be  obtained  by  the  process  ;  and,  apart  from  any  artistic  qualities 
they  may  possess,  it  is  interesting  to  note  the  different  results  which 
some  of  the  leading  photographers  have  arrived  at  in  using  these 
plates.  No  pains  have  been  spared  to  give  in  each  case  a  true  repre- 
sentation of  the  autochrome  as  it  appears  when  held  up  to  the  light ; 
but  it  will  be  readily  understood  that,  owing  to  the  peculiar  nature 
of  the  originals — which  exist,  of  course,  only  as  transparencies — these 
coloured  reproductions  are  exceedingly  difficult  to  accomplish. 
Similar  care  has  been  bestowed  upon  the  illustrations  in  monochrome 

A  2 


'#1 


in  order  that  the  quality  of  the  original  print  may,  in  each  case,  be 
rendered  as  closely  as  possible.  These  illustrations  speak  for  them- 
selves, and  it  has  not  been  considered  necessary  to  refer  to  them  at 
any  length  in  the  article.  Moreover,  the  subject  of  artistic  photo- 
graphy has  been  fully  discussed  in  the  Special  Summer  Number  ot 
"The  Studio"  for  1905,  entitled  "  Art  in  Photography." 
The  Editor  desires  to  tender  his  thanks  to  all  those  who  have  so 
readily  come  forward  to  assist  him  in  the  preparation  of  this  volume 
by  allowing  their  work  to  be  reproduced,  and  to  others  who  sub- 
mitted examples  which  are  only  excluded  owing  to  want  of  space 
or  because  they  arrived  too  late. 


ILLUSTRATIONS  IN  COLOUR 

No, 

Portrait  of  Mrs.  GreifFenhagen.    By  J.  Craig  Annan  (autochrome)  i 

Portrait  of  Miss  Jessie  M.  King.     By  J.  Craig  Annan  (autochrome)  8 

A  Late  Winter  Sun.     By  Dr.  H.  Bachmann  (gum  print)  1 5 

The  Blue  Dress.     By  Alvin  Langdon  Coburn  (autochrome)  22 

Autumn  Landscape.     By  Alvin  Langdon  Coburn  (autochrome)  3 1 

The  Lady  in  Red.     By  Alvin  Langdon  Coburn  (autochrome)  38 

The  Sisters.     By  Frank  Eugene  (autochrome)  45 

A  Sunlit  Street,  Berne.     By  J.  Dudley  Johnston  (gum  print)  51 

Portrait  Group.     By  Heinrich  Kiihn  (autochrome)  57 

Playmates.     By  Heinrich  Kiihn  (autochrome)  6^ 

Stiff  Life.     By  Baron  A.  De  Meyer  (autochrome)  69 

Still  Life.     By  Baron  A.  De  Meyer  (autochrome)  75 

Still  Life.     By  Baron  A.  De  Meyer  (autochrome)  81 

Portrait  of  "  Mrs.  W.  M."     By  G.  E.  H.  Rawlins  (autochrome)  87 

Landscape.     By  G.  Bernard  Shaw  (autochrome)  93 

Christmas  Roses.     By  F.  W.  Urquhart  (autochrome)  98 

The  Thames.     By  E.  Warner  (oil  print)  105 

An  Old  Waterway,  Exeter.     By  E.  Warner  (oil  print)  1 10 


ILLUSTRATIONS  IN  MONOCHROME 


The  Bonfire.     By  Frances  Allen 
Bed-time.     By  Frances  Allen 
Boy  with  Hoop.     By  Mary  Allen 
Book-plate.     By  J.  Craig  Annan 
Stonyhurst  College.     By  J.  Craig  Annan 
Stirling  Castle.     By  J.  Craig  Annan 
To  Leeward.     By  Malcolm  Arbuthnot 
The  Donkeyman.     By  Malcolm  Arbuthnot 
The  River.     By  Malcolm  Arbuthnot 
Bankslde.     By  Malcolm  Arbuthnot 
Evening  Silhouette.     By  Malcolm  Arbuthnot 
A  Tangle  after  a  Storm.     By  Walter  Benington 
The  Church  of  England.     By  Walter  Benington 
The  Thaw.     By  Annie  W.  Brigman 
The  Sweets  Shop.     By  Eustace  Calland 


2 

4 

3 

5 
6 

7 

9 

10 

II 

12 

13 
14 
16 

17 
18 


Illustrations  in  Monochrome — continued  No. 

The  White  Sail.     By  Alvin  Langdon  Coburn  19 

The  Silver  Cup.     By  Alvin  Langdon  Coburn  20 

Santa  Maria  Delia  Salute.     By  Alvin  Langdon  Coburn  2 1 

Lambeth  Reach.     By  Fannie  E.  Coburn  23 

A  Flower  Woman.     By  Fannie  E.  Coburn  24 

On  the  Maas,  near  Dordrecht.     By  R.  Lincoln  Cocks  25 

The  Stadhuis  Tower,  Veere.     By  R.  Lincoln  Cocks  26 

Lowestoft  Harbour — A  Rainy  Day.     By  Reginald  Craigie  27 

Finishing  Touches.     By  Dwight  A.  Davis  109 

Harlech.     By  George  Davison  28 

The  Onion  Field.     By  George  Davison  29 

Honfleur.     By  Robert  Demachy  30 

Falaise.     By  Robert  Demachy  32 

Louise.     By  Robert  Demachy  33 

The  Seine  at  Clichy.     By  Robert  Demachy  34 

Study  of  a  Head.     By  C.  J.  Von  Diihren  37 

Portrait.     By  R.  Diihrkoop  35 

Spring.     By  Leopold  Ebert  36 

By  the  Sacred  Gate,  Algiers.     By  Gustavus  Eisen  in 

Minuet.     By  Frank  Eugene  39 

The  Bridge.     By  J.  H.  Field  112 

Study  of  a  Head.     By  Siri  Fischer-Schneevoigt  40 

Portrait.     By  David  Octavius  Hill  41 

Greyfriars  Churchyard.     By  David  Octavius  Hill  42 

Portrait  of  a  Boy.     By  David  Octavius  H  ill  43 

Portrait.     By  David  Octavius  Hill  44 

Church  Porch  in  Altmiinster.     By  Dr.  Julius  Hofmann  46 

St.  Vigilio  del  Garva.     By  T.  &  O.  Hofmeister  47 

Houses  and  Poplars.     By  T.  &  O.  Hofmeister  48 

Autumn  Sunshine.     By  Charles  Job  49 

Snow  in  the  City.     By  J.  Dudley  Johnston  50 

The  White  Bridge.     By  J.  Dudley  Johnston  52 

Liverpool — An  Impression.     By  J.  Dudley  Johnston  53 

The  Broken  Pitcher.     By  Gertrude  Kasebier  54 

Portrait.     By  Gertrude  Kasebier  55 

The  Letter.     By  Gertrude  Kasebier  56 

Josephine.     By  Gertrude  Kasebier  ^8 


Illustrations  in  Monochrome — continued  j^^ 

The  Bridge.     By  Alexander  Keighley  ^^ 

Spring  Pastoral.     By  Alexander  Keighley  60 

Portrait  of  "  Mrs.  De  C."     By  Joseph  T.  Keiley  61 

Courtyard  at  Weissenlcirchen.     By  Hermann  C.  Kosel  62 

In  the  Dunes.     By  Heinrich  Kiihn  64 

Study.     By  Heinrich  Kiihn  65 

The  Hilltop.     By  Heinrich  Kuhn  66 

Luiz  Lopez.     By  Baron  A.  de  Meyer  67 

Gitana  of  Granada  ("  Bonlta  ").     By  Baron  A.  de  Meyer  68 

Portrait  of  Mrs.  Brown-Potter.     By  Baron  A.  de  Meyer  70 

Helen.     By  Hervey  W.  Minns  113 

The  Majestic  Main.     By  F.  J.  Mortimer  71 

Don  Quixote — Self  Portrait.     By  Cavendish  Morton  72 

The  Dancer.     By  Cavendish  Morton  73 

Lise-Lotte.     By  Cavendish  Morton  74 

Portrait.     By  Dr.  Felix  Muhr  76 

Landscape.     By  Ward  Muir  77 

After  the  Snowstorm.     By  Ward  Muir  78 

Landscape.     By  H.  W.  Miiller  79 

Landscape.     By  H.  W.  MuUer  80 

Portrait.     By  Nicola  Perscheid  82 

Arcadia.     By  Paul  Pichier  83 

Steps  at  the  Villa  d'Este,  Tivoli.     By  Paul  Pichier  84 

Bohemian  Landscape.     By  Karel  Prokop  85 

And  more  to  come.     By  G.  E.  H.  Rawlins  86 

The  Pianist.     By  Guido  Rey  88 

Milking  Time.     By  Guido  Rey  89 

Eileen.     By  Eva  Watson  Schiitze  90 

Mother  and  Child.     By  Eva  Watson  Schiitze  91 

Tribute.     By  George  H.  Seeley  92 

The  Dawn.     By  George  H.  Seeley  94 

The  Crystal.     By  George  H.  Seeley  95 

Autumn.     By  George  H.  Seeley  96 

The  White  Screen.     By  George  H.  Seeley  97 

Horses.     By  Alfred  Stieglitz  .    99 

Goats — Decorative  Landscape.     By  Alfred  Stieglitz  1 00 

In  the  New  York  Central  Yards — Snapshot.     By  Alfred  Stieglitz  10 1 


i/U 


Illustrations  in  Monochrome — continuea  p^o 

"  Miss  C." — Study.     By  Alfred  Stieglitz  and  Clarence  H.  "White  102 

Notre  Dame.     By  W.  Orison  Underwood  103 

Portrait  of  a  Boy.     By  Clarence  H.  White  104 

Landscape  with  Figure.     By  Clarence  H.  White  106 

Portrait  of"  A.  L.  C."     By  Clarence  H.  White  107 

Portrait  of  Mrs.  White.     By  Clarence  H.  White  108 


■v 


COLOUR    PHOTOGRAPHY 

HE  most  vivid  and  arresting,  if  not  actually  the 
most  valuable,  of  all  the  recent  developments 
associated  with  Photography's  name  is  that  deli- 
cate discovery  of  the  Brothers  Lumiere — the 
flower  of  a  long  course  of  painful  experiments  in 
chromo-culture — which  has  given  the  worker 
power  to  keep  the  intrinsic  colours  of  his  theme 
intact ;  and  we  have  accordingly  thought  it  proper 
to  devote  this  article  to  a  consideration  of  the  autochrome  process, 
of  the  esthetic  value  of  its  results,  of  the  validity  of  their  claim  to 
serious  artistic  regard.  And  there  is  another  and  a  deeper  reason 
for  this  distinction.  Just  as  a  drop  of  actual  pigment  will  instantly 
transform  a  glass  of  clear  water,  so  the  introduction  of  this  element 
of  colour  immediately  and  profoundly  changes  the  character  of  the 
issues  involved,  the  nature  of  the  conclusions  we  may  have  formed 
regarding  the  Photographer's  right  and  title,  the  human  value  and 
purpose  of  the  pictures  he  produces. 

But  let  not  the  autochromist  on  that  account  be  emboldened  to 
indulge  in  any  complacent  mockery  at  the  expense  of  the  critical 
function  ;  for,  so  doing,  he  might  provoke  a  rather  deadly  retort. 
For,  indeed,  it  seems  highly  questionable  whether  the  auto- 
chromist, or  the  colour  photographer  of  any  kind,  is  yet  entitled 
to  receive  attentions  from  art  critics,  whether  he  is  not  bound  to 
be  considered — if  not  always,  at  least  for  the  present — simply  as 
the  adroit  exponent  of  a  singular  mechanical  device,  a  device 
possessing  much  of  profound  scientific  value,  producing  results 
which,  as  records,  memoranda,  souvenirs,  are  of  quite  intense 
interest  and  some  considerable  charm.  The  autochrome  pictures 
in  this  volume,  for  instance  :  can  it  really  be  said  of  them  t"hat  they 
compel  that  swift  unmistakable  stir  of  the  senses — half  rustle  ot 
contentment,  half  thrill  of  disquiet,  which  is  the  body's  signal  ol 
the  presence  of  authentic  art  ?  Let  the  reader  turn  to  them  again. 
Let  him  pass  them  slowly  in  review,  deliberately  inhaling  the  odd 
quality — piquant,  curious,  staccato — which  they  all,  in  their  various 
degrees,  possess.  Never  before  has  it  been  possible  to  arraign  so 
representative  a  series  ;  autochromes  by  workers  so  diverse  in  their 
distinction  as  Mr.  Bernard  Shaw  and  Mr.  Heinrich  Kiihn  have 
never  before  been  laid  side  by  side  ;  and  the  unique  image  on  the 
Lumiere  transparent  "  positive  "  has  never  hitherto  been  reproduced 
with  so  much  sensitive  and  meticulous  loyalty.  The  reader  can  be 
certain,  therefore,  that   he  is  at  least  dealing  fairly  with  the  new 

I 


^ 


COLOUR  PHOTOGRAPHY 
craft.  All  the  evidence  lies  openly  before  him  ;  it  merely  remains 
for  him  to  authorise  his  senses  to  deliver  sentence  frankly. 
And  as  he  listens  to  that  nervous  pronouncement  I  think  that  he 
vk^ill  find,  almost  without  exception,  that  it  falls  into  two  main 
divisions.  Each  of  these  divisions  is  prefaced  by  a  brief  spurt  of 
quick  wonder,  itself  a  kind  of  pleasure  indeed,  but  of  no  more  real 
account  than  a  formal  introduction  to  a  speech :  it  is  only  when  that 
delight  in  the  mere  novelty  of  the  thing,  that  admiration  for  its 
ingenuity,  has  briskly  effervesced  and  faded  that  the  really  funda- 
mental utterance  begins  to  reach  him.  He  is  looking,  let  us  say, 
at  Mr.  Bernard  Shaw's  little  landscape  (No.  93) — the  grey  church 
tower  rising  up  among  the  autumn  leafage,  the  slant  of  cloudless 
sky  ascending  sharply  behind  ;  and  he  finds  that  his  sensation  is 
almost  precisely  that  which  he  gets  when  he  looks  at  a  piece  ot 
nature  through  the  wrong  end  of  a  telescope — the  effect  of  a 
sharpened  and  acidulated  nature,  a  nature  curiously  tense  and 
glittering,  almost  metallic.  And  he  turns  from  this,  let  us  say, 
to  such  an  ambitious  figure-study  as  Mr.  Kiihn's  "  Playmates " 
(No.  63),  a  piece  of  deliberate  picture-making,  with  models  posed 
and  equipped  ;  and  he  finds  here,  just  as  inevitably,  that  the  effect 
is  that  of  a  picture  which  has  been  suddenly  robbed  of  all  those  deli- 
cate nerves  and  tendons  of  pervasive  colour-chords,  the  sly  echoes 
and  running  threads,  which  the  painter  uses  to  pull  his  work  into 
one  mounting  accordance.  Those  are  the  two  sensations,  one  or 
other  of  which,  in  a  greater  or  a  less  degree,  will  be  provoked  by 
almost  all  the  colour-pictures  in  this  book.  The  spectator  finds 
on  the  one  hand,  that  is  to  say,  that  his  enjoyment  is  never  more 
than  that  which  comes  from  hearing  a  rather  tart  echo  of  Nature. 
Or  he  finds,  on  the  other,  that  his  enjoyment  is  always  less  than 
that  which  comes  in  the  presence  of  a  painted  picture. 
These  are  significant  conclusions.  Before  we  accept  them  as  final, 
however — before  we  enforce  the  verdict  which  they  seem  to  make 
inevitable,  there  is  yet  one  court  of  appeal  to  which  the  case  can 
be  referred.  For  these  slight  divergencies — the  absence  of  those 
uniting  threads  of  colour,  the  presence  of  that  hard  open-air  asperity 
— might  be  merely  the  result  of  the  temporary  clumsinesses  and 
uncertainties  which  follow  the  acquisition  of  any  new  power:  as 
the  fingers  grow  more  skilful,  the  secret  of  those  sly  interweavings 
may  be  acquired,  some  method  of  sweetening  that  tartness  be 
discovered.  We  must  attempt,  therefore,  to  ascertain  how  far  these 
qualities  are  inherent  and  therefore  irremediable,  or  how  far  they 
are    accidental    and    momentary.     We   must  approach    the    matter 


COLOUR  PHOTOGRAPHY 

from  the  point  of  view  of  technique.  We  must  consider  its 
material  endowment,  and  attempt  some  definition  of  its  especial 
physical  basis. 

Now  the  instrument  that  actually  effects  a  revolution  is  almost  always 
a  quite  light  and  piquant  thing,  a  bright,  explicit  culmination — 
like  the  barb  that  tips  a  spear.  A  statesman  sums  up  a  vague  policy 
in  an  epigram,  and  instantly  the  great  change  is  accomplished  ;  a 
loose  and  lumbering  conviction  has  but  to  pass  into  a  proverb — and 
it  rules  the  mind  of  a  nation  as  firmly  as  a  natural  law  ;  and  the 
achievement  of  the  Brothers  Lumiere,  like  so  many  other  epoch- 
making  discoveries,  is  in  reality  little  more  than  a  peculiarly  delicate 
and  adroit  epitome  of  the  principles  involved  in  the  cumbrous  and 
distended  processes  of  any  number  of  detached  and  unsuccessful 
workers.  The  striped  plates  of  Dr.  Joly  of  Dublin,  the  not  dis- 
similar "  Florence "  experiments  of  Powrie  of  Chicago  —  the 
practically  identical  process  invented  by  MacDonough  in  America 
— the  old  theoretical  method  of  Becquerel — the  more  famous  but 
no  less  labyrinthine,  laborious  and  impractical  processes  of  Lippmann : 
the  laws  and  convictions  embedded  in  all  these  efforts,  on  the  one 
hand,  and  the  trichromatic  principles  involved  in  the  experiments  or 
Ducos  du  Hauron  and  Cros  and  their  successors  and  allies  on  the 
other  hand,  have  all  been  neatly  epitomized,  by  these  two  French 
scientists,  in  a  kind  of  physical  epigram — all  the  clutter  of  laboratory 
auxiliaries  which  broke  the  back  of  the  first  kind  of  effort  being 
neatly  summed  up  on  the  surface  of  a  single  plate,  and  all  the  treble 
exposures,  subsequent  syntheses,  and  so  forth,  which  group  about  the 
second,  being  brusquely  concentrated  into  a  single  exposure  and  a 
solitary  self-sufficient  image.  The  Clark-Maxwells  and  the  Lipp- 
manns  laboriously  shaped  the  shaft,  brought  the  principles  together, 
and  hammered  them  roughly  into  shape.  It  was  left  to  the  Lumieres 
to  fit  the  pungent  barb,  and  so,  with  one  deft  touch,  transform  a  rude 
and  barbarous  curiosity  into  a  glittering  revolutionary  weapon. 
The  result  of  this,  or  at  least  one  of  the  results,  is  that  whilst  it 
would  take  a  full  volume  to  explain  the  useless  process  of  Lipp- 
mann, the  triumphantly  practical  methods  of  the  Lumieres  can  be 
described  in  a  couple  of  sentences.  Starch-grains  coloured  green, 
starch-grains  coloured  violet,  and  starch-grains  coloured  orange 
(green,  violet,  and  orange  being,  of  course,  the  three  prime  colours) 
are  equally  commingled,  so  that  they  seem  to  form  a  uniform  grey 
dust,  and  are  then  densely  and  adroitly  marshalled,  some  four  millions 
to  the  square  inch,  on  the  surface  of  a  single  plate ;  and  it  is  over 
this  fabulous  army  that  the  sensitive  film  of  panchromatic  emulsion, 

3 


COLOUR  PHOTOGRAPHY 
the  chemical  prison  which  captures  the  image,  is  delicately  out- 
stretched. The  result  of  this  elaborate  and  perfect  ambush  is  a 
complete  surrender  on  the  part  of  the  colour-rays.  No  matter  what 
its  nature,  no  matter  whence  it  emanates,  the  arriving  ray  can  find 
no  portion  of  the  plate  unoccupied  by  a  battalion  of  starch-grains 
perfectly  aware  of  its  peculiar  weaknesses,  perfectly  fitted  to  deal 
with  it  in  exactly  the  most  appropriate  way.  Challenged,  interro- 
gated, disarmed,  and  captured  thus  subtly  and  infallibly,  it  is  at 
last  transferred,  in  a  state  of  naked  exactness,  to  its  due  place  in 
the  transparent  positive  ;  and  there,  in  the  company  of  countless 
other  rays  similarly  entrapped,  it  builds  up  that  precise  image  ot 
church,  or  cloud,  or  child,  from  which  the  reproduction  in  this 
book  was  ultimately  made. 

An  exquisite  automatic  delicacy  resulting  in  an  image  of  unyielding 
exactness — that,  then,  is  the  physical  basis  of  this  autochrome 
process  ;  and  our  task  is  to  discover  what  manner  of  aesthetic 
structure  it  is  possible  to  erect  on  such  a  base.  And  when  we 
examine  the  case  for  Autochrome  in  this  bare  way,  picked  clean 
and  reduced  to  its  simplest  elements,  two  decidedly  ominous 
circumstances  begin  to  thrust  themselves  forward.  For  we  find, 
in  the  first  place,  that  the  "  exquisite  automatic  delicacy "  is  ot 
such  a  jealous  nature  that  it  becomes  the  stern  enemy  of  all 
subsequent  delicacies.  And  we  find,  in  the  second,  that  the 
"unyielding  exactness"  of  the  image  is  veracious  in  that  fanatical 
way  which  is  really  a  kind  of  fierce  falsehood,  that  the  image  is 
truer  to  Nature  than  Nature  is  true  to  herself,  so  implacably 
precise  that  it  is  in  effect  a  distortion. 

Let  us  consider  these  two  momentous  attributes  in  turn,  ...  As 
to  the  first,  it  must  be  evident  to  all  that  the  moment  the  human 
hand  creates  a  machine  of  greater  delicacy  than  itself,  it  instantly 
surrenders  its  right  to  intervene  and  shrinks  into  subordination. 
That,'''at  all  events,  is  precisely  what  has  happened  here.  The 
subtlety  of  this  autochrome  instrument,  the  exquisite  nature  of  the 
operations  conducted  by  those  incredibly  well-drilled  battalions  ot 
billions  of  delicate  discs,  makes  it  absolutely  impossible  for  the  human 
hand  to  interfere  in  any  way,  to  offer  to  aid  or  to  modify  the  plan 
of  attack,  to  introduce  a  partial  armistice  or  to  release  any  of  the 
colours  once  they  have  been  made  captive.  The  operator  has  to 
stand  helplessly  aside  whilst  these  lilliputian  Frankensteins  of  his 
creation  automatically  conduct  their  own  unswerving  campaign. 
All  other  recent  developments  in  photography  have  been  curiously 
complementary  :  with  every  development  of  the  scientific  side  of  its 

4 


COLOUR  PHOTOGRAPHY 

nature  there  has  generally  marched  a  corresponding  and  balancing 
development  of  the  aesthetic  side — apparatus  of  increasing  exactness 
being  equalised  by  new  licences  conferred  on  the  operator — the 
orthochromatic  plate  (let  us  say)  being  counterbalanced  by  the 
Rawlins  Oil  Process.  But  in  the  case  of  this  last  vivid  development 
no  such  complementary  freedom  has  thus  far  been  conferred.  It 
would  seem  as  though  Science,  swollen  by  the  marvellous  nature  of 
her  latest  achievement,  had  grown  intolerant  of  control  or  interruption  ; 
had  decided  to  keep  the  whole  matter  rigidly  in  her  own  hands. 
U intervention,  at  all  events,  is  utterly  impossible  in  autochrome  work. 
Creation  by  Manipulation  is  forbidden  in  colour  work  ;  and  one  of 
the  three  pathways  by  which  alone  the  photographer  can  hope  to 
reach  the  summit  of  the  Sacred  Hill  is  thus  rigidly  barricaded. 
And  when  we  turn  to  the  second  of  those  ominous  physical  cir- 
cumstances, to  the  extravagant  accuracy  of  the  final  image,  this 
total  inability  to  modify  appears  a  yet  more  serious  defect,  the 
vivid  chains  of  office  with  which  Science  has  loaded  the  worker 
bear  a  still  more  striking  resemblance  to  actual  fetters  and  gyves. 
It  is  this  extravagant  accuracy,  of  course,  this  fanatical  truthful- 
ness, which  is  responsible,  in  landscape-work,  for  that  odd  effect 
of  acidity,  of  asperity,  which  we  noticed  at  the  outset  ;  and  it 
is  scarcely  more  difficult  to  prove  its  inevitability  than  it  is  to 
demonstrate  its  existence.  For  Delacroix's  canary-coloured  cab 
has  not  driven  round  the  world's  studios  in  vain,  and  the  theory 
of  complementary  colours  is  as  popular  a  piece  of  knowledge  as 
even  the  Darwinian  theory.  We  all  know  that  when  we  survey 
a  landscape  we  do  not  see  each  colour  independently,  at  its  intrinsic 
value,  but  that  all  sorts  of  strange  feuds  and  alliances  going  on 
between  the  colours  as  they  settle  themselves  in  the  chambers  of 
the  eye  result  in  an  image  curiously  interwoven  and  interdependent 
— this  colour  being  subordinated  to  that,  another  thrilling  warmly 
in  response  to  the  attentions  of  a  fourth,  a  fifth  and  six  entering 
darkly  into  a  sinister  suicidal  pact.  Detach  any  one  colour  from 
the  sweep  of  sea,  sky,  field,  and  shore — guard  it  with  your  hands, 
as  you  look  at  it,  so  that  it  may  be  held  free  from  the  interference 
of  its  neighbours,  and  you  will  find  that  its  colour  is  a  very  different 
thing  from  that  which  it  wears  when  you  let  your  hands  fall  and 
the  whole  great  company  of  yellows,  blues,  and  greens  burst  upon 
the  sight  at  once.  The  actual  intrinsic  yellow  of  the  sand  is 
flushed  almost  to  flesh-colour  by  the  vivid  green  of  the  grass  ; 
the  water  beyond  it  deepens  its  blue  a  little  in  response  to  the 
glow  of  the    beach  ;    and    even    the   purple  distance   behind  you. 


COLOUR  PHOTOGRAPHY 
the  long  range  ot  rolling  woods  whose  aspect  still  rings  and  echoes 
subtly  in  your  senses,  is  not  without  a  secret  influence,  inducing  the 
whole  orchestration  to  vary  its  tone  some  fine  and  delicate  degrees 
further. 

But  the  Lumiere  plate,  freed  from  the  frailties  of  the  human  eye, 
sternly  represses  these  chromatic    love-matches  and  quarrels.     The 
colour  that    it   registers  is   the   native  colour  :    the  valid,  separate 
blue  of  the   sea — the  independent    gold    of  the   shore — the    green 
of  the  grass  as  the  grass  would  seem  if  the  world  were  one  vast 
prairie.      The  result,  when    the  eye   turns  from    scene    to  picture, 
from  original  to  unflinching  reflection,  is  a  sharp  sense   of  shock, 
an  acute  metallic   thrill.     The  senses,  perhaps,  strive  to  reorganise 
the    colours,    attempt    to    mollify  the    rigour ;    and    it    is    possible 
(although  it   cannot  yet  be  stated  with  any  certainty)    that    they 
do    manage  to  work    the    colours    together   into    something    more 
nearly   approaching    the   suavity    of  the    image    they   derive    from 
Nature.     But  it  is  a  feat  which  they  are  physiologically  debarred 
from  performing  successfully  :  the   difference  between    the  size    of 
the    three-dimensional    original    and    the    two-dimensional    repro- 
duction   inevitably   baffles    them  ;    and    the    autochrome    landscape 
remains    something    of   a    cold     bath,    a    little    discomforting    and 
austere, — something  very  far    removed   from   either    that    sensuous 
illusion  called  nature,  or  that  voluptuous  reality  called  art. 
"  But    herein,"    it   may    be    urged,    "  lies,    surely,    one    clear    and 
obvious    method    of  creation.     Since   the    effect  of  the   picture  is 
so    different   from   the    effect   of  the    original,    and   since    '  Art    is 
art  because  it  is  not   nature,'  may  it  not  be  that  it  is  by  dint  of 
just  this    piquant    and  acerb    disparity  that    the    autochromist  will 
be  enabled   to    provide  beautiful  and  enduring  bodies  for  emotions 
which    would    otherwise    remain    intangible    and     untransmittable. 
Creation     by     Manipulation,     you     point     out,     is     clearly     barred. 
Granted ;    but  what   about    a   second    pathway.  Creation    by   Pure 
Technique  ?       Does    it    not    seem    as    though    this   extra   keenness 
and  acidity  of  the  colours,  this  slight  change  in  their  relations,  pro- 
vided the  autochromatic  equivalent  to  that  exchange  of  colour  for 
tone,  of  nature-quality  for  process-quality,  which  may  be  regarded 
as  one  of  the    proofs   of   the    monochromist's    claim    to    the    royal 
rank  of  artist  ?  " 

It  is  a  good  argument  and  entirely  pertinent  ;  and  it  would,  in 
addition,  be  entirely  conclusive  if  it  dealt  with  any  other  element 
in  life  than  this  extraordinary  element  of  colour.  Were  the  modifi- 
cation  a  matter  of  tonal-modification,  or  even   of  lineal,  then  the 

6 


COLOUR  PHOTOGRAPHY 

resultant  picture  would  still,  quite  probably,  be  beautiful.  Were 
it  merely  a  case  of  darkening  a  sweep  of  grey  or  changing  the 
values  of  a  monochromatic  pattern  or  altering  the  distribution  of 
light  and  shade,  then  the  disturbance  might  well  evolve  something 
new  and  strange  but  still  entirely  lovely.  But  the  beauty  of  colour 
is  a  thing  that  stands  apart.  No  other  kind  of  loveliness  is  so 
fragile  ;  none  is  guarded  by  laws  whose  least  infraction  is  visited 
with  sterner  or  more  instant  punishment.  There  is  no  deep  edict 
which  declares  that  an  angle  of  40°  is  infallibly  exquisite  but  one 
of  38°  an  intolerable  outrage;  but  there  is  an  irrevocable  principle 
in  Nature  which  asserts  that  purple  and  gold  are  a  splendid  har- 
mony, but  that  purple  and  pink  form  an  aesthetic  crime.  There 
are  no  rigid  rules  which  define  the  exact  shade  of  grey  which  must 
appear  beside  a  certain  tone  of  black ;  but  there  is  an  eternal  law 
which  thunderously  condemns  as  unhallowed  the  marriage  of  mauve 
and  magenta.  The  last  great  peace  will  have  arrived  before  the 
fierce  hostility  of  puce  and  vermilion  will  have  been  finally  patched 
up.  The  morals  and  religions  of  men  may  melt  and  waver  inter- 
minably, but  the  mating  of  certain  colours  will  always  strike  the 
mind  into  a  sudden  agony  of  horror,  as  though  in  the  presence  of 
something  actually  obscene. 

A  perfect  arrangement  of  colour,  then,  is  something  far  too  sensitive 
— rests  upon  a  framework  far  too  exquisite  and  frail — for  any  rough- 
and-ready  transmutations.  Nothing  is  rarer  than  a  perfect  eye  for 
colour  ;  nothing  in  the  whole  range  of  art  is  more  difficult  to  evolve 
than  a  conclusive  and  elaborate  colour-scheme  :  how,  then,  can  we 
expect  this  haphazard  transition  of  the  autochromist,  carried  through 
rigidly  and  mechanically,  without  any  guidance  or  control  from  the 
human  hand,  to  result  in  anything  save  discord  ?  Once  in  an  endless 
series  of  experiments,  indeed,  the  miracle  may  happen,  and  a  new  and 
intricateharmony  wonderfully  emerge.  But  exceptions  of  this  sort  prove 
no  artistic  rule  ;  they  are  happy  accidents,  disenfranchised  children  of 
chance ;  they  give  the  operator  no  right  to  call  himself  their  creator  ; 
they  do  not  sanctify  the  art  to  which  they  come.  .  .  . 
Equally  with  the  manipulatory  avenue,  then,  this  route  of  Creation 
by  Pure  Technique  is  barred  to  the  colour-photographer  ;  for  he 
lacks  as  well  that  keyboard  of  alternative  processes  which  the 
Davisons,  the  Coburns,  the  Craig  Annans,  in  their  dehcate,  non- 
colour  moments,  play  upon  so  delightfully.  There  accordingly 
remains  to  be  considered  only  the  third  of  the  pathways — that 
form  of  photographic  artistry,  of  temperamental  expression,  which 
may  be   called  Creation   by  Isolation. 


COLOUR  PHOTOGRAPHY 
And  it  is  here,  it  seems  to  me,  that  the  esthetic  possibilities  ot 
autochrome  are  chiefly  to  be  found  ;  it  is  certainly  to  this  province, 
at  all  events,  that  the  most  successful  and  most  satisfying  auto- 
chromes  in  this  book  (I  will  name  them  in  a  moment),  without 
exception,  belong.  At  the  same  time,  one  is  compelled  to  confess 
that  the  difficulties,  even  here,  are  enormous.  Ransacking  the 
magnificent  clutter  and  waste-heap  of  Nature  for  that  fine  fragment, 
that  odd,  unrealised  trifle,  whose  beauty  would  seem  non-natural 
and  new  in  isolation,  the  monochromist  has  always  to  bear  in  mind, 
not  only  the  need  for  novelty  but  also  the  necessity  for  beauty — 
for  beauty  of  line,  mass,  tone,  disposition,  curve  ;  and  the  necessity 
for  seeing  these  things  in  relation  to  the  ultimate  little  niche  for 
which  he  designs  it — in  relation  to  the  boundary  lines  of  his  print 
and  in  the  especial  terms  of  his  process — is,  as  we  have  seen,  one 
of  the  main  difficulties  of  his  task.  But  in  the  case  of  the  colour- 
worker  this  vast  difficulty  is  multiplied  to  positively  nightmare 
proportions  by  the  simultaneous  need  for  discovering,  coincident 
with  this  beauty  of  mass,  line,  distribution,  and  so  forth,  that  much 
rarer  and  more  perishable  thing,  a  perfect  melody  of  colour.  Very 
often,  ot  course,  in  the  midst  of  the  lavish  out-of-door  design,  you 
do  find  neglected  colour-harmonies  of  quite  exquisite  perfection. 
The  painter  knows  these  things,  seeks  them  out,  studies  them 
diligently,  learns  all  their  secrets,  and  then  uses  them  for  his  private 
ends.  But  he  nourishes  no  hope  of  finding  them  coincident  with 
the  harmonies  of  mass  and  line.  He  nurses  no  mad  expectation 
of  discovering  Nature  singing  a  duet.  He  is  content  to  find  his 
lineal  melody  in  one  place,  his  chromatic  melody  in  another,  and 
then,  by  dint  of  his  own  craft,  to  blend  and  interweave  them 
artfully,  so  that  they  ring  out  from  his  canvas  perfectly  braided 
and  attuned. 

No  such  trick  or  combination,  as  we  have  seen,  is  in  any  wise 
possible  to  the  autochromist ;  and  he,  accordingly,  must  idealisti- 
cally  fix  his  hopes  upon  the  presumptive  existence,  somewhere  in 
the  labyrinth,  of  that  wonderful  coincidence,  that  miraculous  and 
abnormal  duet.  He  must  search  landscape  after  landscape,  and 
pierce  deep  into  the  dense  jungle  of  reality,  upheld  by  nothing 
more  tangible  than  the  faint  theoretical  hope,  that,  somewhere  in 
nature,  since  there  is  a  Law  of  Average,  those  two  voices  will  be 
heard  rising  up  in  faultless  and  exquisite  accord.  It  is  not  a  quest 
one  wholly  envies  him  ;  but  in  common  fairness  one  admits  the 
possibility  ot  a  successful  issue  ;  and  one  earnestly  wishes  him 
success. 

8 


COLOUR  PHOTOGRAPHY 

And  in  common  fairness,  too,  one  gladly  admits  as  well  that  when 
he  deserts  landscape  for  genre  work,  for  a  certain  kind  of  por- 
traiture, and  (especially)  for  a  certain  sort  of  still-life  treatment,  he 
reduces  the  difficulties  of  the  game  so  considerably  that  he  makes 
it  a  very  genuine  and  legitimate  mode  of  activity.  For,  once  indoors, 
he  can  himself  play  the  part  of  deus  ex  machina,  and,  descending  to 
the  rdle  of  stage-manager,  can  drag  properties  hither  and  thither 
until  he  succeeds  in  producing  something  which  contains  that 
much-desired  coincidence.  It  is  not,  perhaps,  the  lightest  or  airiest 
of  tasks ;  it  compares  somewhat  drably  with  the  less  manual 
activities  of  the  painter  ;  for  he  has  to  do  laboriously  and  physi- 
cally what  the  brush  accomplishes  by  a  single  flicker  and  dab.  But 
that  he  can  accomplish  the  task  and  give  us,  as  a  result,  certain 
sensations  of  rich  and  delicate  value,  some  of  the  flower-studies  of 
Baron  de  Meyer — which  form  perhaps  the  most  successful  auto- 
chromes  in  this  book — testify  quite  completely.  His  "  Still-life," 
with  the  General  Jacqueminots  drooping  so  delightfully  out  of 
the  delicately  chosen  bowl  is  distinctly  a  piece  of  creation  (No.  j^)  : 
it  is  itself  beautiful ;  its  beauty  has  been  deliberately  captured,  the 
product  of  a  decisive  effort  of  "  imaginative  reason " ;  and  it  is  a 
beauty  recondite  and  remote,  very  diffisrent  from  the  rather  dis- 
tracting and  insouciant  beauty  which  would  emanate  from  the 
actual  flowers,  the  actual  bowl  and  drapery.  And  even  more  perfect 
is  the  dexterous  and  memorable  little  arrangement  in  red-bronze 
and  lacquer-green  (No.  69).  These  two  pictures  are  certainly  pieces 
of  art,  their  maker  (even  if  he  had  produced  no  monochrome 
pictures)  would  certainly  have  proved  his  right  to  the  ancient  and 
honourable  title. 

It  is  by  a  similar  process  of  stage  carpentry  that  the  other  pictures 
which  seem  to  me  most  successful  have  been  granted  the  beauty 
that  saves  them  :  Mr.  Coburn's  "  Blue  Dress "  (No.  22)  and  his 
"  Lady  in  Red"  (No.  38) ;  Mr.  Rawlins's  "  Mrs.  W.  M."  (No.  87)  ; 
Mr.  Craig  Annan's  curious  experiment  in  greens  (No.  8)  ; 
Mr.  Kiihn's  decidedly  ambitious  portrait-group  of  three  (No.  57). 
In  all  of  these  the  groupings  have  been  done  leisurely  and 
deliberately  ;  the  picture  has  been  prepared  as  one  prepares  a 
stage-picture  ;  the  Camera  has  merely  been  used  to  perpetuate  it. 
And  that  method,  it  seems  to  me,  is  the  only  one  by  which  the 
autochromist  can  hope,  as  yet,  to  produce  pictures  which  are 
anything  more  than  valuable  records,  significant  and  curious  memo- 
randa, adroit  exemplifications  of  a  singular  scientific  discovery. 
"  As  yet."     .     .     .     Inevitably,  one  adds  that  safe-guard  ;  for  "  the 

B  9 


COLOUR  PHOTOGRAPHY 
future,"  as  the  Japanese  say,  "is  full  of  occasions,"  and  one  can 
scarcely  doubt  that  to-morrow,  or  to-morrow's  morrow,  will  bring 
a  fresh  discovery,  a  new  development,  which  will  perhaps  replace 
the  right  of  control  in  the  worker's  hands,  and  restore  to  him  the 
sway  momentarily  usurped  by  Science.  It  is  a  fascinating  possi- 
bility ;  it  stands  as  a  kind  of  gateway  to  a  kingdom  of  curious  and 
enchanting  speculations.  But  the  present  writer  has  already  rigidly 
refused  to  play  the  part  of  prophet  ;  and  through  this  attractive 
gateway  he  sternly  declines  to  be  lured. 

And,  indeed,  what  he  would  rather  suggest,  in  conclusion,  is  that 
Photography's  true  sphere,  the  place  where  she  catches  the  hot 
instant  on  tip-toe,  and  perfectly  prisons  it  for  ever,  must  always 
be  the  world  of  monochrome  ;  for  colour  is  too  frail  and  sensitive 
a  thing  to  submit  to  these  sudden  pouncings  and  butterfly  captures. 
He  would  suggest  that  the  Photographer  should  realise  that  quite 
clearly — not  in  order  that  he  may  experiment  in  autochrome  less 
seriously,  but  that  he  may  push  his  researches  and  experiments  in 
monochrome  more  audaciously  and  vigorously  still.  For  there, 
surely,  tasks  great  enough  and  precious  enough  to  satisfy  the  most 
ambitious  still  await   his  hand. 

DIXON   SCOTT. 


LA    PHOTOGRAPHIE 


EN    COULEURS 


n 


\ 


II 


La  Photographie  des  Couleurs 

ET  LES  REGENTS  PROGRES  1)E  LA  PHOTOGRAPHIE  EN  GENERAL 


Note  de  I'Editeur 


En  etudiant  les  impoitants  piogies  de  la  photogra- 
phie actuelle  et  surtout  dans  la  question  des  couleurs, 
il  ne  faut  pas  oublier  que  malgre  les  nonibreux  prece- 
des perfectionnes  de  ces  recentes  annees,  la  photogra- 
phie des  couleurs  est  encore  en  enfance.  Nous  ne  parle- 
ronsdoncde  cette  importante  partie  du  sujet  qu'au  point 
de  vue  des  resultats  dejii  obtenus,  nous  preoccupant 
plutot  de  son  avenir  artistique  que  de  son  cote  scienti- 
fique.  On  a  deja  beaucoup  dit  et  ecrit  sur  la  Photogra- 
phie dans  ses  rapports  avec  les  arts.  On  a  cherche  ;i 
I'aire  des  comparaisons  entre  I'oeuvre  du  peintre  et  celle 
du  photographe  et,  a  propos  de  la  photographie  des 
couleurs,  on  a  tout  naturellement  insiste  sur  ses  rap- 
ports avec  la  peinture.  Xous  croyons  que  dans  I'interet 
de  la  photographie  meme,  il  faut  I'etudier  i  part ;  le 
succes  d'art  qu'elle  pourra  obtenir  sera  mieux  apprecie 
d'apres  ses  propres  merites  que  par  une  comparaison 
avec  I'oeuvre  du  peintre  ou  du  graveur.  Les  tentatives 
faites  pour  reproduire  deseffets  obtenus  par  ces  artistes 
sont  en  elles-meme  opposees  a  I'esprit  de  la  vraie  pho- 
tographic et  indiquent  une  meconnaissance  de  ce  qu'on 
peut  obtenir  de  la  chambre  noire  et  des  ressources 
qu'elle  ortre  pour  obtenir  des  eft'ets  originaux.  A  cet 
egard  on  est  heureux  de  constater,  en  regardant  les 
planches  du  present  volume,  I'independance  du  photo- 
graphe et  de  pouvoir  se  dire  que  la  photographie  des 
couleurs  se  developpera  dans  un  sensoriginal  et  progressif- 

Sans  doute  la  photographie  en  couleurs  naturelles 
n'est  pas  une  chose  tout  a  fait  nouvelle,  mais  c'est  tout 
recemment  qu'elle  est  entree  dans  une  voie  pratique 
par  I'invention  de  la  plaque  autochromatique,  quatorze 
de  nos  illustrations  en  couleurs  sont  reproduites  d'apres 
des  plaques  de  ce  genre.  En  les  choisissant,  nous  avons 
voulu  montrer  les  difterents  elTets  que  Ton  peut  obte- 
nir par  ce  procede ;  en  dehors  de  leur  valeur  artistique 
il  est  interessant  de  noter  les  resultats  diflferents  que 
les  maitres  en  photographie  ont  obtenus  en  employant 
ces  plaques.  Xous  avons  fait  tons  nos  efforts  pour 
donner  ii  chaque  planche  la  veritable  representation  de 
I'autochrome  telle  qu'elle  apparait  lorsqu'onla  met  a  la 
lumiere,  mais  on  comprendra  facilement  que,  en  raison 
de  la  nature   particuliere   des  originaux  qui  n'existent 


que  par   transparence,  ces  reproductions  en  couleurs 
soient  extremement  difficiles. 

Nous  avons  apporte  un  soin  egal  aux  illustrations 
monochromes  a  fin  que  I'impression  originate  fOt  ren- 
due  aussi  e.xactement  que  possible.  Ces  illustrations 
parlent  d'elles-memes  et  nous  n'avonspas  cru  necessaire 
de  les  expliquer  dans  le  texte.  Le  sujet  de  la  photogra- 
phie artistique  a  ete  traite  d'une  fafon  complete  dans 
le  nuniero  special  d'ete  du  Studio  en  1905  sous  le  litre, 
de  I'Art  dans  la  Photographie. 

L'Editeur  remercie  tous  ceux  qui  I'ont  aide  dans  la 
preparation  de  cet  ouvrage,  et  ceux  aussi  qui  lui  ont 
envoye  des  specimens  qu'il  n'a  pu  utiliserjaute  de  place, 
ou  parce  qu'ils  lui  sont  parvenus  trop  tard. 

ILLUSTRATIONS  EN  COl^LEUR 

I.     Portrait  de  Mrs  Ortifftnhagen.  par   J.  Craig   Annin 

i^autochrome). 
8.     Portrait  de  .1/'"  Jtssie  M.  King,  par  J.  Craig  Annan 
(autochrome). 
15.     Soleil  de  fin  d'hiver,  par  Dr.  H.  Bachmann  (tirage  i  la 

gomme). 
^-       LaRo6eHeiie,fSiT  Alvin  Langdon  Coburn  'autochrome) 
Paysage  daiiiomne,  par  Alvin  Langdon  Coburn  (auto- 

chrome|. 
La  Dame  en  touge,  par  Alvin  Langdon  Coburn  auto- 
chrome . 
les  SiTurs,  par  Frank  Eugene  f.iutochrome). 
Rue  ensoleiUee  a  Berne,  par  J.  Dudley  Johnston  (lirage 
.  i  la  gomme). 
Porlrait-Groupe,  par  Heinrich  Kiihn  (autochrome). 
Camarades,  par  Henrich  Kuhn  ^autochroraei. 
Xaliire  morte,  par  le  Baron  A.  de  Meyer   autochrome). 
A'ature  morlt,  par  le  Baron  A.de  Meyer   autochrome;. 
Portrait  de  .  M"   "'.  M    ».  par  ^    E-   "•  «»»'">» 

(autochrome). 
Patsage,  par  G.  Bcmaid  Shaw  (autochrome). 
Roses  de  SVel,  par  K.  W.  Urquharl  'autochrome). 
La  Tamise,  par  E.  Warner  'peinture  i  Ihuilel. 
Vieux  Canal  il  Extttr,  par  E.  Warner ,  peinture  a  1  huile). 


31. 

38. 

45- 
51- 

57- 
63. 
69. 

75- 
87. 

93- 
98. 

105. 

ito. 


ILLUSTRATIONS  EN  MONOCHROME 

Le  Feu  de  Joie.  par  Frances  Allen. 

/<  Couclier,  par  trances  Allen. 

Enfant  arec  son  ceneau.  par  .Mary  Allen. 

Ex-lihris.  par  J.  Craig  Annan. 

Le  college  de  Stonykurst,  par  J .  Craig  Annan. 

Le  Mteau  dt  Stirling,  par  J.  Craig  Annan. 

Vers  Lenoard,  par  .Malcolm  Arbulhhot. 


La  Photographie  des  Couleurs 


10. 

II. 

12. 

13. 

14- 
16. 

17- 
iS. 

19- 

20. 

2]  . 
23. 
24. 

25- 
26. 
27. 
109. 
28. 
29. 
JO- 
32- 

33- 
34- 
37- 
35- 
36. 

III. 
39- 

112. 
40. 
41- 
42. 
43- 
44- 
46. 
47- 
48. 
49- 
50- 
52- 
53- 
54- 
55- 
;6. 

58- 


Lf  mac/iitiiste.  par  Malcolm  Arbuthnot.  59. 

La  riviere,  par  Malcolm  Arbuthnot.  60. 

Le  Bord,  par  Malcolm  Arbuthnot.  61. 

Sitliouetle  dusoir,  par  Malcolm  Arbuthnot.  62. 

Fih  emmelh  afiris  forage  par  Walter  Benington.  64. 

L'Eglise  d'Angleterre,  par  Walter  Benington.  65. 

Le  degel,  par  Annie  W,  Biignian.  66. 

La  boutique  du  confiseur,  par  Eustace  Calland.  67. 

La  voile  /ilanche,  par  Alvin  Langdon  Coburn.  68. 
La  coupe  d'argent,  par  .\lvin  Langdon  Coburn. 

Santa  Maria  delta  Salute,  par  .\lvin  Langdon  Coburn.  70. 

Lambeth  Reach,  par  Fannie  E.  Coburn.  113. 

La  fleuriste,  par  Fannie  E.  Coburn.  71 . 

Sout  le  Maas  prh  de  Dordrecht,  yAx  R.  Lincoln  Cocks.  72. 

/a  tour  de  Stadhuts    Veere,  par  R.  Lincoln  Coks,  73. 

Leportde  Lowestoft.  —Jourdepluie,  par  Reginald  Craigie  74 . 

Dernieres  touches,  par  Dwight  A.  Davis.  76. 

Harlech,  par  George  Davison.  77 . 

Le  champ  d'oignons,  par  George  Davison.  78. 

Honfleur,  par  Robert  Demac.iy.  79. 

Falaise,  par  Robert  Demachy.  80. 

LoKise,  par  Robert  Demachy.  82 . 

La  Seine  a  Clichy,  par  Robert  Demachy.  83. 

htude  de  tete,  par  C.  J.  Von  Duhren.  8+. 

Portrait,  par  R.  Duhrkoop.  85. 

Pr  in  temps,  par  Leopold  Ebert.  86. 

La  parte  sacree  h  -ilger,  par  Gustavus  Eisen.  88. 

Menuet,  par  Frank  Eugene.  89. 

Le  PoHt,  par  J.  H.  Field.  90. 

Elude  de  tete,  par  Siri  Fischer-Schneevoigi.  91. 

Portrait,  par  David  Octavius  Hill.  92. 

/V;f//«  (/«  G«;»'/>-;«7-f,  par  David  Octavius  Hill.  94. 

Portrait  d'unjeune garfon,  par  David  Octavius  Hill.  95. 

Portrait,  par  David  Octavius  Hill.  96. 

Porche  de  I'eglise  a  Altmunster,  par  Dr.  Julius  Hofmann  97. 

St.  Vigilio  del  Garva,  par  T.  et  O,  Hofmeister.  99. 

Maisons  et  peupliers,  par  T.  et  O.  Hofmeister.  lOO. 

Soleil  d'auiomne,  par  Charles  Job.  loi. 

Neige  dans  la  cite,  par  J.  Dudley  Johnston  102 . 
Le  pout  hlanc,  par  J.  Dudley  Johnston. 

Liverpool.  —  Impression,  par  J.  Dudley  Johnston.  103. 

La  cruche  cassee,  par  Gertrude  Kiisebier.  104. 

Portrait,  par  Gertrude  Kiisebier.  106. 

La  lettre,  par  Gertrude  Kasebier.  107. 

yoj*''*^/«f,  par  Gertrude  Kasehier.  108. 


Le  I'ont,  par  Alexander  Keighley. 

Pastorate  de  Printemps,  par  Alexander  Keighley. 

Portrait  de  n  Mrs.  de  C.  ».  par  Joseph  T.  Keiley 

Cour  a  Weissenkirchen,  ^ArWtvmann  C.  Kosel. 

Dans  les  dunes,  par  Heinrich  Kuhn. 

Etude,  par  Heinrich  Kuhn. 

Le  sommet  de  la  colline.  par  Heinrich  Kuhn. 

Za?>  Lopez,  par  le  Baron  A.  de  Meyer. 

La   Gitane    de  [Grenade    «    Bonita    n    par    Ic-    Baron 

.-\.  de  Meyer, 
Portrait  de  Mrs  Broum-Potter  .^^-xrXe  Baron  .\.  de  .Meyer 
Helene,  par  Hervey  W.  Minns. 
The  .Majestic  Mam,  F.  J.  Mortimer. 
Don  Quichotte,  par  Cavendish  Morton. 
Le  dansiur,  par  Cavendish  Morton. 
Lise  Lotte,  par  Cavendish  Morton, 
Portrait,  par  Dr.  Felix  Muhr. 
Pay  sage,  par  Ward  Muir. 
Apris  I'ouragan  de  neige,  par  Ward  Muir. 
Paysage,  par  H.  W.  Muller. 
Pay  sage,  par  H.  W.  Muller. 
Portrait,  par  Nicola  Perscheid. 
Arcadia,  par  Paul  Pichier. 

.Marches  a  la  Villa  d'Este,  Tivoli,  par  Paul   Picliier 
Paysage  de  Boheme,  par  Karel  Prokop  . 
Encore  a  venir,  par  G.  E.  H.  Rawlins 
Le  pianiste,  par  Guido  Rey. 
L'heure  de  traire,  par  (Juido  Rey. 
Eilen,  par  Eva  Watson  Schutze. 
.Mere  et  Enfant,  par  Eva  Watson  Schutze. 
Tribut,  par  George  H.  Seelej'. 
Le  soir,  par  George  H.  Seeley. 
Z«  cristal,  par  George  H.  Seeley. 
.-iK/oOTKf,  par  George  H.  Seeley. 
L'icran  blanc,  par  George  H.  Seeley. 
Chevaux,  par  Alfred  Stieglitz. 
Chk'res,  par  Alfred  Stieglitz. 
Instantane pris  a  New-Yorh,  par  Alfred  Stieglitz. 
«  J/"-   C.    »,  etude    par   .Alfred    Stieglitz  et   (.'larence 

White. 
Notre-Dame,  par  W.  Orison   Underwood. 
Portrait  d'enfant,  par  Clarence  H.  White. 
Paysage  avec  figures,  par  Clarence  H.  White. 
Portrait  de  1.  A.L.  C.  *.  par  Clarence  H.  White. 
Portrait  de  M"'"  White,  par  Clarence  H.  While. 


La  Photographic  des  Couleurs 


La  decouverte  la  plus  curieuse,  la  plus  frappante, 
sinon  la  plus  importante  qui  ait  hXh  faite  recemment  en 
photographie  est  celle  des  Freres  Lumiere.  Elle  est  le 
fruit  d'une  longue  serie  d'experiences  difficiles.  Elle 
permet  de  conserver  intactes  les  couleurs  intrinseques 
d'un  sujet.  C'est  pourquoi  nous  avons  cru  devoir  con- 
sacrer  cet  article  a  I'etude  du  procede  «  autochrome  », 
a  la  valeur  esthetique  de  ses  resultats,  et  au  bien  fonde 
de  ses  pretentions  au  point  de  vue  de  I'art.  Une  autre 
raison  s'impose  plus  serieuse  pour  cette  distinction.  De 
mfime  qu'une  goutte  d'un  pigment  approprie  suffit  a 
transformer  imin6diateinent  I'eau  pure  contenue  dans 
un  verre,  ainsi  I'introduction  de  cet  element  de  couleur 
vicnt  modifier  profondement  le  caractere  des  resultats, 
2 


la  nature  des  conclusions  que  Ton  avait  a  donner  sur  les 
droits  du  photographe,  la  valeur  humaine  et  I'avenir 
des  tableau.x  qu'il  nous  donne. 

Que  le  photographe  autochromiste  ne  se  croie  pas 
autorise  ici  a  prendre  des  airs  de  moquerie  vis-a-vis  du 
critique,  il  s'exposerait  it  une  trop  facheuse  riposte. 
C'est  qu'en  verite,  on  pent  se  demander  si  I'autochro- 
miste,  —  c'est-a-dire  le  photographe  des  couleurs  — 
quel  qu'il  soit,  merite  d'arreter  I'aitention  du  critique 
d'art,  s'il  ne  doit  pas  etre  considere  —  sinon  tou- 
jours  au  moins  quant  a  present  —  simplement  comme 
un  habile  ouvrier  employant  un  procede  mecanique 
curieux,  procede  d'une  grande  valeur  scientifique  don- 
nant  comme  notation,  memorandum  ou  souvenir,   des 


La  Photographic  des  Couleurs 


resultats  d'un  tics  grand  interct  et  d'un  charme  consi- 
derable. Voyez  les  illustrations  autochromatiques  de  eel 
ouvrage  :  Dira-t-on  qu'elles  donnent  cette  rapide 
impression  des  sens,  k  la  fois  fremissement  de  pkiisir  et 
t'risson  d'inquietude  que  nous  eprouvons  devant  une 
oeuvre  d'art  authentique  ?  Que  le  lecteur  les  parcourt 
une  fois  de  plus,  qu'il  les  regarde  lentement  une  a  une, 
iiu'il  apprecie  la  qualite  bizarre,  piquante  «  staccato  » 
qu'elles  ont  toutes  a  differents  degres.  Jusqu'ici  on 
n'avait  pas  pu  reunir  une  collection  aussi  complete  des 
autochromes  obtenus  pardesoperateursbien  differents; 
M.  Bernard  Shaw  et  M.  Heinrich  Kuhn  sont  places 
cote  a  c6te  et  I'image  unique  du  «  positif  »  transparent 
de  Lumiere  n'avait  jamais  ete  reproduiteavecautant  de 
finesse  et  de  meticuleuse  loyaute.  Le  lecteur  pent  etre 
assure  tout  au  moins  d'etre  en  mesure  de  porter  un 
jugement.  Le  cas  est  pose  devant  lui,  il  n'a  plus  qu'a 
laisser  ses  sens  repondre  franchement. 

Kt  pendant  qu'il  s'apprete  a  ecouter  leur  verdict  je 
crois  qu'il  fera  deux  grandes  divisions. 

Cliacune  d'elles  est  precedee  d'un  bref  sentiment 
tic  vif  etonnement,  sorte  de  plaisir  sans  rien  de  bien 
I  eel;  puis  lorsque  le  plaisir  de  la  nouveiute,  I'admira- 
tion  de  I'ingeniosite  du  precede  se  sont  evanouis,  I'ob- 
servateur  arrive  a  cette  conclusion  fondamentale.  Suppo- 
sons  qu'il  regarde  le  petit  paysage  de  M.  Bernard 
Shaw  (n'  93).  La  tour  grise  de  I'eglise  se  dresse  au 
second  plan,  dans  le  feuillage  d'automne ;  derriere,  le 
ciel  sans  nuages,  et  il  eprouve  la  meme  sensation  que 
devant  un  coin  de  nature  qu'il  regarderait  par  le  petit 
bout  de  la  lorgnette,  effet  d'une  nature  criarde  etacido 
une  nature  curieusement  s6che  et  brillante  d'un  eclat 
metallique.  Si,  ensuite,  il  regarde  I'etude  plus  ambitieuse 
de  M.  Kuhn,  «  Camarades  »  (n°  63)  il  se  trouve  en  pre- 
sence d'un  veritable  sujet  de  peinture  avec  modules  en 
place  et  pares  et  il  a  immediatement  I'impression  d'etre 
devant  un  tableau  qui  serait  soudain  prive  de  tout  ce 
qu'il  y  a  de_delicat,  de  penetrant  dans  ses  couleurs,  sans 
les  echos  affaiblis,  les  cordes  qui  vibrent  sous  la  main  du 
peintre  pour  produire  I'unisson.  Voila  les  deux  sensa- 
tions, I'une  ou  I'autre,  a  un  degre  plus  ou  moins  fort> 
que  Ton  eprouvera  devant  presque  toutes  les  illustra- 
tions en  couleurs  de  cet  ouvrage  ;  on  se  dit,  d'une  part, 
que  le  plaisir  eprouve  ne  va  pas  au  delii  de  celui  qu'on 
aurait  en  ecoutant  un  echo  un  peu  aigre  de  la  nature ; 
on  se  dit  aussi  que  ce  plaisir  est  toujours  moindre  que 
celui  qu'on  a  devant  un  tableau  peint. 

Voila  des  conclusions  significatives.  Avant  de  les 
accepter  comme  definitives,  avant  d'appliquer  le  ver- 
dict qui  semble  inevitable,  il  est  une  cour  d'appel  devant 
laquelle  nous  pouvons  porter  le  debat.  Ces  legeres 
divergences,  I'absence  de  ces  fils  conducteurs  de  cou- 
leur,  la  presence  de  cette  durete  de  plein-air,  ne  sont- 
elles  pas  le  resultat  d'une  inhabilete  momentan^e,  d'une 


hesitation  qui  est  le  propre  de  toute  nouvellc  invention. 
Les  doigts  devenant  plus  habiles  par  I'usage,  n'aura- 
t-on  pas  de  meme  le  secret  de  cesldifffcultes,  ne  trou- 
vera-t-on  pas  un  moyen  d'adoucir  cette  rudcssc  ?  Chcr- 
chons  done  ce  qu'il  y  a  li-dedans  d'inb^rent  et  d'irrt- 
mediable  et,  ce  qu'il  y  a  d'accidentel  et  de  momentane. 
E.xaminons  la  question  au  point  de  vue  technique. 
Voyons  ce  qu'il  y  a  dans  le  precede  et  tachons  de  delinir 
sa  base  physique  particuliere. 

L'instrument  qui  cITectue  une  revolution  est  presque 
toujours  quelque  chose  de  leger,  de  bizarre  ;  c'est 
comme  la  pointe  qui  termine  une  fleche.  Un  homme 
d'Etat  resume  une  vague  politique  en  une  cpigramme 
et  soudain  un  grand  changement  s'accomplit,  une  idee 
vague  et  pesante  passe  en  proverbe,  elle  dirige  I'csprit 
d'une  nation  aussi  nettement  qu'une  loi  naturelle.  La 
decouverte  des  Freres  Lumiere,  comme  bien  d'autres 
decouvertes  qui  font  epoque,  est  en  realite  un  peu  plus 
qu'un  epitome  particulierement  delicat  et  adroit  des 
principes  contemis  dans  les  recherches  chaotiques  de 
nombre  de  chercheurs  :  Plaques  striees  du  D'  Joly  de 
Dublin;  exjjeriences  assez  semblables  «  Florence  »  du 
Powrie  de  Chicago;  proccde  pratiquement  identique  de 
Mac-Donough  en  Amerique ;  vieux  procede  theoriqne 
de  Becquerel  ;  precedes  plus  connus  mais  non  moins 
compliques,  difficiles  et  irapraticables  de  Lippmann, 
toutes  les  lois  et  affirmations  contenues  dans  ces  efforts, 
d'une  part,  et  de  I'autre  les  principes  trichromatiqucs 
contenus  dans  les  experiences  de  Ducos  du  llauron, 
de  Cros  et  de  leurs  successeurs  ont  ete  resumees  par 
ces  deux  savants  fran9ais  dans  une  sorte  d'epigrammc 
physique,  tout  le  vacarme  des  auxiliaires  de  laboratoire, 
la  triple  exposition,  les  syntheses  subsequentes  et  le 
reste,  tout  cela  se  concentrant  brusquement  en  une 
seule  exposition  et  une  image  unique  suffisantc  par 
elle-meme.  Les  Clark-Maxwell  et  les  Lippmann  avaient 
peniblement  fagonne  I'arme,  et  I'avaient  grossierement 
forgee.  II  etait  donne  aux  Freres  Lumiere  d'afliner  la 
pointe  et  cela  d'une  louche  adroite,  et  de  transformer 
une  curiosity  rude  et  barbare  en  une  arme  rcvolution- 
naire  et  brillante. 

Le  resultat,  ou,  du  moins.  Tun  des  resuluts  est  que 
s'il  faudrait  tout  un  volume  pour  expliquer  linuule 
procede  de  Lippmann,  la  triomphale  methode  pratique 
des  Lumiere  se  pent  decrire  en  quelques  phrases.  Des 
grains  d'amidon  colores  en  vert,  des  grains  d'amidon 
colores  en  violet  et  des  grains  d'amidon  colores  en 
orange  (le  vert,  le  violet  et  I'orange  etant  les  trois  cou- 
leurs primitives),  sont  egalement  melanges  de  fa?ona  ne 
plus  former  qu'une  poussifere  grise  ;  ils  sont  alors  etalcs 
habilement,  h  raison  de  quatre  millions  de  grains  par 
pouce  carrc,  sur  la  surface  d'une  plaque  et  sur  cette 
fabuleuse  armee  la  couche  sensible  d'cmulsion  panchro- 
matique  —  prison  chimique  qui  renfermera  I'image  — 

3 


La  Photographic  des  Couleurs 


est  delicatement  repandue.  Cette  embuscade  compli- 
quee  et  parfaite  aboutit  a  une  leddition  complete  des 
rayons  de  couleur.  Quelle  que  soil  sa  nature,  d'oCi  qu'il 
vienne,  le  rayon  qui  arrive  ne  trouve  pas  un  coin  de  la 
plaque  qui  ne  soil  occupe  par  un  bataillon  de  grains 
d'amidon  qui  connait  sa  faiblesse  particulicre  et  qui  sail 
comment  se  comporter  a  son  egard.  Provoque,  interroge, 
desarme,  saisisubtilement  et  infailliblement  il  est  enfin 
conduit  dans  un  etat  de  parfaite  exactitude  a  sa  vraie 
place  dans  le  positif  transparent  et  la,  en  compagnie 
d'innombrables  autres  raj-ons  egalement  prisonniers' 
1  forme  cette  image  precise  d'une  eglise  ou  d'un  nuage, 
ou  d'un  enfant  dont  nous  donnons  ici  une  reproduc- 
tion. 

Une  delicatesse  automatique  exquise  produisant  une 
Image  d'une  infaillible  exactitude  —  voila  done  la  base 
physique  de  ce  procede  autochrome.  Cherchons  main- 
tenant  quelle  fafon  de  construction  esthetique  nous 
pouvons  edifier  sur  cette  base.  Et  quand  nous  e.xami- 
nons  ainsi  le  cas  de  I'autochrome  reduit  a  ses  plus  sim- 
ples elements,  deux  fiicheuses  circonstances  se  presen- 
tent  devant  nous.  D'abord  «  cette  delicatesse  automa- 
tique exquise  »  est  d'une  jalousie  telle  qu'elle  se  dresse 
en  ennemie  declaree  de  toute  autre  delicatesse.  Puis 
ensuite  «  cette  infaillible  exactitude  de  I'image  »  est 
vraie  a  ce  point  quelle  devienl  une  sorte  de  terrible 
faussete,  que  I'image  est  plus  vraie  a  la  nature  que  la 
nature  ne  Test  ii  elle-meme  et  d'une  fafon  si  implacable- 
ment  precise  qu'elle  est,  en  fait,  une  alteration. 

Arretons-nous  u  ces  deux  points  : 

Le  premier  d'abord.  II  est  bien  evident  que  le  jour 
od  la  main  de  I'homme  cree  une  machine  plus  delicate 
(|u'elle  meme,  elle  perd  tout  droit  ii  intervenireta  vou- 
loir  commander.  Et  c'est  precisement  ce  qui  arrive. 
La  finesse  de  cet  instrument  autochrome,  la  nature 
exquise  des  operations  auxquelles  se  livrent  ces  batail- 
lons  si  merveilleusement  entraines  de  billions  de  grains 
delicats,  ne  permettent  plus  a  la  main  de  I'homme  une 
intervention,  elle  ne  pent  plus  aider  ni  modifier  le  plan 
d'attaque,  proposer  un  armistice,  rendre  la  liberte  a 
telle  ou  telle  couleur  emprisonnee.  L'operateur  doit 
rester  les  bras  croises  pendant  que  les  Lilliputiens  de 
sa  creation  poursuivent  leurs  inflexiblcs  manoeuvres. 
Chose  curieuse,  tons  les  autres  developpementsrecents 
en  photographic  ont  ete  complementaires.  A  chaque 
progres  dc  la  pratie  scientifique  a  correspondu  un  pro- 
gres  dans  la  partie  esthetique  —  I'exactitude  plusgrande 
amenant  de  nouvelles  libertes  pour  l'operateur,  ainsi  la 
plaque  orthochromatique  se  contre-balanijant  avec  le 
procede  ii  I'huile  de  Rawlins.  Mais  ce  n'est  pas  le  cas 
avec  le  dernier  progres  dont  nous  parlons.  II  semblerait 
que  la  science  en  presence  de  sa  merveilleuse  decou- 
verte  soit  devenue  impatiente  de  controle  et  d'interrup- 
tion    et  qu'elle   ait  resolu  de  toutgarder  pour  elle.  En 

4 


tout  cas,  I'intervention  devient  tout  a  fait  impossible 
dans  rautochromatisme.  Pas  de  creation  par  manipu- 
lation ct  I'une  des  trois  routes  par  lesquelles  le  photo- 
graphe  peut  esperer  atteindre  le  sommet  de  la  monta- 
gne  sacree  est  rigoureusement  fermee, 

Voyons  maintenant  la  seconde  de  ces  terribles  cir- 
constances physiques,  I'exactitude  extravagante  de 
I'image  ;rimpossibilite  complete  de  toute  modification 
apparait  comme  un  defaut  plus  serieux  encore ;  les 
liens  dont  la  science  a  charge  l'operateur  sont  bien  de 
vraies  chaines  et  de  pesants  boulets.  Cette  exactitude 
folle,  cette  verite  exageree  expliquent  dans  le  paysage 
ce  bizarre  effet  d'acidite,  d'asperite  que  nous  avonsdejii 
signale  et  il  devient  presque  aussi  difficile  de  prouvcr 
ce  qu'il  a  d'inevitable  que  de  demontrer  son  exis- 
tence. Le  coucou  jaune  de  Delacroix  ne  s'est  pas  pi'o- 
mene  en  vain  dans  le  monde  des  ateliers  et  la  theorie 
des  couleurs  complementaires  est  aussi  connue  que  la 
theorie  darwinienne.  Xous  savons  tons  quand  nous 
regardons  un  paysage  que  nous  ne  voj-ons  plus  une 
couleur  separeraent  dans  sa  valeur  intrinseque,  mais 
que  de  toutes  sortes  d'alliances  etranges  entre  les  cou- 
leurs qui  viennent  frapper  notre  ceil,  resulte  une  image 
curieusement  tissee  et  melangee;  telle  couleur  se  su- 
bordonne  a  telle  autre,  celle-ci  vibre  devant  une  qua- 
trieme,  une  cinquieme  et  une  sixieme  disparaissant  et 
comme  se  suicidant.  Detachez  une  couleur  du  mouve- 
ment  d'une  vague,  d'un  ciel,  d'un  champ,  d'un  rivage, 
prenez-la  dans  votre  main  pendant  que  vous  la  regar- 
dez  pour  la  separer  de  I'interference  de  ses  voisines, 
et  vous  verrez  que  cette  couleur  est  tres  diflferente  de 
celle  que  vous  tenez  dans  votre  main  quand  toute  la 
gamme  des  jaunes,  des  bleus  et  des  verts  eclate  en- 
semble a  votre  vue.  Ce  jaune  intrinseque  du  sable 
prend  une  Sorte  de  couleur  de  chair  devant  le  vert  vif 
du  gazon  ;  I'eau  a  des  bleus  plus  profonds  devant  I'em- 
brasement  de  la  greve  et  le  pourpre  du  lointain, 
longue  ligne  de  bois  dontl'aspect  retentit  dans  vossens, 
n'est  pas  sans  influence  sur  I'orchestration  tout  entiere, 
la  faisant  changer  de  tons,  lui  donnantquelque  chose  de 
plus  fin  et  de  plus  delicat. 

Mais  la  plaque  de  Lumiere  n'a  pas  cette  faiblesse  de 
notre  ceil,  elle  repousse  ces  combats  d'amour  et  ces 
querelles  chromatiques.  La  couleur  qu'elle  enregistre 
est  la  couleur  native,  c'est  le  bleu  tout  seu!  de  la  mer, 
I'or  independant  du  rivage,  le  vert  de  I'herbe  comme 
serait  I'herbe  si  le  monde  enticr  n'etait  qu'une  vaste 
prairie.  Le  resultat,  lorsque  notre  ceil  passe  de  la  scene 
il  la  representation,  de  I'original  a  la  reproduction,  est 
une  sensation  aigue  de  choc,  comme  un  frisson  metal- 
lique.  Les  sens  arrivent  peut-Stre  a  reorganiser  les 
couleurs,  ils  cherchent  a  attenuer  leur  rigueur  et  il  se 
peut  —  quoique  cela  ne  soit  pas  certain  —  qu'ils  arri- 
vent a  arranger  les  couleurs,  a  en   faire   quelque  chose 


La  Phologj-aphie  des  Couleurs 


(liii  ressemble  plus  a  la  douceur  de  I'image  qu'ils 
tirent  de  la  Nature.  Mais  c'est  li  une  besogne  queph)-- 
siologiquement  ils  sont  incapables  d'accomplir  lieureu- 
sement;  la  difference  entre  I'etendue  de  I'original  a 
trois  dimensions  et  la  reproduction  a  deux  dimensions 
les  dejoue;  le  paysage  autochrome  garde  quelque 
chose  d'un  bain  froid,  quelque  chose  de  deplaisant  et 
d'austere,  quelque  chose  d'aussi  eloignedecette  illusion 
sensuelle  appele  Nature  que  de  cette  voluptueuse  realite 
appclee  Art. 

Mais,  dira-t-on,  n'y  a-t-il  pas  la  une  methodeclaire  et 
sure  de  creation?  Puisque  I'effet  de  la  peinture  est  si 
different  de  I'effet  de  I'original,  puisque  «  I'Art  est  I'Art 
parce  qu'il  n'est  pas  la  Nature,  »  en  raison  meme  de 
cctte  disparite  piquantc  et  acerbe,  I'autochromiste  nc 
l)0urra-t-il  pas  donner  a  des  choses  belles  et  durables 
une  emotion  qui,  sans  lui,  resterait  intangible  et  incom- 
munisable  ?  Vous  dites  la  Creation  par  la  Manipulation 
est  impossible.  Soit  :  Mais  la  Creation  par  la  seule 
Technique  ? 

Precisement  cette  acuite,  cette  acidite  de  couleurs, 
ce  changement  dans  leurs  relations,  ne  donnent-ils  pas 
un  equivalent  autochromatique  a  I'echange  de  couleur, 
uii  procedc  qui  peut  etre  considere  comnie  une  des 
preuves  du  droit  qu'a  le  monochromiste  au  rang  sou- 
verain  d'artiste  ? 

C'est  la  sans  doute  un  bon  argument,  tout  a  fait  per- 
tinent et  qui  serait  entierement  concluant  s'il  s'agissait 
dun  autre  element  dans  la  vie  qUe  cet  extraordinaire 
element  de  couleur.  Quand  la  modification  est  toni- 
que  ou  lineaire,  il  est  probable  que  la  represen- 
tation qui  en  resultera  sera  belle.  S'il  s'agit  d'assom- 
brir  un  ton  gris,  de  changer  la  valeur  d'un  theme  mo- 
nochromatique,  de  modifier  la  disposition  de  lumiereou 
d'ombre,  le  trouble  apporte  sera  peut-etre  nouveau, 
etrange  mais  encore  parfaitement  agreable.  Mais  la 
beaute  de  couleur  est  chose  tout  a  fait  a  part.  II  n'est 
pas  de  beaute  plus  fragile,  il  n'en  est  pas  qui  soit  gardee 
par  des  lois  dont  I'infraction  peut  conduire  a  des  chati- 
.ments  plus  serieux  et  plus  prompts.  II  n'est  pas  d'edit 
qui  declare  qu'un  angle  de  40*  est  chose  exquise,  mais  un 
angle  de  38  est  intolerable.  Mais  il  existe  un  principe 
irrevocable  dans  la  Nature  qui  affirme  que  le  pourpre 
et  I'or  sont  d'une  splendide  harmonie  et  quele  pourpre 
et  le  rose  sont  un  crime  en  esthetique.  II  n'y  a  pas  de 
regie  pour  definir  quelle  ombre  de  gris  exacte  doit  se 
trouver  dans  uncertain  ton  de  noir,  mais  il  est  une  loi 
eternelle  qui  condamne  avec  eclat  runion  du  magenta 
et  du  mauve.  La  grande  ere  de  paix  commenceraavant 
que  la  ferocite  de  la  lutte  entre  le  puce  et  le  vermilion 
soit  reglee.  Les  morales  et  les  religions  humaines  peu- 
vent  se  pencher  et  s'unir,  mais  I'union  de  certaine  cou- 
leurs effarouchera  toujours  comnie  quelque  chose  d'in- 
convenant. 


Un  agenccmcnt  de  couleurs  parfait  est  done  chose 
trop  sensible,  son  cadre  est  trop  exquis  et  trop  frfile 
pour  comporter  des  transformations  brusques  et  rapi- 
des.  Rien  n'est  plus  rare  qu'un  ceil  ayant  la  perception 
parfaite  de  la  couleur,  rien  de  plus  difficile  en  art  que 
Telaboration  d'un  theme  de  couleur  serieux  et  compli- 
qiie.  Comment  doncattendre  del'autochromisteagissant 
avec  une  rigidite  mecanique.  sans  guide  ni  contrOlc  de 
la  main  humaine  autre  chose  qu'une  oeuvre  discor- 
dante"?  Deja,  au  milieu  dexperiences  sans  fin,  ce  miracle 
s'est  produit,  une  harmonie  nouvelle  et  compliquee  se 
fait  etrangement  remarquer.  Mais  ces  exceptions  n'ont 
aucune  regie  artistiquc,  ce  sont  d'heureux  accidents, 
des  enfants  du  hasard,  ils  ne  donnent  pas  k  I'operateur 
le  droit  de  se  dire  createur  ;  ils  ne  sanctifient  pas  I'art 
d'oiiils  viennent.-.Comme  pour  la  manipulation,  la  route 
dela  creation  par  pure  technique  est  fermeepourlapho- 
tographie  des  couleurs ;  il  lui  manque  ce  clavier  de 
precedes  differents  que  les  Davidson,  les  Coburn,  les 
Craig  Annan,  dans  leurs  oeuvres  non  colorees  savent 
faire  chanter  si  delicieusement.  Reste  ii  considerer  une 
troisi6me  route,  celle  de  I'expression  personnelle,  que 
Ton  pourrait  appeler  la  Creation  par  isolement. 

C'est  ici,  croyons-nous,  qu'il  faut  chercher  I'avenir 
esthetique  de  I'autochrome,  c'est  en  cedomaine,  en  tout 
cas,  que  se  trouvent  les  autochromes  les  plus  rcussis  de 
ce  volume.  En  meme  temps,  on  est  force  d'avouer  que 
les  difficultes  sont  enormes.  Fouillant  dans  le  chaos  et 
I'immenslte  de  la  nature  pour  y  trouver  ce  petit  fragment, 
cette  bagatelle  dont  la  beaute  isolee  paraitra  irreelle 
et  nouvelle,  le  monochromiste  doit  toujours  se  souvenir 
qu'il  doit  rechercher  non  seulement  ia  nouveaute  mais 
lu  beaute,  beaute  de  lignes,  de  masses,  de  ton,  de 
disposition,  de  courbe,  necessite  de  voir  tout  cela  en 
relation  avec  le  petit  coin  auquel  il  le  destine,  en  rela- 
tion avec  le  cadre  de  son  epreuve  et  dans  les  termes 
speciaux  de  son  procede;  c'est,  nous  I'avons  vu,  une  des 
principales  difficultes  de  sa  tache.  Mais  quand  il  s'agit 
d'autochromie,  cette  difficulte  devient  un  veritable 
cauchemar  par  la  necessite  simultanee  de  d^couvrir 
d'accord  avec  cette  beaute  de  masse,  de  lignes,  de  dis- 
tribution et  du  reste,  cette  chose  bien  plus  rare  et  bien 
plus  fugitive,  une  parfaite  mdlodie  de  couleur.  Souvent, 
sans  doute,  au  milieu  d'un  travail  en  plein  air  vous 
trouvez  des  harmonies  de  couleur  negligees  qui  sont 
d'une  exquise  perfection.  Le  peintre  le  sail  bien,  il  les 
recherche,  les  etudie,  apprend  leurs  secrets  et  s'en  sert, 
mais  il  ne  pense  pas  a  les  faire  coincider  avec  des  har- 
monies de  masse  et  de  lignes.  II  ne  nourrit  pas  le  fol 
espoir  de  decouvrir  la  nature  chantant  un  duo.  II  se 
contenfe  de  decouvrir  ici  sa  melodic  lineaire,  Ik  sa 
melodie  chromatique  et  ensuite  de  les  m*ler,  de  les 
tisser  avec  art,  de  telle  sorte  qu'elles  apparaissent  sur 
la  toile  parfaitement  fondues  et  ii  I'unisson. 

5 


m 


La  Photographic  des  Couleurs 


Aucune  combinaison  de  cette  sorte  n'est  possible 
pour  I'autochiomiste ;  il  doit  done  fonder  tout  son  espoir 
sur  I'existence  possible  dans  le  labyrinthe  de  cette  eton- 
nante  coincidence,  de  ce  duo  miraculeux  et  anormal.  11 
faut  qu'il  cherche  paysage  apres  paysage,  qu'il  s'enfonce 
profondement  dans  la  jungle  de  la  realite,  ne  s'appuyant 
sur  rien  de  plus  tangible  que  ce  vague  espoir  theorique 
qu'il  trouvera  quelque  part  dans  la  nature  —  en  vertu 
de  la  loi  des  moyennes  —  ces  deux  voix  qui  chanteront 
dans  un  accord  pur  et  exquis.  Nous  n'envions  pas  cette 
recherche,  nous  admettons  qu'il  pourra  reussir,  nous 
lui  souhaitons  sincerement  le  succes. 

Avec  la  meme  bonne  foi  nous  admettons  volontiers 
que  s'il  abandonne  le  paysage  pour  le  genre,  pour  urie 
certaine  sorte  de  portrait  et  surtout  de  nature-morte  il 
pourra  reduire  les  difficultes  de  sa  tache  au  point  d'en 
faire  un  mode  d'activite  tres  original  et  tres  legi- 
time. 

Dans  son  interieur  il  pourra  jouer  le  r61e  de  detis  ex 
machina  et  devenant  metteur  en  scene  faire  des  essais 
jusqu'ace  qu'il  produise  quelque  chose  qui  contiendra  la 
coincidence  desiree.  Ce  n'est  pas  la  plus  aisee  des  taches, 
elle  ne  se  peut  comparer  aux  travaux  les  moins  manuels 
du  peintre  car  il  faut  qu'il  fasse  laborieusement  et  phy- 
siquement  ce  que  le  pinceau  accomplit  d'une  seule 
touche.  Mais  cette  tache  il  peut  I'accomplir  et  nous 
donner  certaines  sensations  rares.  Les  etudes  de  fleurs 
du  baron  de  Meyer,  les  meilleures  autochromes  de  cet 
ouvrage,  le  montrent  amplement.  Sa  nature  morte  avec 
des  «  General  Jacqueminot  »  sortant  si  delicieusement 
du  vase  si  delicatement  choisi  est  une  veritable  creation 
(n°  75).  Ce  tableau  est  beau  en  lui-meme,  sa  beaute  est 
bien  saisie,  c'est  le  produit  d'un  effort  decisif  d'une 
raison  imaginative,  c'est  une  beaute  cachee  et  eloignee, 
tres  differente  de  I'insouciante  beaute  qui  emanerait  de 
vraies  fleurs^  d'un  vrai  vase  et  d'une  vraie  draperie. 
Plus  parfait  encore  est  I'habile  agencement  en  bronze 
rouge  et  laque  verte  (n°  69).  Ces  deux  morceaux  sont 
.certainement  des  epreuves  d'art,  et  celui  qui  les  a  faites 


-I'eflt-il  jamais  produit   de  monochromes,  a   un   droit 
certain  ^  un  litre  ancien  et  honorable. 

C'est  par  un  precede  semblable  de  raise  en  scene  que 
les  autres  plaques  les  plus  reussies  ont  cette  beaute  qui 
les  sauve.  La  «  Toilette  bleue  »  (n*  22)  ;  la  «  Dame  en 
rouge  »  (n<-  38)  ;  M»'  W.  M.  (n"  87)  ;  les  curieux  essais 
en  vert  de  Craig  Annan  (n°  8)  :  le  portrait  groupe 
(n°  87).  Dans  toute  ces  oeuvies  le  groupement  a  ele 
fait  avec  reflexion,  le  tableau  a  ete  prepare  comme 
une  mise  en  scene,  la  chambre  noire  est  venue  pour  k' 
perpetuer.  C'est  a  notre  avis  la  seule  methode  par 
laquelle  I'autochromiste  puisse  esperer  faire  quelque 
chose  qui  soil  plus  qu'une  notation  interessante,  un 
memorandum  curieux,  I'adroite  exemplification  d'une 
curieuse  decouverte  scientifique. 

Et  encore...  (il  faut  faire  cette  reserve)  car  I'avenir, 
comme  disent  les  Japonais,  est  plein  d'occasions  et  on 
ne  peut  guere  douter  que  demain  ou  !e  lendemain  do 
demain  n'apporte  une  nouvelle  decouverte,  un  nouveau 
progres,  qui  remettra  aux  mains  de  I'operateur  le  droit 
de  contrdle  et  lui  rende  le  pouvoir  que  la  science  ii 
momentane  usurpe.  C'est  une  perspective  pleine  dc 
charme,  c'est  comme  la  porte  d'un  monde  de  specula- 
tions curieuses  et  enchanteresses,  mais  nous  avons  dejii 
refuse  de  jouer  le  role  de  prophete  ;  nous  ne  nous  lais- 
serons  leurrer  par  cette  attirance. 

En  terminant  nous  nous  permettrons  de  dire  que  la 
veritable  sphere  de  la  photographic,  la  place  oil  elle 
pourra  saisir  le  bon  moment  sur  la  pointe  du  pied,  et 
I'emprisonner,  pour  toujours  doit  etre  le  monde  du 
monochrome.  La  couleur  est  trop  fugitive  et  sensible 
pour  se  soumettre  a  cette  chasse  aux  papillons,  nou.s 
dirons  que  le  photographe  doit  comprendre  cela  nette- 
ment,  non  pour  laisser  de  cote  les  experiences  d'auto- 
chrome,  mais  pour  pousser  plus  activeraent  et  plus 
vigoureusement  ses  recherches  en  monochromie.  Car 
ici  certainement  la  tache  est  assez  belle  et  assez  pre- 
cieuse  pour  satisfaire  le  plus  ambitieux. 

Dixo.v  Scorr. 


I'll.  Rfxouard,  r9,  rue  des  Sainib-rjrcf. 


L'impriraeur-gOrant ;  Fh,  K£nol  arh. 


f^':r:'V^^^. 


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PORTRAIT  OF  MRS.  GREIFFENHAGEN         FROM  AN  AUTOCHROME  BY  J.  CRAIG  ANNAN 


1 


•BOY  WITH  HOOP"  BY  MARY  ALLEN 


'BED-TIME"         BY  FRANCES  ALLEN 


BOOK-PLATE  BY  J.  CRAIG  ANNAN 


'STONYHURST  COLLEGE"  BY  J.  CRAIG  ANNAN 


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12 


"  EVENING  SILHOUETTE"  BY  MALCOLM  ARBUTHNOT 


•ATANGLE  AFTER  A  STORM"  BY  WALTER  BENINGTON 


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'A  LATE  WINTER  SUN"         FROM  A  GUM  PRINT  BY  DR.  H.  BACHMANN 


•THE  THAW"  BY  ANNIE  W.BRIGMAN 


'7 


•THE  SWEETS  SHOP"  BY  EUSTACE  CALLAND 


l8 


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"THE  WHITE  SAIL"  BY  ALVIN  LANGDON  COBURN 


19 


"the  SILVER  CUP"  BY  ALVIN  LANGDON  COBURN 


20 


•SANTA  MARIA  DELLA  SALUTE"  BY  ALVIN  LANGDON  COBURN 


21 


"THE  BLUE  DRESS"         FROM  AN  AUTOCHROME  BY  ALVIN  LANGDON  COBURN 


22 


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"the  STADHUIS  TOWER,  VEERE"  BY  R.  LINCOLN  COCKS 


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'LOWESTOFT  HARBOUR-A  RAINY  DAY"  BY  REGINALD  CRAIGIE 


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"SPRING"  BY  LEOPOLD  EBERT 


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STUDY  OF  A  HEAD  BY  C.  J.  VON  DUHREN 


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'THE  LADY  IN  RED"         FROM  AN  AUTOCHROME  BY  ALVIN  LANGDON  COBURN 


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STUDY  OF  A  HEAD  BYSIRI  FISCHER-SCHNEEVOIGT 


PORTRAIT  BY  DAVID  OCTAVIUS  HILL 


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"GREYFRIARS  CHURCHYARD"  BY  DAVID  OCTAVIUS  HILL 


42 


PORTRAIT  OF  A  BOY    BY  DAVID  OCTAVIUS  HILL 


43 


PORTRAIT  BY  DAVID  OCT AVIUS  HILL 


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'SNOW  IN  THE  CITY"  BY  J.  DUDLEY  JOHNSTON 


"A  SUNLIT  STREET-BERNE"         FROM  A  GUM  PRINT  BY  J.  DUDLEY  JOHNSTON 


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'LIVERPOOL    AN  IMPRESSION"  BY  J.  DUDLEY  JOHNSTON 


53 


"THE  BROKEN  PITCHER"  BY  GERTRUDE  KASEBIER 


54 


PORTRAIT    BY  GERTRUDE  KASEBIER 


55 


"THE  LETTER"  BY  GERTRUDE  KASEBIER 


56 


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PORTRAIT  GROUP  FROM  AN  AUTOCHROME  BY  HEINRICH  KUHN 


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"JOSEPHINE"  BY  GERTRUDE  KASEBIER 


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"COURTYARD  AT  WEISSENKIRCHEN"  BY  HERMANN  C.  KOSEL 


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'GUANA  OF  GRANADA  I'BONITA')"  BY  BARON  A.  DE  MEYER 


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70 


THE  MAJESTIC  MAIN"  BY  F.  J.  MORTIMER 


71 


'  DON iQUIXOTE "-SELF  PORTRAIT         BY  CAVENDISH  MORTON 

iBy  permission  of  Messrs.  A.  *  C.  Black) 


72 


"THE  DANCER"  BY  CAVENDISH  MORTON 


73 


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'LISE-LOTTE"  BY  CAVENDISH  MORTON 


74 


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STILL  LIFE         FROM  AN  AUTOCHROME  BY  BARON  A.  DE  MEYER 


75 


PORTRAIT  BY  DR.  FELIX  MUHR 


76 


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PORTRAIT  BY  NICOLA  PERSCHEID 


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"STEPS  AT  THE  VILLA  D'ESTEjTIVOLI"         BY  PAUL  PICHIER 


BOHEMIAN  LANDSCAPE  BY  KAREL  PROKOP 


"and  MORE  TO  COME"  BY  G.  E.  H.  RAWLINS 


86 


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P0RTRA1T0F"MRS.  W.  M."         FROM  AN  AUTOCHROME  BY  G.  E.  H.  RAWLINS 


'THE  PIANIST"  BYGUIDOREY 


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94 


'THE  CRYSTAL"  BY  GEORGE  H.  SEELEY 


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■AUTUMN"         BY  GEORGE  H.SEELEY 


96 


'THE  WHITE  SCREEN"  BY  GEORGE  H.  SEELEY 


97 


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"CHRISTMAS  ROSES"         PROM  AN  AUTOCHROME  BY  P.  w.  URQUHART 


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"  MISS  C."-STUDY         BY  ALFRED  STIEGLITZ  &  CLARENCE  H.  WHITE 


"NOTRE  DAME"  BY  W.  ORISON  UNDERWOOD 


107 


PORTRAITOF  A  BOY  BY  CLARENCE  H.  WHITE 


"THE  THAMES"  FROM  AN  OIL  PRINT  BY  E.WARNER 


sr^.**"' 


» 


LANDSCAPE  WITH  FIGURE  BY  CLARENCE  H.  WHITE 


PORTRAIT  OF  "A.  L.  C."  BY  CLARENCE  H.  WHITE 


107 


PORTRAIT  OF  MRS.  WHITE  BY  CLARENCE  H.  WHITE 


io8 


"FINISHING  TOUCHES"  BV  DWIGHT  A.  DAVIS 


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"AN  OLD  WATERWAY,  EXETER"  FROM  AN  OIL  PRINT  BY  E.  WARNER 


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- ».  aft*  i  -f .  J  «  :7_'.    ■-      ■  ■    ■'< 


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