groupings on the estate grounds. Jones has positioned his subjects so as to give due emphasis to the picturesque facade, whose roofline pierces the sky like a jagged series of musical notes. The faintly delineated figures give scale to the architecture and provide a glimpse of the intimate social fabric of the landowning classes of Victorian south Wales. Dissatisfied with the narrow field of vision of the lenses then in use, Jones was among the first photographers to make panoramic studies from paired negatives. He called them "double pictures"â€”slightly overlapping exposures joined to harness what he described as the "more perfect and satisfactory representation of many compositions in nature." Jones's comprehension of the potential for the photograph to broaden its frame by a simple and nontechnical procedure reflects his spirit as an artist, continually looking for novel compositions in nature and testing the aesthetic possibilities of the camera against his own vision.
N I N E T E E N T H CENTURY
Masterpieces J. Paul Getty Museum