Identifier: mccluresmagazinev8mccl (find matches)
Title: McClure's magazine
Year: 1893 (1890s)
Authors: McClure, S. S. (Samuel Sidney), 1857-1949
Subjects:
Publisher: New York : S.S. McClure
Contributing Library: Lincoln Financial Foundation Collection
Digitizing Sponsor: The Institute of Museum and Library Services through an Indiana State Library LSTA Grant

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oul!Plow can one photograph a soul ? Jt is not to be supposed that all of Coxssitters yield themselves unresistingly to hisunusual procedure. Trained to pose to acamera, many are inclined to resent theartists effort to interest them and makethem forget the object of their visit. Thereare others who insist that, unless a faceis lighted in a certain way, the result cannot be satisfactory—slaves of a the-ory, they fail to see that this is a revo-lutionist regardless of conventions, whose the fine thins: he aim is to get onlysees. Another difficulty with which Mr. Coxstruggles is the almost universal notionthat a portrait should be something deco-rative. Many a woman who goes to himmakes a really characteristic picture im-possible by her elaborate preparations.Nothing could be more fatal to the Coxidea. Chiffons are as inappropriate in oneof his portraits as trefoils on a Grecianfacade. Where a woman dresses especiallyfor her picture all that Cox can get is, as 564 A GREAT PHOTOGRAPHER.
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HENRY WARD BEECHER. G. C. Cox, Photographer. he says, a picture of her consciousness ofher clothes. Where the decorative is entirely es-chewed, it follows that the subject musthave individuality for the picture to be ofvalue. Cox rejoices in the decided char-acter, and shrinks with dismay from a neu-tral one ; there is nothing for him to gethold of. The people who have sat to himhave been arare lot; inthe past twentyyearshe has photographed Walt Whitman, Rich-ardson, General Sherman,C. A. Dana, Mel-chers, Howells, Hunt, Beecher, E. E. Hale,Duse, and hosts of others. In most of thecases the portraits he has made will remainthe standard ones of their several subjects. The Cox portrait, however, appeals pri- marily to the discerning mind and theartists eye. Ordinarily it clashes toohard with the conventional idea of a pho-tograph. The unusual is to many the un-meaning. It is this fact that comes infrequently to depress and discourage theartist. Often he hesitates to seize withhis camera

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