Henry Peach Robinson (British, Ludlow, Shropshire 1830–1901 Tunbridge Wells, Kent)
Collage of albumen silver prints from glass negatives with applied media
Image: 41.9 x 55.9 cm (16 1/2 x 22 in.)
Frame: 66 x 76.2 cm (26 x 30 in.)
Gernsheim Collectio Harry Ransom Center, The University of Texas at Austin
Not on view
After the controversy stirred up by his depiction of a dying girl in Fading Away, Robinson chose a more anodyne rural scenario for his next major composition, A Holiday in the Wood. Over the course of two sunny days in April 1860, he exposed six separate negatives of models frolicking in his backyard studio. While waiting for another sunny day on which to photograph the woods a few miles away—it was an exceptionally rainy year—he made this trial print, on which he painted the wooded background by hand to help him envision the completed composition. The close correspondence between the study and the final image is evidence of Robinson’s precise preconception of his pictures.
The Metropolitan Museum of Art. "Faking It: Manipulated Photography Before Photoshop," October 10, 2012–January 27, 2013.
Earl A. Powell III, National Gallery of Art, Washington D.C. "Faking It: Manipulated Photography Before Photoshop," February 17, 2013–May 5, 2013.
Gary Tinterow, Museum of Fine Arts, Houston. "Faking It: Manipulated Photography Before Photoshop," June 2, 2013–August 25, 2013.
Fineman, Mia. Faking It: Manipulated Photography Before Photoshop. New York: The Metropolitan Museum of Art, 2012. no. 53, pp. 78, 221.