DOI Artikel:
[Editors] Photo-Secession Notes
DOI Artikel:Matisse Drawings [reprinted criticism on the Matisse exhibition]
DOI Artikel:Paintings by Young Americans [unsigned text]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31081#0074
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PAINTINGS BY YOUNG AMERICANS
The examples of the work of G. Putnam Brinley, Arthur Beecher Carles,
Arthur Dove, Laurence Fellows, Marsden Hartley, John Marin, Alfred Maurer,
Eduard J. Steichen and Max Weber, which hung simultaneously on the walls
of the Little Gallery from March twenty-first to April fifteenth, were the best
possible answer to those who classed these young pioneers as common disciples
of Matisse. Each one of them is working along individual lines toward the
realization of a new artistic ideal, the only points they have in common being
a departure from realistic representation, the aim toward color composition,
the vitality of their work, and the cheerful key in which their canvases are
painted. The first impression as one entered the room was one of light and
exuberant life.
The criticisms of the New York Press on this exhibition will be reprinted
in the next number of Camera Work.
The exhibitions which have been held during the past two years and those
which are announced for the season of 1910-1911 show the logical evolution
of the work of the Association. Its name, while still explanatory of its purpose,
has taken a somewhat different meaning. The Photo-Secession stood first for
a secession from the then accepted standards of photography and started out
to prove that photography was entitled to an equal footing among the arts
with the productions of painters whose attitude was photographic. Having
proved conclusively that along certain lines, pre-eminently in portraiture, the
camera had the advantage over the best trained eye and hand, the logical deduc-
tion was that the other arts could only prove themselves superior to photog-
raphy by making their aim dependent on other qualities than accurate repro-
duction. The works shown at the Little Galleries in painting, drawing and
other graphic arts have all been non-photographic in their attitude, and the
Photo-Secession can be said now to stand for those artists who secede from
the photographic attitude toward representation of form.
54
The examples of the work of G. Putnam Brinley, Arthur Beecher Carles,
Arthur Dove, Laurence Fellows, Marsden Hartley, John Marin, Alfred Maurer,
Eduard J. Steichen and Max Weber, which hung simultaneously on the walls
of the Little Gallery from March twenty-first to April fifteenth, were the best
possible answer to those who classed these young pioneers as common disciples
of Matisse. Each one of them is working along individual lines toward the
realization of a new artistic ideal, the only points they have in common being
a departure from realistic representation, the aim toward color composition,
the vitality of their work, and the cheerful key in which their canvases are
painted. The first impression as one entered the room was one of light and
exuberant life.
The criticisms of the New York Press on this exhibition will be reprinted
in the next number of Camera Work.
The exhibitions which have been held during the past two years and those
which are announced for the season of 1910-1911 show the logical evolution
of the work of the Association. Its name, while still explanatory of its purpose,
has taken a somewhat different meaning. The Photo-Secession stood first for
a secession from the then accepted standards of photography and started out
to prove that photography was entitled to an equal footing among the arts
with the productions of painters whose attitude was photographic. Having
proved conclusively that along certain lines, pre-eminently in portraiture, the
camera had the advantage over the best trained eye and hand, the logical deduc-
tion was that the other arts could only prove themselves superior to photog-
raphy by making their aim dependent on other qualities than accurate repro-
duction. The works shown at the Little Galleries in painting, drawing and
other graphic arts have all been non-photographic in their attitude, and the
Photo-Secession can be said now to stand for those artists who secede from
the photographic attitude toward representation of form.
54
