It would be pedantry for the painter to correct the expression of his friend and suggest that the man who produced the picture was not an artist. It is the product of a man who felt exactly as an artist would have felt; an expression of views upon a subject entirely governed by the principles of art, and the man who made it, by that sympathy which he exhibits with those principles, is my brother in art to a greater degree than the painter who, with youthful arrogance, throws these to the winds “mistaking,” as has been cleverly said, “the will-o’-the-wisp of eccentricity for the miracle working impulse of genius.” In whatsoever degree more of the _man_ and less of the _mechanics_ appear, _in that degree_ is the result a work of art.
The reliance of photography on composition has provoked an earnest search for its principles. The photographer felt safe in going to the school of painting for these principles and accepted without question the best book written for painters, that by John Burnet, penned more than a century ago at a time when the art of England was at a low imitative ebb, and unduly influenced by imitation. This has been abundantly quoted by photographic teachers and evidently accepted, with little challenge, as final.
The best things, discoverable to the writer, in the field of composition, have been by the photographers themselves—the best things as well as the most inane; but in the face of so many results that earnest workers with the camera produce and continue to put forth, which cannot find a place in the categories of Art, it would seem that these preachments have been unheeded, or were not sufficiently clear to afford practical guidance for whom they were intended. Mr. P. H. Robinson(14)declares most strenuously for composition. “It is my contention,” he says, “that one of the first things an artist should learn is the _construction_ of a picture.” On a par with this is the opinion of Mr. Arthur Dow, the artist, who declares that “art education _should begin_ at composition.”
It is for lack of this that the searcher for the picturesque so frequently returns empty handed.
Subjectively the painter and the photographer stretch after the same goal.
Technically they approach it from opposite directions.