Camera Work: A Photographic Quarterly (1909 (Heft 28))

nature. Moreover, the latter’s work proves him to be far the more accom-
plished photographer of the two. He also has profited by the ideals of the
Secession.
The work of the latter was not shown in a separate group, but in associa-
tion with the work of other photographers who, while not Secessionists, are
pursuing a corresponding end along similar lines. The prints of all these
photographers should be so well known to readers of Camera Work, that I
will not enlarge upon them here, but merely record one impression which I
derived from the display as a whole. In a pictorial sense it was the keystone
of the whole exhibition; representing in its practical advocacy of artistic excel-
lence by means of technical resourcefulness, the principle which supports the
whole arch of photography, considered as a means of pictorial record. On
the other hand I seemed to find in it a certain exhaustion of vitality. The
very search for “quality” that has been the distinction of these prints, seems
to be tending toward an indifference to other features of value, notably interest
of subject and freshness of observation and treatment. It is too big a subject
to tackle at the end of an article and I mention it here only as a prelude to
taking it up thoroughly on a later occasion. But, in the case of painting, we
have seen the “ Art for Art’s” sake principle justify itself, do its stint of service,
and then die of inanition. I propose to raise the question whether the work
of the Secession does not need a little fresh nutriment, if it is to avoid a similar
fate.
Charles H. Caffin.

To the artist who is eager for fame, his work finally becomes but a mag-
nifying glass which he offers to every one who happens to look his way.
Nietzsche.

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