Camera Work: A Photographic Quarterly (1908 (Heft 22))

huge twisted form with its hues of red and blue merging into purple, against a dull-hued yet vibrating
background, with the suggestion of a city’s roofs and spires beneath. Another of the few sketches
with titles attached, “Le Printemps," has less definition but is nevertheless thoroughly expressive―a
seated figure with outstretched hands holding a drapery in which the hues of the crocus and daffodil
mingle, while across the foreground extends a tree-branch with budding leaves and blossoms.
Now and then we see a figure in a pose recalling the contortion so often seen in the marbles,
or we get a glimpse of those corrections of outline which by a master are the most interesting
memoranda possible, where the pencil has drawn an outline that is too heavy or too coarse and a
more insistent line is drawn refining the curve or angle and again perhaps a third line more insistent
still simplifying and reducing the form still further.
And when we have noted all our little observations, we are perfectly conscious that we are
having the greatest good fortune to be thus let into the intimacy of Rodin's workroom. The two
quiet galleries of the Photo-Secessionists take on an appearance of intensified life. On the walls
before us are the records of a great creative intelligence in its efforts to give to thought an imperish-
able form.

A. HORSLEY HINTON.
THE sudden and untimely death of A. Horsley Hinton, in London,
has removed from the British photographic world one of its most
prominent figures. As editor of the Amateur Photographer for
over twelve years, he came into close relations with that large body
of amateur English photographers which there make possible the existence of
weekly photographic journals such as the Amateur Photographer. From its
foundation he was closely identified with the management of the Linked
Ring and its Salon. It was thus that he was enabled to make his journal
an unofficial organ of that body. He was also well-known outside of the
limits of England, through his pictures and his popular writings on pictorial
photography. Since the days of H. P. Robinson no other photographer
stood so high in the estimation of the photographic masses as did Hinton,
and none had such visible influence on the English amateur. His work will
be remembered by the readers of Camera Work and Camera Notes, in
which were published his well-known pictures. Though at first interested
in the “ American School,” he later recanted and expressed strong disap-
proval of the influence of America on the development of photography.
His death will be deplored throughout the photographic world.