Camera Work: A Photographic Quarterly (1904 (Heft 7))

FOREIGN EXHIBITIONS AND
THE PHOTO-SECESSION.—NOTES.
IF WE judge from the large number of requests for
Photo-Secession collections received by the director of
that organization, no fewer than one hundred and forty-
seven having reached him during the last year, it would
seem as though an epidemic of exhibitions in which
pictorial photography played a more or less important
rôle had broken forth with great virulence. The in-
vitations have come from all parts of the world, and
from societies ranging from village camera clubs to im-
portant international art-exhibitions, the most important
having been received from Europe. Manifestly it was impossible to meet
all demands, and while the Secession is but too willing to aid even the least
of these, so long as no attempt is made to use the Secession as an advertising
medium, yet it stands to reason that the more important art-exhibitions have
first claim, the leading photographic exhibitions ranking next.
For many years Dresden, Germany, has been a recognized art-center.
Its Internationale Grosse Kunst Ausstellung this year decided to open its
portals to pictorial photography. The exhibition as a whole had to pass
before the usual juries, but to the Photo-Secession had been accorded the
distinction of choosing its own collection, thus having made it hors
concours. Thirty-three pictures of the very highest merit were selected
and duly shipped. The exhibition opened on May first, and closes on
November first.
As briefly noted in our previous issue, Bradford, England, similarly
invited the Photo-Secession to participate in the International Art Exhibition
with which its newly built art-galleries were opened. Thither were dis-
patched about fifty picked frames.
The course of true love of photography follows the same channels in
Europe as in America, and many of the older photographic organizations
have stagnated to such an extent that the more modern element has been


39