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#0226
The Photo-Secession in America
ceive little lyrics, relating to various aspects of
human life, which he arranges in logical series.
One of his most appealing achievements is that
entitled The Wandering Brush. This is a gum
print which the artist confesses might have been
accidental in its results, for, although he worked
from the beginning with a positive effect in view,
he has never since been able to reproduce the
picture. But such works do not need to be repro-
duced ; one is sufficient as a type, and that is
enough to teach its message. The treatise in
question tells of the growing inspiration of a
painter from the time when he first sits down to
his canvas with only chaotic ideas of a few fine
sweeping lines, until the time when a form of
beauty has begun to emerge from the “ wandering ”
strokes of his brush. Rosa Columbier (p. 214), a riot
of beautiful curves, shows a background, formed
chiefly by the melting tones of a portrait on the
wall, which combines with the mass produced by a
quaint character study in profile. In portraiture,
Mr. Dyer is especially strong, as the admirable
study of Miss Crawley (p. 205) convincingly attests.
S. L. Willard, likewise a Chicagoan, and Frederick
K. Lawrence as well, are men whose names are
familiarly known in exhibitions on both sides of
the Atlantic. Mr. Willard delights us in tender,
imaginative renditions of rural landscape, and in a.
subtle mystery of tones as applied to his figure
interpretations. Of the latter class of work, the
decorative panel, called The Lotus Eater (p. 211),
is a striking example. Among some very attractive-
landscapes by Mr. Willard, might be mentioned
Spring Song, Memory of Glenview and Golden
October (p. 2 12).
Mr. Lawrence appreciates keenly the witchery of
rustic nature What the impressionists have sought
to express with their prismic colours, he feels
intuitively through his photographic lens, only he
sees the dance of sunbeams wreathing itself into
elfin fancies, examples of this mystic touch being
exemplified in his performances, Springtime (below)
and The Fairy Woods (p. 2 13).
William F. James, another name in the Chicago-
list, is also a very sincere worker, a man who is
quite independent even of his brother Secessionists,
deriving his greatest pleasure from the opportunity
of setting down his impressions in the language of
photography. With him, the feeling seems to be no
compromise between him and the direct accom-
plishment of his work, which, naturally is straight-
forward, devoid of embellishments and essentially
truthful. His portrait of Alfred fuergens, the
painter (p. 200) has been much admired.
“ SPRINGTIME
BY FREDERICK K. LAWRENCE
ceive little lyrics, relating to various aspects of
human life, which he arranges in logical series.
One of his most appealing achievements is that
entitled The Wandering Brush. This is a gum
print which the artist confesses might have been
accidental in its results, for, although he worked
from the beginning with a positive effect in view,
he has never since been able to reproduce the
picture. But such works do not need to be repro-
duced ; one is sufficient as a type, and that is
enough to teach its message. The treatise in
question tells of the growing inspiration of a
painter from the time when he first sits down to
his canvas with only chaotic ideas of a few fine
sweeping lines, until the time when a form of
beauty has begun to emerge from the “ wandering ”
strokes of his brush. Rosa Columbier (p. 214), a riot
of beautiful curves, shows a background, formed
chiefly by the melting tones of a portrait on the
wall, which combines with the mass produced by a
quaint character study in profile. In portraiture,
Mr. Dyer is especially strong, as the admirable
study of Miss Crawley (p. 205) convincingly attests.
S. L. Willard, likewise a Chicagoan, and Frederick
K. Lawrence as well, are men whose names are
familiarly known in exhibitions on both sides of
the Atlantic. Mr. Willard delights us in tender,
imaginative renditions of rural landscape, and in a.
subtle mystery of tones as applied to his figure
interpretations. Of the latter class of work, the
decorative panel, called The Lotus Eater (p. 211),
is a striking example. Among some very attractive-
landscapes by Mr. Willard, might be mentioned
Spring Song, Memory of Glenview and Golden
October (p. 2 12).
Mr. Lawrence appreciates keenly the witchery of
rustic nature What the impressionists have sought
to express with their prismic colours, he feels
intuitively through his photographic lens, only he
sees the dance of sunbeams wreathing itself into
elfin fancies, examples of this mystic touch being
exemplified in his performances, Springtime (below)
and The Fairy Woods (p. 2 13).
William F. James, another name in the Chicago-
list, is also a very sincere worker, a man who is
quite independent even of his brother Secessionists,
deriving his greatest pleasure from the opportunity
of setting down his impressions in the language of
photography. With him, the feeling seems to be no
compromise between him and the direct accom-
plishment of his work, which, naturally is straight-
forward, devoid of embellishments and essentially
truthful. His portrait of Alfred fuergens, the
painter (p. 200) has been much admired.
“ SPRINGTIME
BY FREDERICK K. LAWRENCE