Camera Work: A Photographic Quarterly (1905 (Heft 12))

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Special Midsummer
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ART IN PHOTOGRAPHY.
Just as we go to press, and too late for an adequate review, comes to
us the Special Summer Number of The Studio, 1905, which is devoted to
" Art in Photography with Selected Examples of European and American
Workers.”
The work is gotten out in a simple and neat manner, fully up the
standard set by The Studio in all its special numbers appearing periodically
from time to time, and devoted to some special branch or phase of art.
This number contains 112 pages of illustrations, of which thirty-four are
by thirty British; sixteen, by ten French; seventeen, by fifteen Germans;
nine, by five Italians; ten, by eight Belgians; and twenty-four, by eleven
Americans. The Americans represented are: A. L. Coburn, W. B. Dyer,
Gertrude Käsebier, Joseph T. Keiley, Eva Watson-Schütze, W. B. Post,
Eduard J. Steichen, John Francis Strauss, Alfred Stieglitz, S. L. Willard,
Clarence H. White.
The text consists of a sixteen-page essay on " Artistic Photography in
Great Britain” by Clive Holland; one of seven pages by Charles H. Caffin,
entitled " The Development of Photography in the United States”; " Some
Notes upon the Pictorial School and its Leaders in France,” by Clive
Holland, covering eight pages.
Horsley Hinton writes on " Pictorial Photography in Austria and
Germany”—this section, unfortunately, is pictorially unrepresentative and
the weakest part of the book; " Artistic Photography in Italy” by Dr.
Enrico Thovez, eight pages; and a four-page essay on " Pictorial Photog-
raphy in Belgium,” by Clive Holland, form the final essays of the book.
Taken as a whole, the reproductions have been made with an under-
standing and feeling quite unusual outside of Camera Work and a few of
the special books published by Knapp, Germany.
When it is considered that until very recently such representative art-
publications as The Studio refused to consider seriously the claims and preten-
sions of pictorial photography, the bringing out of a work of this character
by The Studio, unquestionably the leading art-magazine published in Great
Britain, is the strongest possible evidence of the change of attitude of the
broadest judges toward photography as an expression of art.
This book should be in the possession of every serious student of the
pictorial photographic movement as well as every one essaying to do pictor-
ial work in photography. For so large and pretentious a work, the cost is
very low and within the reach of all, the price of the book being two dollars,
postage and registering about fifty cents extra.
Orders will be filled by addressing Camera Work, by applying to
Brentano’s, or writing directly to the publishers of The Studio. J. T. K.

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