International studio (43.1911)

Earl Stetson Crawford

also as between groups of individuals representing
the different countries.
The work of the French and British groups, for
example, though falling somewhat below the gen-
eral level of the rest, as it seemed to me, was still
marked by some of those national characteristics
which we are accustomed to associate with the peo-
ple of those countries; something of lightness and
grace in the Frenchmen—Demachy, Le Begue,
Puyo; and in the Englishmen—Arbuthnot, Ben-
nington, Johnston, Read, etc. (for we may except J.
Craig Annan at the head of this group and A.
Cochrane as Scotsmen, as well as the Welshman,
George Davison)—more of dreaminess and senti-
ment: twilights and misty rivers, or the gloom of
winter rather than its whiteness.
The Austro-German group, on the other hand—
Kuhn, Henneberg, Watzek (for DeMeyer with his
fans and still life is rather in a class by himself: a
Philip Conder of the lens)—with a more marked in-
dividuality of their own, still showed a common
sympathy for a quite different type of landscape,
one with big patterns.
The American group, finally—whether because
photography as an art is more practised or better
understood here, or because it contained the largest
number of representatives—was by far the most
versatile and in many senses the most brilliant.
This group, moreover, has the distinction of having
produced pictorial photography’s second “classic”
example, if I may say so, in Alfred Stieglitz, and its
most interesting and greatest living artist in Clar-
ence H. White, both of New York. If it be asked
how I arrive at this notion, I would say that it is
based on the opinion that art to be eminent must
not only be individual, but must also be typical;
must not only represent a notable species, but also
in some sense the whole genus to which it belongs;
and this Alfred Stieglitz by his astonishing every-
day realism, and Clarence White by the breadth
and beauty of his spiritual moods, both achieve.
I regret extremely that the scope of this article
prevents me from doing more than mention by name
here the interesting work also shown in the invita-
tion section by A. L. Coburn, George Seeley, Annie
Brigman, Joseph Keiley and Alice Boughton, and
of Arnold Genthe, W. B. Post and many others in
the open section of the exhibition. But, perhaps, the
most interesting item of news in connection with
the exhibition is the decision of the art committee of
the Buffalo Fine Arts Academy to render permanent
the good which it was felt that the exhibition had
accomplished, by instituting a special cabinet of
pictorial photography in connection with the gallery.

Earl stetson crawford: an
APPRECIATION BY A. LENALIE
When Poe, sad self-iconoclast and ana¬

lyst, bared the skeleton of “The Raven”
to the eyes of the reading public by imposing upon it
his “Philosophy of Composition,” as applied to the
mechanical construction of this masterpiece, we
were forced to gaze with fascinated horror upon the


Mortimer Delano, Esq.
AS IN l8l2 BY EARL STETSON CRAWEORD

XV