Camera Work: A Photographic Quarterly (1909 (Heft 26))

foot-light stars. The limelight of caricature was thrown with a curiously
subtle discrimination and equally without fear or favor on all those who by
their position or accomplishment are properly to be classed as public charac-
ters. The characterizations were without the sting of malice, so that no
one who was portrayed or whose friends were among the victims could resent
these caricatures with reason.
Color transparencies were shown simultaneously by J. Nilsen Laurvik,
a new man in the photographic field, whose work should be watched with
interest. He has struck, as far as the writer is aware, a note different from
anything that has yet been shown in the new medium and his development
along a very personal line promises much of interest.
THE COBURN SHOW
During the latter half of January there was on exhibition the work of
Alvin Langdon Coburn in monochrome and color. The show was evidence
that this remarkable photographer is indefatigable in producing new and
striking work. This exhibition will be dealt with more fully by Mr. Charles
H. Caffin in our next number.
COMING EXHIBITIONS
As we go to press the De Meyer color work and monochromes are
being shown and are attracting a great deal of deserved attention. This
exhibition, like the one of Coburn, will be reviewed more fully in the next
issue of Camera Work.
Following the De Meyers, etchings, dry-points and book-plates by
Allen Lewis will occupy the walls; after which in due course will succeed
water-colors by John Marin and sketches in oil by Alfred Maurer, both Ameri-
cans living in Paris and doing remarkable work; new work by Pamela Smith;
a series of ten prints by Steichen of the Rodin Balzac, showing Steichen in a
new and powerful light; a select series of Japanese prints from the F. W.
Hunter collection. On the other hand the Brigman and Eugene exhibitions
may be postponed until next season, owing to the unavoidable clash in dates
with an important exhibition to be held in Dresden.
Thus it seems that the doubt expressed by many friends of the Secession,
and by some who are not, as to whether it could maintain the standard of
last year has been dispelled.
Indeed one prominent critic, in no way identified with the Secession
or with this magazine, recently said to the writer after seeing the de Zayas
exhibition: “The Photo-Secessionists are the only body of enthusiasts who
are accomplishing anything worth while. ”
In fact the Little Galleries have become a necessity to those who are
looking for manifestations of personalities which may be the accepted common-
place ten years from now but which today mark a new step in the evolution
of thought. Its spirit is the spring of eternal youth; all those who drink from it
keep as young as their generation and live with the present and for the future.
Paul B. Haviland.
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