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Camera Work: A Photographic Quarterly — 1906 (Heft 13)

DOI Artikel:
Photo-Secession Exhibitions [unsigned text]
DOI Artikel:
[Editors] Our Illustrations
DOI Seite / Zitierlink: 
https://doi.org/10.11588/diglit.30578#0066
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THE PHOTO-SECESSION EXHIBITIONS.

AS we go to press, the " Little Galleries" of the Photo-Secession
at No. 291 Fifth Avenue, New York City, are about to be
opened; the formal opening taking place on the evening of
November twenty-fourth, preceded by an informal dinner at
Mouquin's.
The first exhibition is to consist entirely of the work of
Photo-Secessionists. The prints have been selected from this
year's American exhibit at the London salon, together with the Secession
prints shown in the Fine Arts Department of the Lewis and Clark Exposition
at Portland, Ore. In addition to these, other pictures by Associates and
Fellows of the Photo-Secession are included. This exhibition will remain on
the walls throughout December, and will be followed by exhibitions devoted
to Viennese, French, and British photographs and by other exhibitions of
modern art not necessarily photographic.
These exhibitions will be open to the public on presentation of visiting-
card on week-days between ten and twelve A.M. and two till six A.M.


OUR ILLUSTRATIONS.
THE pictorial section of this number of Camera Work is
devoted entirely to the work of that celebrated Viennese
triumvirate, Heinrich Kühn, Hugo Henneberg, and Hans
Watzek. Each one of these photographers merits a whole
number of our magazine being devoted to his work, but as
these men have always worked, and always exhibited, as a group,
we simply act in their spirit in representing them as we do. In twelve plates
we can but inadequately give a fair idea of the scope of their work; it is our
intention, in future numbers, to bring additional plates from time to time.
Owing to the fact that the originals from which our photogravures were made
are mostly gum-prints, measuring two by three feet, and more, in size, the
reduced picture, as appearing in our pages, necessarily loses some of that
power and charm of technique, two factors that are so important in making
the Viennese school what it is.
 
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