Camera Work: A Photographic Quarterly (1917 (Heft 49-50))

EXHIBITIONS AT “291”—SEASON 1916-1917
THE 1916-1917 season at “291” was a very comprehensive one.
It began on November twenty-second with an exhibition of
water-colors by Georgia S. Engelhard, of New York, a child of
ten, unguided, untaught. The work included the complete evolution
from her fourth to tenth year. A few examples of the earlier work
had been shown before at “291” in the children’s exhibitions held there
in former years.
In co-relation with this Child Exhibition, hung in the main gallery,
a representative group of paintings and drawings by Hartley, Marin,
Walkowitz, Wright, Georgia O’Keeffe, was hung in the inner gallery.
Following the Child’s Exhibition, an exhibition of Walkowitz’s
new work (Provincetown, Maine, Lake George, and New York) was
held from December seventeenth, 1916, to January seventeenth, 1917.
Hartley followed with his Provincetown Series—recent work. The
inner Gallery contained Hartley’s complete evolution, 1908-1917.
Marin’s most recent water-colors, “The Country of the Delaware,
and Other Exercises” held the walls of both galleries from February
fourteenth to March third.
Gino Severini, of Paris, one of the original Futurist Group, made
his New York debut with an exhibition of drawings, pastels, water-
colors, and oils at “291”. The exhibition lasted from March sixth to
March seventeenth.
From March twentieth to March thirty-first, S. Macdonald Wright’s
complete evolution, 1909-1917, occupied the galleries of “291.” Water-
colors, drawings, oil paintings, and a piece of statuary, were included
in the exposition. Mr. Wright wrote the following foreword for this
show:
“To those who approach the later phases of my work on view with mind preat-
tuned to receive the same emotion found in the older work, nothing but confusion
can come. These works have nothing in common with those which, like all other
painting, are a sculptural expression dependent on definite association for their
voluminous and spatial effects. Indeed, the last work is as fundamentally different
from these as music is from oratory, and although the principles underlying both
are identical, the mental attitude in which they were conceived has moulded the
ultimate result into a form which gives a different emotion.
“My ambition is to create an art which stands half way between music and
architecture and, in order to ascertain if I have in some degree succeeded, one
should receive what pleasure the works are capable of giving in a state of mental
relaxation. g Macdonald-Wright.”
From April third to May fourteenth, Georgia O’Keeffe’s new work—
water-colors, drawings in charcoal, oils, and a piece of statuary, oc-
cupied the rooms of “291.”
In the next number of Camera Work we hope to introduce our
readers to examples of Georgia O’Keeffe’s work.

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