Camera Work: A Photographic Quarterly (1904 (Heft 5))

picture called Mary. Mrs. J. E. Bennett’s soft and broadly treated interiors
possess a spirit of conscientious conviction, and one found a purchaser
during the private view. Miss Devens' European tour has given us work
of a kind quite different from that which we were led to expect by her
work of former years. All her present photographs are representative of
“between the lights," and in the print At Varna she shows a fine sense of
feeling for this sort of work. Of Mr. Dyer'spictures, Master K. held me
longest. It is a convincing example of the beauty and the truth of diffusion
and suppression. If Mr. Dyer will forgive me for comparing his work to
that of another craft, I would say it seemed like a clever sketch in color, in
which the artist had devoted himself to getting quality into the face and
had simply suggested the body by a darker tone than the background.
The face is as solid and real and like living flesh as one of Carriere's
paintings, and one happily forgets the medium of expression in the thing
expressed. R. Eickemeyer, Jr., again shows his affection for and keen
appreciation of Nature in his delicate and decorative snow- and seascapes.
Edmund Stirling'sthree portraits are refined and convincing. It is with a
feeling of disappointment that one finds there are only two of Mrs. Watson-
Schütze's pictures here, one of which, The Rose, is not very inappropriately
hung between two of Mrs. Carine Cadby’s flower subjects. A mention of
Miss Weil’s striking portrait, Lenore, brings me to the end of the American
pictures.
¶ The English exhibitors are distinctly stronger this year. This is particu-
larly marked among the exponents of landscape work. There are a number
of prominent British photographers who devote almost all their energies
to the portrayal of landscape. Although each one’s work has the distinct
individuality of its author stamped upon it, there is a certain generic
resemblance that leads me to call them, collectively, The English School of
Landscape. There is nothing like it coming from any other country, and
it is more readily appreciated — if red labels are a test — than anything else
at our exhibitions. In Fleeting and Far, we have a typical “Horsley
Hinton.” His favorite materials, a flat country, water, and sky are
pictorially composed, and we almost feel the “breezy morn.” David
Blount's sepia landscapes, with weird, drooping trees and dripping skies,
bring to one's mind in a far-off way the work of Conder.
¶ Charles Job’s impressions of rural England are high in quality and most
pleasurable to look at. In Surrey Woods, Charles Moss gives us a keen
and subtle impression of a difficult subject. Alexander Keighley's work
this year is of a peculiarly refined and sensitive description. Alert to the
poetical spirit in Nature, he has succeeded in giving a glimpse of some of
her rare and illusive moods. This is particularly the case in his picture
called Peace. Walter Bennington, a comparatively new man, has one of
the finest things at the gallery in his view (across the house-tops) of St.
Paul's. He has mixed his gum-bichromate to the color of a London
haze, illuminated by the setting sun, and it admirably suits his subject.
George Davison has a number of good things, two of which are printed in
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