Camera Work: A Photographic Quarterly (1913 (Heft 42-43))

equal to the addition of the specific psychological value of each of these elements, but to a
combination which constitutes a third definite psychological or metaphysical entity.
As representation is only a matter of equivalents, we have, in order to represent man in
all his characteristics, to represent all his entities. The old art permitted and, even more,
imposed the representation of feelings and emotions through concrete form. Modern art
permits the representation of feelings and ideas through material equivalents—abstract form.
Between the two, I believe the second one the nearest to psychological representation. Accord-
ingly my new procedure in caricature is inspired by the psychological reason of the existence
of the art of the primitive races, which tried to represent what they thought to be supernatural
elements, existing outside of the individual elements, however, which science has proved to
be natural and which exist within the individual.
The technique of my procedure consists in representing: (i) the spirit of man by algebraic
formulas; (2) his material self by geometrical equivalents; (3) and his initial force by trajectories
within the rectangle that encloses the plastic expression and represents life.
My caricatures are of two kinds: absolute and relative. I call absolute caricatures
those in which the individual influences time by the whole of his actions; and relative, those
in which time influences the individual—that is to say when the individual has to make ab-
straction of his real self to adapt it to the character of a given moment of circumstance.
I call my latest manner of plastic representation caricatures, only because they are the
natural evolution of my former plastic expression, which was consequent with what has been
understood by caricature. They are not art, but simply a graphical and plastic synthesis of
the analysis of individuals.
In presenting them to the public I do nothing but return that which I have taken from
the public. These caricatures are not the expression of my psychical self, but the intrinsic
expression, as I perceive it, of the individuals themselves.
Photo-Secession Gallery, De Zayas Exhibition, 1913. Marius De Zayas.
In a future number of Camera Work we intend to return to this work
by De Zayas. p g Haviland.

For the sake of record we reprint some of the newspaper criticisms on
the exhibitions above referred to:
Arthur Hoeber in the “N. Y. Globe”:
Incredible as it seems, Alfred Stieglitz provides a new art sensation at his little galleries
of the Photo-Secession, 291 Fifth avenue, in the shape of an exhibition of views of New York
City, by John Marin. The artist is well known at these rooms, but on this occasion he has made
a complete departure, a departure so radical that he feels some sort of explanation of his motives
is necessary, to which end he appends a circular to his catalogue. Yet even with the valuable
assistance of this printed matter the spectator will find it difficult to accept the material offered.
One may easily get Mr. Marin’s point of view, but the mistake is, that instead of employing
literature to express the metaphysical, the artist uses pigment on canvas or paper, and the means
we believe are not suited to the end. Here is what Mr. Marin has to say, in part:
“Shall we consider the life of a great city as confined simply to the people and animals on
its streets and in its buildings? Are the buildings themselves dead? We have been told some-
where that a work of art is a thing alive. You cannot create a work of art unless the things
you behold respond to something within you. Therefore, if these buildings move me they, too,
must have life. Thus the whole city is alive; buildings, people, all are alive; and the more they
move me the more I feel them to be alive. It is this ‘moving of me’ that I try to express,
so that I may recall the spell I have been under and behold the expression of the different
emotions that have been called into being. How am I to express what I feel so that its ex-
pression will bring me back under the spell? Shall I copy facts photographically?
“I see great forces at work; great movements; the large buildings and the small buildings;

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