Article
Pictorial Movement
The pictorial movement, which emerged in Europe in the last decade of the nineteenth century, had as its basis a style that sought to make poetic, expressive photographs derived from and intended to be seen and accepted within the canon of the traditional fine arts in style and content. Another impor tant tenet of the movement was the issue of technique, that making a fine photographic print was an act analogous to the creative articulation of materials in any medium. The movement was an international endeavor with the objective of establishing for pho tography an essential place within contemporary pictorial art.
In this vein pictorial photographers, like the painters of the time, wished to express what were considered or perceived to be fundamental values and universal truths. There was thus a strong interest in symbolism, often derived from literature and the other arts. Contrived or staged scenes were frequently employed, genre subjects were greatly favored, and the still life also enjoyed popularity. As the period witnessed the rise of urbanism, a greater awareness of the city environment evolved, somewhat tempering the interest in the pastoral landscape.
Visually these pictures are mostly soft-focus in effect; and were often elaborately matted and framed. In the desire to vie with the "fine arts," and to deny the "photographicness" and create a greater sense of affinity with the traditional arts, they employ a variety of highly manipulatable techniques and materials such as platinum, gum-bichromate, and gravure. To this end photographs were some times hand colored; direct color processes to make transparencies and prints first came into wide spread use during this period.
In this vein pictorial photographers, like the painters of the time, wished to express what were considered or perceived to be fundamental values and universal truths. There was thus a strong interest in symbolism, often derived from literature and the other arts. Contrived or staged scenes were frequently employed, genre subjects were greatly favored, and the still life also enjoyed popularity. As the period witnessed the rise of urbanism, a greater awareness of the city environment evolved, somewhat tempering the interest in the pastoral landscape.
Visually these pictures are mostly soft-focus in effect; and were often elaborately matted and framed. In the desire to vie with the "fine arts," and to deny the "photographicness" and create a greater sense of affinity with the traditional arts, they employ a variety of highly manipulatable techniques and materials such as platinum, gum-bichromate, and gravure. To this end photographs were some times hand colored; direct color processes to make transparencies and prints first came into wide spread use during this period.
