Camera Work: A Photographic Quarterly (1908 (Heft 21))

THE PHOTO-SECESSION GALLERIES
THE MEMBERS’ EXHIBITION.
N November eighteenth the third series of exhibitions at 291 Fifth
Avenue was ushered in with the Annual Members* Exhibition.
In all ninety-five prints were hung, representing the work of the
following Secessionists : (The numbers in parentheses denote the
number of pictures each had on the walls.) Eduard J. Steichen (9); Alvin
Langdon Coburn (8); Clarence H. White (7); Annie W. Brigman (6); Alice
Boughton (5); Herbert G. French (5); George H. Seeley (5); Joseph T.
Keiley (5); Gertrude Kasebier (4); Ema Spencer (4); William J. Mullins (4);
W. Orison Underwood (4); Helen Lohman (3); Alfred Stieglitz (3); S. L.
Willard (3); Jeanne E. Bennett (2); Fannie E. Coburn (2); Frederick H.
Pratt (2); Harry C. Rubincam (2); W. P. Agnew (1); John G. Bullock (1);
Sidney R. Carter (1); J. Mitchell Elliot (1); J. P. Hodgins (1); Marshall
R. Kernochan (1); W. B. Post (1); Elizabeth R. Tyson (1); Myra A.
Wiggins (1); Clarence H. White and Alfred Stieglitz in collaboration
(1). A series of color transparencies, made by Messrs. Steichen, Eugene,
White, and Stieglitz, were shown daily during the exhibition by Mr. Stieglitz
in person.
The exhibition, which is critically dealt with elsewhere in these pages,
fully sustained the high standard of previous years. The attendance has
been more than double that of 1906, averaging about one thousand visitors
per week; that means that the exhibition will have been seen by approxi-
mately 6,000 people before its close. The increased attendance at, and
interest in, the Galleries can be traced to various causes. Primarily, because
the sustained efforts of the Photo-Secession are gradually becoming more
and more recognized and understood, and this leads to a keener appreciation,
which results in unsolicited publicity. Secondly, because the free spirit
permeating the cclittle garret” affords relief from the stiflingly ladened com-
mercial atmosphere of New York in general, so that this factor became a special
drawing card in these days of business depression and gloom. Thirdly,
because the examples of natural color photography shown have attracted a
large and important element which had never before known of the Galleries.
It is gratifying to record that, notwithstanding the novelty and beauty
of the natural color transparencies exhibited, and the universal admiration
accorded them, the critical public was attracted most to the black and white
pictures on the walls.
THE RODIN EXHIBITION.
/'ANE of the most important art events of the New York season will be the
exhibition of the fifty-eight original drawings by M. Auguste Rodin,
which will be on view at the Photo-Secession Galleries from January second
to January twenty-first. Rodin/himself, and Steichen selected the drawings
for the purpose. It is the first time that New York is to be given an oppor-
tunity of studying these unusual drawings.
The personal interest thus shown by Rodin in the Photo-Secession and


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