Photography versus Painting – Osip Brik

Photography pushes painting aside. Painting resists and is determined not to capitulate. This is how the battle must be interpreted which started a hundred years ago when the camera was invented and which will only end when photography has finally pushed painting out of the place it held in daily life. The photographers’ motto was: precision, speed, cheapness. These were their advantages. Here they could compete with painters. Particularly in the case of portraits. Even the most gifted painter cannot achieve the degree of faithful reproduction of which the camera is capable. Even the quickest painter cannot supply a portrait within minutes. The cheapest painting is more expensive than the most expensive photograph. After portraits landscapes were tackled, reproductions, genre pictures. And all had the same advertisement: precision, speed, cheapness. The painters recognised the danger. The success of photography was enormous. Immediate steps had to be taken. A stronger counter-attack mounted.

Cheapness and speed could hardly be fought. The camera works more cheaply and quickly. Precision can be disputed. So this was where the attack was centred.

Photography is not coloured. Painting is. This means that painting reproduces an object more faithfully and is without rival in this respect.

This is how the painters argue. And the consumer had to be convinced of this. But the painters were wrong and many are still wrong today.

It is true that in life we do see objects in colour. And a painting reproduces these objects by means of colours. But these are different from nature, not identical with her. Painting cannot transpose real colours, it can only copy -more or less approximately – a tint we see in nature. And the problem is not how talented a painter is, but is basic to the very nature of his or her work. The colour media with which a painter works (oil, watercolour, size) have a different effect on our eyes than the rays of light which give diverse colours to objects. However much the painter tries s/he cannot go beyond the narrow-limits of the palette. She cannot give a picture those colours – either in quality or in quantity – which objects possess in reality.

Photography does not yet reproduce exact colouring, but at least it does not falsify an object by giving it the wrong colours. And this is an advantage not to be underestimated.

The most sensitive and progressive painters have long since grasped that precision of colour reproduction is not at all easy and that the principles of painterly colouring are not identical with those of reality. So they declared: ‘Precision is not the ultimate aim.’

The painter’s task certainly does not consist in showing an object as it is but rather in recreating it in a painting according to different, purely painterly laws. What do we care for how an object looks? Let observers and photographers deal with that, we – the painters – make pictures in which nature is not the subject but merely an initial impetus for ideas. The painter not only has the right to change reality, it is virtually his duty to do so; otherwise he is not a painter but a bad copyist – a photographer.

Life cannot be represented in a painting, it would be senseless to imitate it; that means it must be recreated on canvas in a separate, painterly way. This is the idea behind the theories and schools of painting which have emerged since the middle of the 19th century under the names of Impressionism, Cubism, Suprematism and many others. The painters’ repudiation of the idea of reproducing nature marked a decisive divide between photography and painting. They had separate tasks which could not be compared. Each fulfills its own task. The photographer captures life and the painter makes pictures. A photograph transmits no colours at all; a painting gives a consciously different, non-real colour to an object. The situation seems clear. But here, in Soviet Russia, an interesting artistic phenomenon can be observed, namely the attempt by the painters to regain lost positions and to strive for the reproduction of reality in line with photography. This is reflected in the activities of the AKhRR (Association of the Visual Artists of Revolutionary Russia). The social roots of this phenomenon are quite obvious: Firstly an immense need for a visual record of the new life. Secondly a lot of painters who abandoned their style because nobody wanted to buy their pictures, and thirdly far less artistically d buyers who do not distinguish between an exact reproduction of an object and an approximation. The attempt by the AKhRR to resurrect the so-called painterly realism is completely hopeless. One of the representatives of the AKhRR said in a discussion: 4 As long as photography is not sufficiently advanced in this country realistic painting is necessary.’ This ‘as long as’ shows up in a nutshell what the work of the AKhRR means. As long as we do not have enough automobiles we will have to go by horse-drawn carts. But sooner or later we shall go in automobiles.

Osip Brik by Alexander Rochenko

The photographer captures life and events more cheaply, quickly and precisely than the painter. Herein lies his strength, his enormous social importance. And he is not frightened by any outdated daub.

But the photographers themselves do not realise their social importance. They know they are doing a necessary, important task, but they think they are only artisans, humble workers far removed from artists and painters. The photographer is enormously impressed by the fact that the painter does not work to commission but for himself, that paintings are presented in large exhibitions with varnishing days, catalogues, music, buffet food and speeches, that long essays giving an exact analysis of composition, structure, brushwork and colour scale are written on every picture, every painter, and that such exhibitions are regarded as cultural events. All this confirms him in the idea that painting is true art, photography merely an insignificant craft.

This explains every photographer’s dream to achieve a painterly effect in his photographs. It also explains the attempts to take artistic photographs and to work on them ‘so that they look like reproductions of paintings.

The photographer does not understand that this chasing after painterly attitudes and the slavish imitation of painting destroys his craft and takes away the forcefulness on which its social importance is based. He moves away from faithful reproduction of nature and submits to aesthetic laws which distort this very nature. The photographer wants to attain the social recognition which the painter enjoys. This is a perfectly normal wish. But it is not fulfilled by the photographer following the painter, but rather by his opposing his own art to that of the painter. If the photographer follows the main principle of his craft, which is the ability to capture nature faithfully, he will as a matter of course create things which will have just as strong an effect on the spectator as the painting of an artist, whoever he may be.

The photographer must show that it is not just life ordered according to aesthetic laws which is impressive, but also vivid, everyday life itself as it is transfixed in a technically perfect photograph.

By battling against the aesthetic distortion of nature the photographer acquires his right to social recognition, and not by painfully and uselessly striving to imitate models alien to photography.

This is not an easy path, but it is the only true one. It is not easy because neither here nor in the West is there even the beginning of a theory of the art of photography, the art of how to make highly accomplished photographs. All that is being written or said on the subject is reduced either to a series of technical tips and prescriptions or to hints on how to achieve painterly effects, how to make a photograph not look like a photograph.

And yet some artists and painters do exist who have abandoned painting in favour of photography; people who understand that photography has its mission, its aims, its own development; there are some among them who have already achieved certain results in this field.

What is needed is that these people somehow exchange their views, tell each other of their experiences, unite their powers in a common effort, a common battle against the painterly element in photography and towards a new theory of the art of photography which is independent of the laws of painting. The experiences of those people who have previously been painters are particularly interesting in this context.

Former popes and monks make the most convinced campaigners against religion. Nobody knows the mysteries of churches and monasteries better than they. The best fighters against painterly aestheticism are former painters. Nobody knows the secrets of artistic creation better. Nobody can expose the falseness of artistic reproduction of reality better. They have consciously moved away from painting, they will consciously fight for photography. One of them is A. M. Rodchenko, once a brilliant painter, today a committed photographer. His photographic works are little known by the general public because they are mainly experimental. The public wants definitely finished products, but for the professional photographers, for those who take an interest in the development of a photographic art, an acquaintance with Rodchenko’s results is indispensable.

His main task is to move away from the principles of painterly composition of photographs and to find other, specifically photographic laws for their making and composition. And this must after all interest everybody who does not see photography as a pitiable craft but as a subject of enormous social relevance, called upon to silence painting’s chatter about representing life artistically.

Osip Brik, in Sovetskoie Foto, no. 2, 1926.

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