[Three Pieces of Dresden China on a Round Table]

From the Getty Museum record

> Writing in the *Literary Gazette* in February 1841, William Henry Fox Talbot stated: > > > > > “I remember it was said by many persons, at the time when photogenic drawing was first spoken of, that it was likely to prove injurious to art, as substituting mere mechanical labour in lieu of talent and experience. Now, so far from this being the case, I find that in this, as in most other things, there is ample room for the exercise of skill and judgment. It would hardly be believed, how different an effect is produced by a longer or shorter exposure to the light, and, also, by mere variations in the fixing process, by means which almost any tint, cold or warm, may be thrown over the picture, and the effect of bright or gloomy weather may be imitated at pleasure. All this falls within the artist’s province to combine and to regulate; and if, in the course of these manipulations, he, *nolens volens* [willingly or unwillingly]*,* becomes a chemist and an optician, I feel confident that such an alliance of science with art will prove conducive to the improvement of both.” > > > > > > > These pieces of china were excellent subjects with which to show the modeling of form by light. Talbot’s conceit of pulling the tablecloth into a severe drape makes for a more active composition, giving the impression of the effects of a gust of wind. These works, drawn from the cupboards at Lacock Abbey, were also incorporated in the photograph [*Articles of China*](http://www.getty.edu/art/collection/objects/129878/william-henry-fox-talbot-articles-of-china-british-1844/). > > Larry Schaaf, *William Henry Fox Talbot*, In Focus: Photographs from the J. Paul Getty Museum (Los Angeles: Getty Publications, 2002), 60. ©2002 J. Paul Getty Trust.