When photography came along in the nineteenth century, painting was put in crisis. The photograph, it seemed, did the work of imitating nature better than the painter ever could. ① Some painters made practical use of the invention. ② There were Impressionist painters who used a photograph in place of the model or landscape they were painting. ③ But by and large, the photograph was a challenge to painting and was one cause of painting’s moving away from direct representation and reproduction to the abstract painting of the twentieth century. ④ Therefore, the painters of that century put more focus on expressing nature, people, and cities as they were in reality. ⑤ Since photographs did such a good job of representing things as they existed in the world, painters were freed to look inward and represent things as they were in their imagination, rendering emotion in the color, volume, line, and spatial configurations native to the painter’s art.

* * render: 표현하다 ** configuration: 배치