Camera Work: A Photographic Quarterly (1911 (Heft 33))

study of the exhibition in its entirety and its detail, does one begin to realize
how deeply it has indented itself on the memory; how strongly it has appealed
to the taste and imagination; how vitally it has stirred thought, and satisfied,
while inviting analysis, in the freedom from all vulgarity, affectation and
insincerity, of the exhibition as a whole. It is a masterpiece in exhibitions
among modern exhibitions of any sort in that it presents its subjects at its
best, while mirroring the individual exhibitors at theirs through the compre-
hensive character of each individual group, which displays very accurately
the artistic psychology of its creator. Here we find gathered under one roof,
within the enclosing walls of one building, the best work of the foremost
workers in this particular field of mental and aesthetic activity; those who
have been gathered into one movement, and who through the combined
results of their labors have been instrumental in bringing the art they espoused
to its present place of advancement. Each of these is seen at his or her best;
fairly, fully, convincingly represented; not merely by their latest best work,
but in most cases, by the best examples of their different periods of develop-
ment, resulting in an admirable composite picture of their minds at their
complex best.
And, as a whole, the exhibition was in harmony with and looked entirely
at home in the Albright Art Gallery, one of the handsomest galleries in the
country both without and within. As one approached this beautiful building
one felt that only that which was finest could stand the test of such an elegant
and dignified environment, and that the collection was in such complete
harmony with its exacting setting was of itself best of proof of its high standard
and fine perfection as an exhibition.
Ill
The charm and interest of this exhibition was so engrossing that it was
only after several visits that I found myself able to regard it from the purely
critical standpoint. It is the one complete presentation of the development
(anabasis I was almost tempted to say, as it has been very like a military
advance) of photography as a means of pictorial expression as an art. It
is such an exhibition as will never again be gotten together, and might almost
be said to be the final word, for, while new and beautiful work will continue
to be created through this medium, no higher standards of expression will
ever be reached.
In saying that it is complete, I do not overlook the fact that the exhibition
did not include examples of the works of Mrs. Cameron and some others;
but what Mrs. Cameron did in portraiture was more than done by Hill,
whose work today after nearly fifty years represents the finest portraiture
ever done by aid of photography. The Hill collection is splendid, vital, virile
and by comparison, some of the finest of the modern portraiture shown in
this collection seems thin, anemic and over-conscious. The exhibition afforded
a rare opportunity for a comparative study of the work of the different exhib-
itors. The delicate poetic charm of White left the impression of the music
of line, and the soft singing whisper of tone with only the ghost of a shadow
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