DOI issue:
No. 127 (September, 1907)
DOI article:Oliver, Maude I. G.: The photo-secession in America
DOI Page / Citation link: https://doi.org/10.11588/diglit.28252#0222
The Photo-Secession in America
profound message of the story, the softness of a
mystic atmosphere.
Joseph T. Keiley, a co-worker in many valuable
experiments with Mr. Stieglitz, and, with Messrs.
Strauss and Fuguet, associate editor on the staff
of “ Camera Work,” is an artist with a tempera-
ment inclined towards mysticism. He is one who
works under the spell of inspiration, rarely pro-
ducing more than one finished print from the same
negative, and, because he is conscientious in nice-
ties of execution, that print naturally is a jewel of
its kind. The suppression of detail is one of
Mr. Keiley’s technical faculties, and this in itself
gives largeness and directness of intention to his
pictures.
John Francis Strauss, another leader in the New
York circle, although of recent years his work has
been more closely identi’ed with the literary side
of his art, is still a clever craftsman
who displays a refreshing sense of
always working directly for his
results, and, however varied his
choice of subjects, he understands
perfectly how to enter at once fully
into their spirit.
In connection with the New York
fellowship mention should be en-
thusiastic regarding that young
v rtuoso of the printing frame,
Mr. Eduard J. Steichen. Being a
painter of merit, Mr. Steichen is
able to present a remarkably suave
manner of brushwork, a technique
that is fluid and luminous, and
which at the same time contains
depths of velvety richness as well
as lights of gem-like lustre. Equally
fortunate, whether dealing with
studies of the human form or
landscape, he is perhaps best
known as a portraitist. In this
class of subjects he is almost
startling in his ability to bring not
only the bald facts of a likeness,
but something of the archetypal
man, his aspirations and his life,
for whom the likeness stands. This
is especially true of his descriptions
of the three great men, Lenbach,
G. F. Watts and Rodin.
Mr. Edmond Stirling was one
of those most stimulated by the
salon movement, and his work
rapidly developed with rare.refine-
206
ment a sweet quaintness of spirit and an even
quality of execution, very low in tone.
Mr. Alvin L. Coburn’s work has been reproduced
and noticed in The Studio on more than one
occasion of late, and there is consequently no need
to say more about it here. During the past year
or two he has made Europe the field of his labours,
and the two pictures now given are admirable
examples of his recent achievements.
Mr. John J. Bullock of Philadelphia is an
artist who shows a refreshing candour in his
approach to nature. His reverence for her is
of a wholesome, manly sort, unaffected but strong.
His taste in arrangement is almost infallible, and,
together with a studious consideration of brush
development, it produces a result that is serious
and refined.
Mr. W. B. Dyer, a Chicago man, likes^ to con-
THE STATUETTE ”
BY CLAREXCE H. WHITE
profound message of the story, the softness of a
mystic atmosphere.
Joseph T. Keiley, a co-worker in many valuable
experiments with Mr. Stieglitz, and, with Messrs.
Strauss and Fuguet, associate editor on the staff
of “ Camera Work,” is an artist with a tempera-
ment inclined towards mysticism. He is one who
works under the spell of inspiration, rarely pro-
ducing more than one finished print from the same
negative, and, because he is conscientious in nice-
ties of execution, that print naturally is a jewel of
its kind. The suppression of detail is one of
Mr. Keiley’s technical faculties, and this in itself
gives largeness and directness of intention to his
pictures.
John Francis Strauss, another leader in the New
York circle, although of recent years his work has
been more closely identi’ed with the literary side
of his art, is still a clever craftsman
who displays a refreshing sense of
always working directly for his
results, and, however varied his
choice of subjects, he understands
perfectly how to enter at once fully
into their spirit.
In connection with the New York
fellowship mention should be en-
thusiastic regarding that young
v rtuoso of the printing frame,
Mr. Eduard J. Steichen. Being a
painter of merit, Mr. Steichen is
able to present a remarkably suave
manner of brushwork, a technique
that is fluid and luminous, and
which at the same time contains
depths of velvety richness as well
as lights of gem-like lustre. Equally
fortunate, whether dealing with
studies of the human form or
landscape, he is perhaps best
known as a portraitist. In this
class of subjects he is almost
startling in his ability to bring not
only the bald facts of a likeness,
but something of the archetypal
man, his aspirations and his life,
for whom the likeness stands. This
is especially true of his descriptions
of the three great men, Lenbach,
G. F. Watts and Rodin.
Mr. Edmond Stirling was one
of those most stimulated by the
salon movement, and his work
rapidly developed with rare.refine-
206
ment a sweet quaintness of spirit and an even
quality of execution, very low in tone.
Mr. Alvin L. Coburn’s work has been reproduced
and noticed in The Studio on more than one
occasion of late, and there is consequently no need
to say more about it here. During the past year
or two he has made Europe the field of his labours,
and the two pictures now given are admirable
examples of his recent achievements.
Mr. John J. Bullock of Philadelphia is an
artist who shows a refreshing candour in his
approach to nature. His reverence for her is
of a wholesome, manly sort, unaffected but strong.
His taste in arrangement is almost infallible, and,
together with a studious consideration of brush
development, it produces a result that is serious
and refined.
Mr. W. B. Dyer, a Chicago man, likes^ to con-
THE STATUETTE ”
BY CLAREXCE H. WHITE