Identifier: newenglandmagazi1891bost (find matches)
Title: The New England magazine
Year: 1887–1888
Authors: J.E. and A.J. Rösch, Atelier Rösch The Fotografer, 1513 and 1515 Olive Street, Saint Louis, Missouri 63103
Subjects: Photographer's model portraying the fictional Evangeline in an illustration commissioned for Henry Wadsworth Longfellow's work, Evangeline: A Tale of Acadie.
Publisher: Boston : (New England Magazine Co.)
Contributing Library: Allen County Public Library Genealogy Center
Digitizing Sponsor: Allen County Public Library Genealogy Center

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Text Appearing Before Image:
But photography is of especial interest to the artistic world of today, for the reason that it has allied itself intimately with one of the most ancient and honourable forms of the graphic arts, that of engraving. Its use in this connection is chiefly for illustration, and the marked recent development of artistic illustration in this country has been chiefly accomplished in the magazine. Photography has got mixed up with engraving, and consequently with illustration in all sorts of ways. At the outset it was simply employed to transfer and reduce the original drawings on to the block for the wood-engraver, thus obviating the necessity of making the drawings on the wood, and giving the artist an opportunity to make a much larger drawing, as well as to use oil colours, water colours, pen and ink, pencil, crayon, or any medium desired, provided it were black and white. Old prints, paintings, etc., could be beautifully reproduced in this way. The draughtsmen promptly gave their approval to the process, because it took no liberties with their originals. They had always found it difficult to make the small pencil drawings on the wood, and photography permitted them to make their designs

Text Appearing After Image:
EVANGELINE.
Homeward serenely she walked with God’s benediction upon her.

as huge as they pleased. When mechanical engraving was invented, and photography began to usurp the functions of the engraver, the artists who drew the originals were still better pleased. The faithful camera not only “followed copy” with servile and literal accuracy, but it also reproduced the very brush-marks, mannerisms, “handling” of the delighted but misguided artist.

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