La vie, lettres et travaux de Frederic Leighton . Tirer le détail de chaque objet lui setbefore. Mais, pour la bonne raison que le LemonTree a été fait avec un autre but que l'merejoy la beauté de la nature en estheticsenses Leightons excité, il n'est pas, je pense, tout à fait la même convincingcharm dans ce dessin comme dans d'autres plus fragmentarystudies. Dans l'examen de ces premiers travaux par Leighton, il devrait beborne à l'esprit, que dans les années où il a été exécuté, la photographie n'avait pas encore donné à la norme d'un andperfection terminer dans la délimitation réelle qui outrivals chaque recor

• Contributeur: The Reading Room / Alamy Banque D'Images
• ID de l’image: 2AN5NB4
• Taille du fichier: 7,1 MB (303,3 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1415 x 1765 px | 24 x 29,9 cm | 9,4 x 11,8 inches | 150dpi

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The life, letters and work of Frederic Leighton . draw the complete detail of every object setbefore him. But, for the very reason that the LemonTree was done with a further purpose than the merejoy the beauty of Nature excited in Leightons aestheticsenses, there is not, I think, quite the same convincingcharm in this drawing as in some other more fragmentarystudies. In considering this early work by Leighton, it should beborne in mind, that in those years when it was executed, photography had not yet given the standard of a finish andperfection in actual delineation which outrivals every recordmade by human hand and eye. Photography has, in theselater years, given the proportion and detail in beautiful archi-tecture, the form of trees, plants, and flowers, their exquisitedelicacy of structure, their grace and intricacy of line : all this to in his diary, Pebbles. I think this is the most beautiful drawing of thekind I have ever seen. ^ See List of Illustrations. STUDY OF LEMON TREE, Capri, 1859By permission of Mr. S. Pepys Cockerell. STUDY OF DECIDUOUS TREE Leighton House Collection «^ f>- ???•/ :-- 4- J /^ DRAWINGS OF PLANTS AND FLOWERS 203 has been secured and pictured for us by the camera ; and, upto a certain point, very precious and truthful are these memor-anda of the aspects of nature and art. Many of us rememberthe days when enthusiastic disciples of the wonderful newart of photography prophesied that no other would soon beneeded, and that the draughtsmans craft would before longcease to exist. And further, they maintained it only requiredthe discovery of a means to photograph colour for the paintersart also to be demolished. Artists, however, knew better.What was valuable in the records of photography, and whatwas of most intrinsic worth in the records created throughmeans of the human hand and eye, were absolutely incom-parable quantities. The treatment of nature in a photographicpicture, however admirable and complete, must always be lack-ing in the

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