Camera Work: A Photographic Quarterly — 1912 (Heft 39)

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our own interpretation. Another drawing wears an aspect similar to that of a certain London
’bus driver famed in exhibition circles. Another shows ornamental foliage dripping darkly
across a well-spaced composition with a clear light sky.
We feel slight temptation to maudle over the young genius displayed, but unquestionably
there are striking evidences of clear-headed analysis and efficient syntheses. Perhaps it is the
quality of youth to drive straight at the main problem and miss everything else in this direct
pursuit. It is most refreshing to cut across the landscape thus speedily, but there is joy also in
the loitering of middle age. Mr. Stieglitz is very kind to us, providing these frequent fillips to
our interest. There is no one else in New York who strikes quite the same note; it sounds to us
shrill and piercing above the heavy rhythms of the avenue.

The illustrations in this number of Camera Work are devoted to the work
of Mr. Paul B. Haviland; Mr. John Marin; Senor Manolo; Mr. H. Mortimer
Lamb; and Mr. Marius De Zayas.
In the six photogravures representing the work of Mr. Paul B. Haviland,
an ardent and devoted member of the Photo-Secession, we present to the
readers of Camera Work one of the younger photographers whose work de-
serves attention. Mr. Haviland began working in photography many years
ago, when he was scarcely more than a boy; but it is only in recent years that
he has devoted himself more seriously to his art. He first attracted public
attention—like Mr. Struss whose work we reproduced in the last number of
Camera Work—in the Open Section of the Albright Gallery Exhibition at
Buffalo in November, 1910. The gravures have been made directly from the
original negatives (8 x 10 and 4x5).
The “ Portrait Group,” by Mr. H. Mortimer Lamb, of Toronto, was made
directly from Mr. Lamb’s original (n x 14) negative. Mr. Lamb, is an en-
gineer and photographer. He, like Mr. Haviland, is an enthusiast in all
matters pertaining to art.
In the color reproductions of two of Mr. Marin’s water-colors an attempt
is made to give those readers of Camera Work, who have not had the privilege,
of seeing that artist’s original paintings, an opportunity to form some idea of
Marin’s most characteristic work. Although the reproductions made by F.
Bruckmann Verlag, of Munich, under Direktor Goetz’s personal supervision,
are quite remarkable as interpretations, still, they, at best, give but a sug-
gestion of the originals.
The two Manolo drawings also reproduced by Bruckmann are repre-
sentative work of a most talented young Spanish sculptor now living in Paris.
An exhibition of his bronzes and drawings has been planned for the Photo-
Secession Gallery.
“L’Accoucheur d’ldees,” the last Plate in this book, is a photogravure
reproduction of Mr. De Zayas’ caricature of a leading member of the Photo-
Secession. The original drawing is in charcoal and is 22 x 28 inches. The
gravure, as well as the others in this issue, has been executed by the Man-
hattan Photogravure Company. The Company has done its work well.

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