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In the Haysel

Photograph
1882-1888 (photographed), 1890 (published), 1888 (published), 1890 (published)
Artist/Maker
Emerson, Peter Henry (photographer)
Place of origin
East Anglia (photographed)
England (photographed)

In 1889 Emerson published his controversial book 'Naturalistic Photography for Students of the Art' without images. 'Naturalistic Photography' examined his purist approach to photography, derived from his fascination with Naturalism in art, and attacked the prevailing artificial aesthetic in art photography. After its publication Emerson felt that his opponents had misunderstood his ideas. So, in 1890 he selected 10 plates from his book 'Pictures of East Anglian Life' (1888) that best illustrated his theories, and presented them loose in a portfolio dedicated to the ‘photographic student’, with the same title and cover of the book. He then donated copies of this portfolio to every photographic society in the country.

Object details

Category
Photographs
Object type
Photograph
Titles
  • In the Haysel (assigned by artist)
  • Pictures of East Anglian Life (series title)
Materials and techniques
photogravure
Photogravure
Brief description
Photograph, 'In the Haysel', by Peter Henry Emerson, photogravure, Plate 1, from the 'Pictures of East Anglian Life' portfolio, 1890
Physical description
A mounted black and white photograph a man and a horse
Dimensions
  • Image height: 28.2cm
  • Image width: 33.2cm
  • Paper height: 34cm
  • Paper width: 42.5cm
Gallery label
(2004)
'This photograph originally appeared in 1888 as the frontispiece to Emerson's book 'Pictures of East Anglian Life'. A survey of life in Suffolk and Norfolk, the book combined written accounts of his travels with images of rural scenes. Emerson published a portfolio of photographs from this series in 1890. In an accompanying text he explained how they illustrated his theory that photographers should use selective, or 'differential', focus to record the effects of nature. The result, as you can see here in his treatment of the wispy hay on the cart, might be considered a photographic equivalent of Impressionist painting. Of this image he remarked 'it is not perfectly "sharp" in any part and the hay-carts in the distance are as sharp as they should be'.' Martin Barnes
(10/2012)
Emerson used selective, or 'differential', focus in his search for what he called ‘naturalistic’ photography. He made images that were not perfectly sharp all over and might be considered the photographic equivalent of Impressionist painting. He collaborated with the painter Thomas Goodall in a series of publications that celebrate rural life in East Anglia through text and image.
(11 03 2014)
Gallery 100, ‘History of photography’, 2012-2013, label texts :

Peter Henry Emerson (1856 – 1936)
‘In the Haysel’
1888

Emerson used selective, or ‘differential’, focus
in his search for what he called ‘naturalistic’
photography. He made images that were not
perfectly sharp all over and might be considered
the photographic equivalent of Impressionist
painting. He collaborated with the painter Thomas
Goodall in a series of publications that celebrate
rural life in East Anglia through text and image.

Photogravure
Museum no. Ph.2113-1896
Credit line
Presented by Mr. P. H. Emerson on 18 July, 1890
Object history
A portfolio containing 10 India proofs taken from the eponymous book (1888, 32 photogravures), published as a companion to his other book 'Naturalistic Photography for Students of the Art' (1889). With preface and Notes to the Student in the inside cover of the portfolio folder. Gift of the photographer 1890, transferred from the Print Collection, 1896; this image was the frontispiece of the bound book
Subjects depicted
Haywain
Farming
Landscape
Place depicted
East Anglia
Summary
In 1889 Emerson published his controversial book 'Naturalistic Photography for Students of the Art' without images. 'Naturalistic Photography' examined his purist approach to photography, derived from his fascination with Naturalism in art, and attacked the prevailing artificial aesthetic in art photography. After its publication Emerson felt that his opponents had misunderstood his ideas. So, in 1890 he selected 10 plates from his book 'Pictures of East Anglian Life' (1888) that best illustrated his theories, and presented them loose in a portfolio dedicated to the ‘photographic student’, with the same title and cover of the book. He then donated copies of this portfolio to every photographic society in the country.

Associated objects
Bibliographic references
  • Livingstone, Karen & Parry, Linda (eds.), International Arts and Crafts, London : V&A Publications, 2005 no. 6.1
  • John Taylor The old order and the new: P H Emerson and photography, 1885-1895 Munich; New York; London: Prestel, 2006. 160p.: ill (some col). ISBN: 3791336991 / 9783791336992.
Other number
E.528-1890 - Incorrect number
Collection
Prints, Drawings & Paintings Collection
Accession number
PH.2113-1896

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Record createdFebruary 5, 2004
Record URL
https://collections.vam.ac.uk/item/O90983/in-the-haysel-photograph-emerson-peter-henry/
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