DOI Artikel:
The Little Galleries of the Photo-Secession [unsigned]
DOI Artikel:[Editors] Our Illustrations
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31044#0017
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THE LITTLE GALLERIES OF THE PHOTO-SECESSION,
FTER a remarkably active and unusually interesting season
the exhibitions held at the Little Galleries of the Photo-
Secession came to a close on April twenty-seventh. The
Matisse show—referred to elsewhere in these pages—which
followed that of Steichen, was a fitting climax to the brilliant series of
exhibitions inaugurated three years ago in these galleries. It brought to
a close not only the season, but also the Little Galleries themselves. In
February the Photo-Secession was notified that the landlord had doubled
the rent and insisted on a four years’ lease. As the Photo-Secession had
but a small regular income, of less than three hundred dollars per year, a
renewal of the lease on the new terms was out of the question. To give up
the little place, which was unique in more than one respect—nothing like it
existing in this country or abroad—meant much, not only to many of the
Secessionists, but to many visitors who had gradually become fond of it.
On April thirtieth the galleries, stripped of their decorations, passed back
into their original condition of an uninviting and dilapidated garret. A few
days later the busy hands of a Fifth Avenue ladies’ tailor were in full
possession of the place and every vestige of the Photo-Secession atmos-
phere had thoroughly disappeared. During the three years of the galleries’
existence approximately fifty thousand people visited the place.
To continue its work the Photo-Secession has taken two rooms across
the hallway from the old ones. One of these will be turned into a
cc Gallery ”; in this the Secession will continue its work along the same
lines as heretofore.
OUR ILLUSTRATIONS.
^■^^O the readers of Camera Work the name of Clarence H.
# (T\ White is familiar. Numbers III and IX of the magazine were,
in the main, devoted to his pictures, but White stands so
high in the estimate of his co-workers, and he is so generous
a producer, that we feel he is entitled to a fuller representation in our pages
than he has received. The sixteen plates in this number of Camera Work
were selected from some of Mr. White’s older and newer work. They
were made under the supervision of the photographer himself, and all of
them were done directly from the original negatives. A White platinotype
—Mr. White virtually does all his work in platinotype—is full of subtlety
and has a print-quality so peculiarly its own, that even the best of reproduc-
tions seldom gives but an inadequate idea of the actual beauty of the original.
13
FTER a remarkably active and unusually interesting season
the exhibitions held at the Little Galleries of the Photo-
Secession came to a close on April twenty-seventh. The
Matisse show—referred to elsewhere in these pages—which
followed that of Steichen, was a fitting climax to the brilliant series of
exhibitions inaugurated three years ago in these galleries. It brought to
a close not only the season, but also the Little Galleries themselves. In
February the Photo-Secession was notified that the landlord had doubled
the rent and insisted on a four years’ lease. As the Photo-Secession had
but a small regular income, of less than three hundred dollars per year, a
renewal of the lease on the new terms was out of the question. To give up
the little place, which was unique in more than one respect—nothing like it
existing in this country or abroad—meant much, not only to many of the
Secessionists, but to many visitors who had gradually become fond of it.
On April thirtieth the galleries, stripped of their decorations, passed back
into their original condition of an uninviting and dilapidated garret. A few
days later the busy hands of a Fifth Avenue ladies’ tailor were in full
possession of the place and every vestige of the Photo-Secession atmos-
phere had thoroughly disappeared. During the three years of the galleries’
existence approximately fifty thousand people visited the place.
To continue its work the Photo-Secession has taken two rooms across
the hallway from the old ones. One of these will be turned into a
cc Gallery ”; in this the Secession will continue its work along the same
lines as heretofore.
OUR ILLUSTRATIONS.
^■^^O the readers of Camera Work the name of Clarence H.
# (T\ White is familiar. Numbers III and IX of the magazine were,
in the main, devoted to his pictures, but White stands so
high in the estimate of his co-workers, and he is so generous
a producer, that we feel he is entitled to a fuller representation in our pages
than he has received. The sixteen plates in this number of Camera Work
were selected from some of Mr. White’s older and newer work. They
were made under the supervision of the photographer himself, and all of
them were done directly from the original negatives. A White platinotype
—Mr. White virtually does all his work in platinotype—is full of subtlety
and has a print-quality so peculiarly its own, that even the best of reproduc-
tions seldom gives but an inadequate idea of the actual beauty of the original.
13
