DOI Artikel:
Hodge Kirnon, What 291 Means to Me
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31336#0020
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WHAT 291 MEANS TO ME
Visitors to “291” will find no difficulty in calling to mind how readily
Mr. Stieglitz replies with his usual “I cannot tell you that” in response to
some inquisitor who pleadingly entreats him for an explanation of what the
paintings mean to him. I fail to see how Mr. Stieglitz could justly claim
an adequate reply to this subject, when it is quite apparent that it is through
the many exhibitions of these paintings, coupled with an inexplicable some-
thing else, which have given the Secession its unparalleled record, and have
also rendered its meaning so significant. Without losing sight of his won-
derful Socratic ability, I think that Mr. Stieglitz will be obliged to plead
his inconsistency this once.
It would be sheer impertinence to encourage the idea that words are
efficient to convey all that I gleaned from “291.” I well remember how
baffled and perplexed I became when I first saw the exhibitions there. I
could see nothing inviting or attractive in paintings so devoid of “beauty,”
yet judging from the conversations and controversies which were hourly occur-
rences, I grew convinced that “291” had a potent meaning and a mission
which I did not comprehend. It was at this time that I fortunately came
across Mr. Keiley’s article entitled, “What is Beauty?” and after a third
perusal, I took an agnostic attitude of mind toward the idea of “the beauti-
ful.” I gradually yielded up most of my previous opinions, and now my
confusions and perplexities have become pleasant reminiscences.
I have found in “291” a spirit which fosters liberty, defines no methods,
never pretends to know, never condemns, but always encourages those who
are daring enough to be intrepid; those who feel a just repugnance towards
the ideals and standards established by conventionalism.
The fallacies of underestimating and censuring with severity that which
does not readily appeal to us; of insisting on a unity which offsets progress
and leads to stagnation are evils which threaten institutions. I see in “291”
their inevitable decline and extermination.
What does “291” mean to me? It has taught me that our work is
worthy in proportion as it is the honest expression of ourselves.
Hodge Kirnon
16
Visitors to “291” will find no difficulty in calling to mind how readily
Mr. Stieglitz replies with his usual “I cannot tell you that” in response to
some inquisitor who pleadingly entreats him for an explanation of what the
paintings mean to him. I fail to see how Mr. Stieglitz could justly claim
an adequate reply to this subject, when it is quite apparent that it is through
the many exhibitions of these paintings, coupled with an inexplicable some-
thing else, which have given the Secession its unparalleled record, and have
also rendered its meaning so significant. Without losing sight of his won-
derful Socratic ability, I think that Mr. Stieglitz will be obliged to plead
his inconsistency this once.
It would be sheer impertinence to encourage the idea that words are
efficient to convey all that I gleaned from “291.” I well remember how
baffled and perplexed I became when I first saw the exhibitions there. I
could see nothing inviting or attractive in paintings so devoid of “beauty,”
yet judging from the conversations and controversies which were hourly occur-
rences, I grew convinced that “291” had a potent meaning and a mission
which I did not comprehend. It was at this time that I fortunately came
across Mr. Keiley’s article entitled, “What is Beauty?” and after a third
perusal, I took an agnostic attitude of mind toward the idea of “the beauti-
ful.” I gradually yielded up most of my previous opinions, and now my
confusions and perplexities have become pleasant reminiscences.
I have found in “291” a spirit which fosters liberty, defines no methods,
never pretends to know, never condemns, but always encourages those who
are daring enough to be intrepid; those who feel a just repugnance towards
the ideals and standards established by conventionalism.
The fallacies of underestimating and censuring with severity that which
does not readily appeal to us; of insisting on a unity which offsets progress
and leads to stagnation are evils which threaten institutions. I see in “291”
their inevitable decline and extermination.
What does “291” mean to me? It has taught me that our work is
worthy in proportion as it is the honest expression of ourselves.
Hodge Kirnon
16
