DOI Heft:
No. 173 (August, 1907)
DOI Artikel:Oliver, Maude I. G.: The Photo-Secession in America
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20775#0230
The Photo-Secession in A merica
author unaided by catalogue or signature. Not of progress, as an innate conviction with the frater-
that the works themselves are necessarily dis- nity, is evidenced in the widening interest that
tinguished by reason of the impress of those who these collections attract among the aesthetic circles
bring them forth, yet, through the study of works of true art lovers. Exhibiting thus in a concerted
of this order it is that the individualities of their body, the separate works of a collection escape
creators are perceived. contact with a jury. Indeed, standing for principle
Such an exhibition was held, and, in referring to as they do, those in authority strive for the reputa-
it as " An Exhibition by the Photo-Secession," tion of never allowing work that is unworthy to
Mr. Stieglitz unconsciously offered the most fitting pass their hands, and, from the nature of their
name for the organisation that was destined to peculiar training, the accredited representatives of
spring from that initial movement. There was no pictorial photographic art feel that they are able
jury, the work simply having been presented in not only to judge more accurately than the painter
response to the invitation by Mr. Stieglitz. Later, (unless he is also a photographer and understands
when the proper conditions arose, the " Photo- photographic quality as a vital character of the
Secession " was regularly organised. print) concerning examples in their own field, but
The members now composing its fellows are: that they are equally competent in criticising
John G. Bullock, Wm. B. Dyer, Frank K. Eugene, certain elements in the painter's own work.
Dallet Fuguet, Gertrude Kasebier, John T. Keiley, The important principle appears to be that a
Robt. S. Redfield, Eva Watson-
Schiitze, Eduard J. Steichen, John
Francis Strauss, Clarence H.
White, Alvin Langdon Coburn,
Mary Devens, W. F. James, Wm.
B. Post, Sarah C. Sears, and S. L.
Willard. Of these, the first twelve
represent the founders of the
" Photo-Secession," who serve as
the council for the first three years.
Besides this group, there is a list
of over fifty names now compos- •
ing the associates.
As stated officially, " the aim
of the Photo-Seccession is loosely
to hold together those Americans
devoted to pictorial photography
in their endeavour to compel its
recognition, not as a handmaiden
of art, but as a distinctive medium
of individual expression." That
this creed has proved its claim for
respectful recognition has already
been demonstrated inconsequence
of numerous successful exhibitions
held both in Europe and America.
It is one of the policies of the
society that its members never
exhibit under its name, except
through invitation and as a unit,
although, of course, individual
members are free to exhibit inde-
pendently if they choose, in which
case, however, their works would
■not appear with those of the
selected group. And the gospel portrait of alfred juergexs by w. f. james.
author unaided by catalogue or signature. Not of progress, as an innate conviction with the frater-
that the works themselves are necessarily dis- nity, is evidenced in the widening interest that
tinguished by reason of the impress of those who these collections attract among the aesthetic circles
bring them forth, yet, through the study of works of true art lovers. Exhibiting thus in a concerted
of this order it is that the individualities of their body, the separate works of a collection escape
creators are perceived. contact with a jury. Indeed, standing for principle
Such an exhibition was held, and, in referring to as they do, those in authority strive for the reputa-
it as " An Exhibition by the Photo-Secession," tion of never allowing work that is unworthy to
Mr. Stieglitz unconsciously offered the most fitting pass their hands, and, from the nature of their
name for the organisation that was destined to peculiar training, the accredited representatives of
spring from that initial movement. There was no pictorial photographic art feel that they are able
jury, the work simply having been presented in not only to judge more accurately than the painter
response to the invitation by Mr. Stieglitz. Later, (unless he is also a photographer and understands
when the proper conditions arose, the " Photo- photographic quality as a vital character of the
Secession " was regularly organised. print) concerning examples in their own field, but
The members now composing its fellows are: that they are equally competent in criticising
John G. Bullock, Wm. B. Dyer, Frank K. Eugene, certain elements in the painter's own work.
Dallet Fuguet, Gertrude Kasebier, John T. Keiley, The important principle appears to be that a
Robt. S. Redfield, Eva Watson-
Schiitze, Eduard J. Steichen, John
Francis Strauss, Clarence H.
White, Alvin Langdon Coburn,
Mary Devens, W. F. James, Wm.
B. Post, Sarah C. Sears, and S. L.
Willard. Of these, the first twelve
represent the founders of the
" Photo-Secession," who serve as
the council for the first three years.
Besides this group, there is a list
of over fifty names now compos- •
ing the associates.
As stated officially, " the aim
of the Photo-Seccession is loosely
to hold together those Americans
devoted to pictorial photography
in their endeavour to compel its
recognition, not as a handmaiden
of art, but as a distinctive medium
of individual expression." That
this creed has proved its claim for
respectful recognition has already
been demonstrated inconsequence
of numerous successful exhibitions
held both in Europe and America.
It is one of the policies of the
society that its members never
exhibit under its name, except
through invitation and as a unit,
although, of course, individual
members are free to exhibit inde-
pendently if they choose, in which
case, however, their works would
■not appear with those of the
selected group. And the gospel portrait of alfred juergexs by w. f. james.