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

or photogravure, not to speak of those interested in photography, must not
fail to see this publication. Brentano, New York, is its American publish-
er, while in London it is in the hands of Duckworth & Company. Orders
may be placed through Camera Work, as well as with the publishers.

PHOTO-SECESSION NOTES
RODIN’S “BALZAC” BY EDUARD J. STEICHEN
FROM April 2ist to May 7th the rooms of the Little Galleries were
given to the exhibition of a series of eight photographs of Rodin’s
Balzac, by Eduard J. Steichen. These prints were from a series
of negatives made on two nights during the period of full moon in
October, 1908. For this purpose the Balzac was removed from
Mr. Rodin’s studio, where it had been under cover ever since its
sensational appearance at the Salon and the Exposition Universelle in 1900,
on to the open field overlooking the surrounding hills and Valley of Meudon.
The negatives were made with the moon as the sole source of light. A bronze
head of “ Balzac,” a study for the monument, was loaned by Mrs. John W.
Simpson, of New York.
This exhibition was one of the most impressive yet held by the Photo-
Secession. Mr. Caffin has, in another part of Camera Work, dealt more fully
with it.
PAINTINGS BY MARSDEN HARTLEY
Following this, an exhibition of paintings in oil by Mr. Marsden Hartley
of Maine introduced a new painter whose efforts to express himself in a per-
sonal way deserved that he be given an opportunity to reach the public. His
technique is unusual and his interpretation of sky, mountain and woods in
brilliant coloring is of a decorative rather than realistic effect. The paintings
occupied the walls from May 8th to 18th.
JAPANESE PRINTS
The season closed with an exhibition of Japanese prints from the F. W.
Hunter Collection. These prints, selected with care by Mr. Hunter offered
a splendid opportunity to study oriental art in its best examples. The five
prints by Sharaku dating back to 1797-1798 which occupied the main wall
were of especial interest. All of them portraits of actors, they showed that
over a hundred years ago the Japanese were masters in the use of the intelli-
gent line, which is the basis of modern caricature as evolved by Sem, Capiello,
Fornaro and de Zayas, men who have not copied the Japanese but reached
practically the same method of expression through independent study. The
exhibition opened May 18th, and with its close on June 2d the Little Galleries
closed their doors for the summer.

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