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Henry Peach Robinson and Victorian theory

John Taylor
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To cite this article: John Taylor (1979) Henry Peach Robinson and Victorian theory, History of Photography, 3:4, 295-303,
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 Henry Peach Robinson
and Victorian Theory
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by John Taylor
Any history that treats 19th-century photography men-
fi tions the work ofH. P. Robinson (1830-1901). He is
acknowledged to be a foremost practitioner of picture
making by rule and combination. His Fading Away (1858)
in which a young girl is seen on her deathbed, is as well
known as Reijlander's Two Ways oj Life (1857) and, at the
time, excited much controversy for its 'morbid sentiment'.
Robinson published 11 books on photography!, and
contributed numerous articles to British and American
journals. Many of the books were revised, and went
through various editions. Two of them, at least, were
translated into French, and another two into both French
and German. The first book was Pictorial Effect in Photo-
graphy (1869), and this proved to be the most popular of
his works. It is characteristic of Robinson that he quotes
extensively from Enlightenment authorities, and from
Ruskin, but he ignores the Romantics. Equally revealing
of a conservative state of mind is the decision to write in
the tradition of venerable treatises on art, works such as
Du Fresnoys' Art oj Painting (translated in 1695), and
Reynolds' Discourses (1769-1790); or conventional in-
terpretations of these, such as John Burnet's Treatise on
Painting. Ideas and citations from these three authors
abound in Robinson's work. Others whom he liked to
quote, were Gerald de Lairesse, Uvedale Price, Dr John-
son, Goethe and Hogarth-from the Analysis oj Beauty
(1753)-and the popular Handbook Jor Young Painters
(1854) by C. R. Leslie, Lee's Handbook on Light, and
Howard's Sketchers' Manual. The most modern authority
that Robinson drew upon was Ruskin, in particular
Modern Painters (1843-1860) and The Elements oj Drawing
(1857).
The range of references in Pictorial Effect is wide, and
moves from famous treatises to ephemeral handbooks;
because of this, it is difficult for a modern audience to find
much in Robinson's writings that strikes a common chord.
HISTORY OF PHOTOGRAPHY, VOLUME 3, NUMBER 4, OCTOBER 1979
There is a complete absence of reference to the great
Romantic poets. One might have expected quotations
from Wordsworth, for instance, to outnumber the
references to Dryden and Fuseli, or even Shakespeare. In
fact, no reference to wordsworth is made in spite of his
pantheism, and in spite of Ruskin's own interest in Words-
worth. The possible elimination of some strong currents
of Romantic Sensibility, especially the capacity to be dis-
turbed through art, and the introduction of such themes as
Optimism and Utility, may be a thread in mid-Victorian
culture of which Robinson is a paradigm. More of this
below, but at this point we might notice that the only
quotation in Pictorial Effect from the Romantic writers is
something of Coleridge's, 'To admire on principle is the
only way to imitate without loss of originality.' This
heads a chapter on 'The sky' in which Robinson says that
the pictorial photographer must select his sky to suit his
landscape, 'and in doing this he must have a sufficiently
critical knowledge of nature, and the various phases she
assumes, to prevent him departing from the Truth of
Nature. He must keep strictly to the truth of nature-
that is absolutely imperative-but he may select the best
and most picturesque nature he can get.' Coleridge's
idea 'To admire on principle' seems to have been used by
Robinson to suggest both that the photographer submit
to nature, and also that he recognize that art regulated by
laws is not necessarily antagonistic to nature. 'Imitation'
and 'Originality' depended upon the delicate compromise
between the acceptance of nature and the choice to photo-
graph it only at the right moment. The suggestion might
be Coleridge's, but the sentiment is an ancient one. The
isolated citation from Coleridge was probably not taken
from Robinson's own study of Biographia Literaria:
exactly the same quotation appears on the fly leaf of Leslie's
Handbook Jor Young Painters, which Robinson knew well.
It might be said with some justification that Robinson's
295
 John Taylor

reputation as a theorist rests upon Pictorial Effect and subse-

quent books, which are not only themselves either out of
print or little read, but refer constantly to neglected
Enlightenment writers, or contemporary hacks, now for-
gotten. His reputation is thus based upon a book that was !

published four times in England between 1869 and 1893,

twice in America (1881, 1892) and once in France (1885)
and Germany (1886), but which today demands of the
reader an unusual amount of historical sympathy, as well
as an unusually wide education in 18th-century thought.
It would seem that the effort is not commensurate with
the rewards.
Present-day attitudes towards Robinson owe much to
the assessment by P. H. Emerson (1856-1936), his great
rival in art photography. Emerson's condemnation of
Robinson's theories was absolute. According to Emerson,
Robinson 'has served up a senseless jargon of quotations
from literary writers on Art matters, a confused bundle of
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lines which takes all sorts of ridiculous directions, and

which this worthy impresses are necessary to make a
picture'2. Gernsheim rests content with the undeveloped
claim that 'The books which most influenced Robinson's
artistic development were John Burnet's Art Essays and
Ruskin's Modern Painters 3 •
The pictures themselves, which might rise above the
antiquated theory, are dismissed by P. H. Emerson as 'a
warning what not to do'4. In Gernsheim's history, Robin-
son's compositions are described as 'elaborate' and 'arti-
ficial' , and the kinship with contemporary art and the use
of combined negatives, is said to have 'led to a general Figure 1. Frontispiece of 'Letters on Landscape Photography',
emulation of this kind of picturemaking from which by H. P. RobillSOIl. (Scovill Manufacturing Company, 423
photographic exhibitions the world over have not yet Broome Street, New York 1888). The book, one of Scovill's
recovered' s. Photo<~raphic Series, consists of essays originally written for the
Robinson's 'little tricks' raise up that other stick with 'Photographic Times', where they appeared throughout 1887.
which he is beaten-'What his audience in mid-Victorian
times considered "good taste"'6. Nancy Newhall, writing
about P. H. Emerson, shares his antipathy for Robinson's dogs ... In America things were coarser, fresher, less
dodges and tricks in response to nature, since she is dealing accomplished and more imaginative'9. Nancy Newhall
with the first of the moderns, the man who made the 'first ascribes imaginative power to coarse attitudes and methods,
great statement of pure photography', and the man who whereas skill and refinement of feeling in England is sup-
championed Alfred Stieglitz. As long as photographic posed to have led to work that was restricted in imagination
history moves forward by the deeds of heroic figures, the Man y artists in the 19th century were very conscious of the
revelation of contemporary mass aspirations will remain demands of both spontaneity and of high finish when they
undiscovered. painted, but they were not as certain as modern com-
Mid-Victorian 'good taste' remains ill-defined, except mentators arc that coarseness was in itself a measure of
as a generally bad thing in one of the most recent and imagination.
sympathetic appraisals of Robinson's work. Cecil Beaton More revealing of current values is the ironical assess-
writes in The Magic Image that Robinson made 'quaint ment of Winslow Homer, the American artist, written
pictures of remarkable technical achievement and treacly by Henry James in 1875:
sentimentality which appealed greatly to certain Victorian
Mr. Homer goes in, as the phrase is, for perfect
tastes'7. In the same book, Emerson is given credit for a
realism, and cares not a jot for such fantastic hair
modern attitude to photography, 'as an independant art-
splitting as the distinction between beauty and
form with its own rules'S. Emerson's 'bombshell' in the
ugliness. He is a genuine painter: that is, to see,
'tea party' of English photography (his book advocating
and to reproduce what he sees, is his only care: to
differential focusing, called Naturalistic Photography [1889])
think, to imagine, to select, to refine, to compose,
is supposed by Nancy Newhall to parallel a similar vigour
to drop into any of the intellectual tricks with
in American fine art, whereas British art was in the
which other people sometimes try to eke out the
doldrums.
dull pictorial vision-all this Mr. Homer tri-
'England was very accomplished and sentimental.
umphantly avoids 10 •
Landseer's "Monarch of the Glen" ... and all those faithful

296 HISTORY OF PHOTO GRAPHY , V OLU ME 3, NUMBER 4, OCTOBER 1979


James goes on to maintain that it is the coarse Homer who
is without imagination. Clearly it would be easy to become
lost in concepts that all polemicists regarded as valuable-
concepts such as truth to nature, purity, and imagination.
Instead, the distinction is to be found firstly in the very
different appearance of work by Robinson and Emerson, and
secondly in the sources of their inspiration. The growing
understanding of the 'impressionism' of the eye had special
relevance for Emerson's work, and will also be found to
reveal certain mid-Victorian attitudes to Romanticism
which are relevant to a proper assessment of Robinson.
Emerson chose to base his claim for a scientific under-
standing of art-photography upon the theories of the
physicist Helrnholtz. According to Emerson his ideas seem
to have had the support of the great scientists, but his
adaptions of the theory may be less than accurate, or
scientific. In his article on 'Photography a Pictorial Art'll,
Emerson said that he was 'indebted' to Helmholtz for his
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notes on how £'lr painting might reproduce nature.
Helmholtz is reported to have said that 'one of the princi-
pal things in reproducing nature is the quantitative
rclation between luminous intensities'. A confusing use of
quotation marks leaves one with the impression that Helm-
holtz believed that the artist 'must give the same ratio of
brightness to his colours as that which actually exists'. In
fact this statement makes no sense in terms of physics
since these notions have no unique meaning, but depend
entirely on the criterion of 'sameness' adopted. Here is an
example of Emerson putting forward his own artistic
interpretation as if it were something absolute that the
physicist had described. It is interesting to see that Emerson
drew not only upon modern scientific theory, but also
upon ancient art theory, because they both indicated
either absolute truths, or eternal verities, and both came
to be regarded as much the same thing. Hence some of
Emerson's statements about photography take on the ring
of a scientific thesis.
'[In photography] there is ample room for selection,
judgement and posing, and ... in capable hands a finished
photograph is a work of Art'12. It was extremely fashion-
able to harness science to explain some aspects of art.
Emerson chose to talk about the Helmholtzian relation of
values, but he could have drawn his scientific base from
such 'natural conditions' as 'blurred definition'. These
conditions were enumerated by D. S. MacColl in an essay
called 'Impressionism, or the logic of modern painting',
printed in The Artist of 188613. Emerson's differential
focusing was another version of what this commentator
called the 'interested attention' of the eye, which focuses
only upon the area of chief interest. Nature itself provided
veils in the form of light and darkness, mist, smoke, and
distance. The writer went on to extol the virtues of
Whistler.
In 1869, before Whistler or Impressionism were forces
in contemporary life, Robinson had rejected what became
the argument of 'interested attention' of the eye. In
Pictorial Effect, he said that the eye focuses so quickly that it
sees one part almost as well as any other-and that the
same rules should apply to the picture as to nature. 'But
there is no reason why this scene, if represented in a pic-
HISTORY OF PHOTOGRAPHY, VOLUME 3, NUMBER 4, OCTOBER 1979
Henry Peach Robinson and Victorian Theory
ture, should be a mass of detail. Sharp, as we may call it
in photography, it may be all over, but if it is to have
pictorial effect, it must be massed'14.
The accent upon the whole, as opposed to any part, was
one of Reynolds' tenets-and Reynolds was quoted by the
author of 'Impressionism, or the logic of modern painting'
to support his theory of the 'dilated' eye, and also by
Robinson to support his theory that the unity of masses
'preserve a breadth of light and shadow'.
The 'unity of masses' which was a general attribute
of painting in the 18th century, was translated into Vic-
torian times by Ruskin, who was Robinson's most modern
authority. Robinson quoted Ruskin in Pictorial Effect as
placing a great emphasis upon unity-'that is, to make out
of many things one whole .. .'15. Similar ideas are to be
found in Burnet's essays on Composition (1822) and Light
and Shade (1826) which were reproduced with annotations
by Robinson in the Amateur Photographer of 2nd January
1891. Robinson shared Ruskin's enthusiasm for Turner,
and he particularly liked the Fighting Temeraire, but it
served as the occasion for some improving words:
For the purposes of photography, the Dutch and
English schools would give the most profitable
lessons, especially, as I have said, the works of
Turner. The budding artist who is inclined to
'have nothing to do with the tyranny of rules'
should remember that Turner was a very great
and original genius, who might have been above
and beyond all rules, and that, nevertheless, he
obeyed them 16 •
Romantic thought has nowhere intruded itself into
the debate about art and photography. It seems surprising
that modern photographic commentators have not re-
marked upon this quality of mid-Victorian life, but have
limited themselves to a general castigation of sentimental
taste, as if that were a preserve of Victorian society. The
Romantic poets, Wordsworth most often, were used by
the Victorians, but their understanding of them seems,
from our viewpoint, somewhat undeveloped. One might
hope for some intrusion of Romantic thinking into the
ideas of those who were emerging into Impressionism,
but the record can disappoint at this level, though be quite
revealing at another.
The author of 'Impressionism, or the logic of modern
painting' mistakes the source of strength in Wordsworth's
'Resolution and Independence'. The commentator speaks
of the bathos that results from the shift from soft focus to
sharp:
Wordsworth sees an old man at a distance, whose
image suggests a somewhat stately poetic strain,
to which his verse as he begins the poem res-
ponds ... But Wordsworth walks into the dis-
tance of his picture, buttonholes his mysterious
subject, and asks 'What are you doing?' He replies,
'I am looking for leeches'. The verse at once rebels
and turns sulky. Wordsworth extracts a certain
moral satisfaction out of what passed, but the
poem was broken 17 .
297
 John Taylor
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298 HISTORY OF PHOTOGRAPHY . VOLUME 3. NUMBER 4. OeroBER 1979

 Henry Peach Robinson and Victorian Theory

Figure 2. H. P. Robinson: 'Carolling' (1887). Platinum, 332>< 637 mm. (The

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Royal Photographic Society, London.)

Figure 3. H. P. Robinson: the original pencil sketch for 'Carolling' (1887).

332 X 637 mm. (The Royal Photographic Society, London.)

HISTORY OF PHOTOGRAPHY, VOLUME 3, NUMBER 4, OCTOBER 1979 299

 John Taylor
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300 HISTORY OF PHOTOGRAPHY, VOLUME 3, NUMBER 4, O<',OBER 1979

 Henry Peach Robinson and Victorian Theory

Figure 4. H. P. Robinson: 'When the Day's Work is Done' (1877).

Albumen, 536x 762 mm. (The Royal Photographic Society, London.)
Downloaded by [McMaster University] at 11:14 16 October 2014

HISTO RY OF PHOTOGRAPHY, VOLUME 3, NUMBER 4, OCTOBER 1979 301

 John Taylor

What is seen as bathetic and mistaken is actually the Men usually see little of what is before their eyes
point of the poem: the effect derives from the wrenching unless they are trained to use them in a special
of the poet's mind from the heroic strain to the disturbing manner ... It is an old canon of art, that every
consequence of the knowledge that the 'mysterious scene worth painting must have something of the
subject' is a leech gatherer. The mistake is not so much the sublime, the beautiful, or the picturesque. By its
reviewer's, as a condition of his age, which understood nature, photography can make no pretensions to
Romanticism to be a fairly comfortable pantheism, instead represent the first, but beauty can be represented
of the disquieting effect which, we believe, Wordsworth by its means, and picturesqueness has never had
felt. so perfect an interpreter 2o .
The view which was clear in 1820, and again by 1920, This is a view that seems completely unaware of the tenets
seems to have been obscured in 1869, the year that the of Romanticism. Instead, one is reminded of the wit of
last volume of Ruskin's Modern Painters appeared. There is Jane Austen in Northanger Abbey, whose protagonists
a quotation from The Excursion printed on the title page of knowingly play with the scene-shifting of the picturesque.
each of the five volumes, in which Wordsworth says: They point to the absurdity and modernity of placing
upon the world a grid labelled 'picturesque' shifted about
I now affirm of Nature and of Truth
until prerequisites are fulfilled. But the concept of the
Whom I have served, that their Divinity
picturesque was thriving in the mid-19th century, and
Revolts, offended at the ways of men.
there seemed to be a battery of authoritative writers-
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Such a view, that nature is offended with mankind, is quite of whom Robinson became one-who stated over and
unusual in Ruskin, whose typical viewpoint is that nature over again that the artist should rise above the particular
is for the convenience of men. In 1891, Robinson quoted and the accidental to some eternal truth. So Robinson is
Ruskin in his notes on Burnet, to this effect, ' ... all the able to make use of Ruskin ('Make yourself quite inde-
power of nature depends on subjection to the human soul. pendent of chance'), the early 19th-century interpreter of
Man is the sun of the world; more than the real sun. The Reynolds, John Burnet (,to adapt the individual parts to
force of his wonderful heart is the only light and heat worth the production of a perfect whole, is the work of the
gauge or measure. Where he is are the tropics; where he is artist'), and write precisely within the tradition himself:
not, the ice world'IB. This utilitarianism of Ruskin's dis- 'It must be remembered that nature is not all alike equally
placed the Romantic sense of disturbance, and the effect beautiful, but it is the artist's part to represent it in the
is bland. If Robinson is bland, his thinking is only one most beautiful manner possible'21.
manifestation of a massive urge within the culture of the In his youth, Wordsworth would have rejected the
period that makes men who hold views like Ruskin's, and Victorian view that 'Art is not the science of deception,
their lesser satellites, men such as Robinson, come to the but that of giving pleasure, the word pleasure being used in
fore to express the assumptions of the age. its purest and loftiest sense'22. There is no true opposition
Ruskin (and Robinson) believed that the earth was between deception and pleasure-Robinson himself advo-
'prepared' for the 'habitation of man'. Robinson's view cated the judicious use of deception in pursuit of pleasure.
was confined to the somewhat prosaic notion that a land- The opposition to the 'lofty sense' of pleasure is the readi-
scape with a man in it was more agreeable than one without ness to submit to an unnerving psychic imbalance, the
a man, although he would have to 'belong' to the scene irresolution which Keats called 'negative capability'.
and appear 'naturally placed'. Ruskin's rhetoric offers There is no sense of loss in Robinson's skirting of
some more exacting measures in the realm of nature Romantic difficulties. Instead, he draws upon Reynolds
adapted to the mind of man, and the shape of trees was and William Morris to establish the continuity of 'evolu-
one of the most singular. There is an 'Imperative require- tion' in picture-making, though 'the germ you have
ment of each bough to stop within certain limits, expressive adapted should no more resemble the original in composi-
of its kindly fellowship and fraternity with the bough in tion or subject than a man resembles a gorilla. There may
its neighbourhood, and to work with them according to be a suspicion of likeness, but it should suggest only a
its power, magnitude and state of health, to bring out the far-off relationship'23.
general perfectness of the great curve, and circumferent This interest in evolution enabled Robinson to value
stateliness of the whole tree'19. originality. He suggested that photographers try some-
The optimism felt at the utility of nature, the marked thing fresh 'even if it turns out abortive'24, anything to
adaptation of nature to man's thoughts, aside from his avoid the 'dead level of respectable mediocrity'. He
daily needs, is a remarkable force in Ruskin's view, and admitted that once he had exhibited a picture that was out
one commonly held by many of his contemporaries. In of focus, even though he could have taken the scene with
this fine manner he abolished the experience and literature perfect definition, and the experiment proved popular.
of men from 1790 to 1820. In the description of the tree, But even in that experiment, the subject matter over-
we recognize at least that Ruskin used those Enlighten- powered the technical defect. The subject matter would
ment notions, according to which nothing will be seen have been close to an idealized nature. Anyone who
unless the mind is ready to perceive it in accord with a 'mistakenly went in raptures over an ugly view was beneath
pattern. Robinson quoted Ruskin, and Ruskin's use of contempt as an artist'2s.
Locke upon this matter. It was conceded that the rules that governed picture-
Robinson himself puts the case very neatly: making had to be interpreted, but essential nature itself

302 HISTORY OF PHOTOGRAPHY, VOLUME 3, NUMBER 4, OCTOBER 1979

 Henry Peach Robinson and Victorian Theory

was the most intransigent crItiC, and whilst it might be assault is confused somewhat by the attack on pedestrian
surprised it would not be thwarted. Nature might be realism of the Flemish school, who were supposed to be
subordinate to man, as Victorian optimism suggested, but dull in perception and dead to the beauty of natural effect.
it exerted its own influence over the ways of man. According to Robinson, the admirers of this sort of art
Wordsworth's earlier idea was transformed. Wordsworth 'may be left in peace to count the spiculae of haystacks
had said: and the hairs of donkeys'. Detail as an amusement was
morally reprehensible. Robinson as a photographer was
There are in our existence spots of time, passages of
able to read this, without seeing any contradiction between
life, in which
Ruskin's attention to the particularities of the natural
We have had deepest feeling that the mind
world, the condemnation of the unimaginative, and the
Is lord and master, and that outward sense
doctrines of the Enlightenment. Ruskin was perceived as a
Is but the obedient servant of her will.
repository of ideas that would fit into the changeless
The imagination might redeem the world by lending truths of art and nature.
it value, by accepting the 'spots of time'. The chief characteristic of Robinson's views is their
The view of Ruskin and Robinson was quite different. indebtedness both to Enlightenment thinking, and to
The imagination and nature both flourished as useful Ruskinian utility, accompanied by an absence of W ords-
terms, but Ruskin interpreted them in a new utilitarian worthian or Romantic imaginative power. This character-
way, and Robinson held a number of views drawn from istic seems to have been shared by a variety of people at the
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past and current stages of the arts. He chose to overlook time, and as such deserves to be noted. The works, or
some of the difficulties that are experienced by any reader photographs, that were made under such cultural condi-
of Modern Painters. In this book, Ruskin is actually trying tions, instead of being dismissed by us as unfashionable,
to replace the old doctrine of the Grand Style represented require especially sympathetic treatment because they are
by Reynolds and his exposition of the classical doctrine of the traces of a surprising phenomenon in history; that
generalization. As far as Ruskin was concerned, this pre- is the eclipse of Romanticism at an active level of culture
cept had led to a neglect of the details of natural form. This in the mid-19th century.

REFERENCES AND NOTES

1. Some of these books are available in facsimile reprints: Pictorial
Effect in Photography (1889), Helios, Paulet Vermont (1971);
The Art and Practice of Silver Printing (1881), Arno (1973);
Letters on Landscape Photography (1888), Arno (1973); The
Studio, and What to Do in It (1891), Arno (1973); Picture-
Making in Photography (1897), Arno (1973); The Elements of a
Pictorial Photograph (1898), Arno (1973).
2. P. H. EMERSON, Photography a pictorial art, Amateur Photo-
grapher (19th March 1886), p. 138.
3. H. GERNSHEIM, The History of Photography, Oxford University
Press (1955), p. 180.
4. P. H. EMERSON, Naturalistic photography and composition,
Amateur Photographer (26th April 1889), p. 270.
5. H. GERNSHEIM, op. cit., p. 180.
6. NANCY NEWHALL, P. H. Emerson, Aperture, New York (1975),
p.15.
7. C. BEATON and GAIL BUCKLAND, The Magic Image, Weidenfeld
and Nicholson, London (1975), p. 50.
8. Ibid. p. 81.
9. NANCY NEWHALL, op. cit., p. 14.
10. HENRY JAMES, Pictures Lately Exhibited (1875), The Painter's
Eye, Hart-Davis, London (1956), p. 96.
11. P. H. EMERSON, Photography a pictorial art, op. cit., p. 138.
12. Ibid., p. 139.
13. D. S. MACCOLL, Impressionism, or the logic of modern paint-
ing, The Artist (March, May, June, July, 1886), pp. 110-112;
pp. 157-159; pp. 252-253; pp. 337-340.
14. H. P. ROBINSON, Pictorial Effect in Photography, op. cit., p. 122.
15. Ibid., p. 34.
16. H. P. ROBINSON, Composition, and light and shade, Amateur
Photographer (30th January 1891), p. 73.
17. D. S. MACCOLL, op. cit., p. 338.
18. H. P. ROBINSON, Composition, and light and shade, Amateur
Photographer (27th February 1891), p. 151.
19. JOHN RUSKIN, The Elements of Drawing, Letter 111, Section 215,
Number 4, Dover, New York (1971), p. 187.
20. H. P. ROBINSON, Pictorial Effect in Photography, op. cit., p. 15.
21. Ibid., p. 60.
22. Ibid., p. 109.
23. H. P. ROBINSON, Picture-Making by Photography, Amo Press,
New York (1973), p. 68.
24. Ibid., p. 74.
25. Ibid., p. 75.

HISTORY OF PHOTOGRAPHY, VOLUME 3, NUMBER 4, OCTOBER 1979 303