and abortionists. One of the most moving photographs of the New World is Timothy Sullivan’s portrait of a group of Indians, Shoshoni, where the photographer’s shadow falls over the comer of the image like a bad omen.

The fifth section, The Chrysalis of the Modern, illustrates how photography was influenced by other forms of art in both composition and subject. Henry Kiihn’s work 1908-10 is inspired by the colour and tone of the Impressionists, and Jacques-Henri Lartigue’s ‘The Grand Prix of the ACF’, reflects Futurism and the obsession with movement and speed which was prevalent at the time.

In the last section, Modern Perspectives, there is less of a common thread. Man Ray and Feininger experiment with form while others such as Henri Cartier-Bresson record their personal response to the huge social and political changes which were taking place before the Second World War.

This is not only the history of photography, but also, like an open window, it brings a breath of texture and colour to the past. ‘When a work of art is really exceptional,’ says Hambourg, ‘it does two things. It both transcends its time and is absolutely rooted in its time and in the personality of the person who made it.’ The Waking Dream, a title cribbed from Keat’s Ode to a Nightingale is, like the theme of the poem, a celebration of the meeting of death and beauty. 0 The Waking Dream is at the City Arts Centre, Edinburgh until 2 Oct.


Above: ‘l’inlothy Sullivan’s portrait of a group at lndiaas. Shoshonl, is one of the most moving photographs 01 the New World with the photographer‘s shadow tailing over the corner of the image like a bad me (1881).

Lott: Roger Featoa’s study oi texture (1860) packs in a huge anionnt oi detail with a disturbing effect.

Below, lett: William Marsh’s portrait oi hbrahan lincola as a Kentucky backwoods lawyer (1860).

Below: Cavortlag by the pool at Basal-gt”, by Lady Ottoliae Mornell (1915). The snapshot Illustrates the emancipated attitudes at her circle 01 friends

18 The List 27 August-9 September 1993