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#0240
The Photo-Secession in America
ceive little lyrics, relating to various aspects of imaginative renditions of rural landscape, andjin a
human life, which he arranges in logical series. subtle mystery of tones as applied to his figure
One of his most appealing achievements is that interpretations. Of the latter class of work, the
entitled The Wandering Brush. This is a gum decorative panel, called The Lotus Eater (p. 211),.
print which the artist confesses might have been is a striking example. Among some very attractive
accidental in its results, for, although he worked landscapes by Mr. Willard, might be mentioned
from the beginning with a positive effect in view, Spring Song, Memory of Glenview and Golden
he has never since been able to reproduce the October (p. 212).
picture. But such works do not need to be repro- Mr. Lawrence appreciates keenly the witchery of
duced ; one is sufficient as a type, and that is rustic nature What the impressionists have sought
enough to teach its message. The treatise in to express with their prismic colours, he feels
question tells of the growing inspiration of a intuitively through his photographic lens, only he
painter from the time when he first sits down to sees the dance of sunbeams wreathing itself, into
his canvas with only chaotic ideas of a few fine elfin fancies, examples of this mystic touch being
sweeping lines, until the time when a form of exemplified in his performances, Springtime (below)
beauty has begun to emerge from the " wandering " and The Fairy Woods (p. 2 1 3).
strokes of his brush. Rosa Columbier (p. 214), a riot William F. James, another name in the Chicago
of beautiful curves, shows a background, formed list, is also a very sincere worker, a man who is
chiefly by the melting tones of a portrait on the quite independent even of his brother Secessionists,
wall, which combines with the mass produced by a deriving his greatest pleasure from the opportunity
quaint character study in profile. In portraiture, of setting down his impressions in the language of
Mr. Dyer is especially strong, as the admirable photography. With him, the feeling seems to be no
study of Miss Crawley (p. 205) convincingly attests. compromise between him and the direct accom-
S. L. Willard, likewise a Chicagoan, and Frederick plishment of his work, which, naturally is straight-
K. Lawrence as well, are men whose names are forward, devoid of embellishments and essentially
familiarly known in exhibitions on both sides of truthful. His portrait of Alfred Jteergens, the
the Atlantic. Mr. Willard delights us in tender, painter (p. 200) has been much admired.
" SPRINGTIME "
BY FREDERICK K. LAWRENCE
ceive little lyrics, relating to various aspects of imaginative renditions of rural landscape, andjin a
human life, which he arranges in logical series. subtle mystery of tones as applied to his figure
One of his most appealing achievements is that interpretations. Of the latter class of work, the
entitled The Wandering Brush. This is a gum decorative panel, called The Lotus Eater (p. 211),.
print which the artist confesses might have been is a striking example. Among some very attractive
accidental in its results, for, although he worked landscapes by Mr. Willard, might be mentioned
from the beginning with a positive effect in view, Spring Song, Memory of Glenview and Golden
he has never since been able to reproduce the October (p. 212).
picture. But such works do not need to be repro- Mr. Lawrence appreciates keenly the witchery of
duced ; one is sufficient as a type, and that is rustic nature What the impressionists have sought
enough to teach its message. The treatise in to express with their prismic colours, he feels
question tells of the growing inspiration of a intuitively through his photographic lens, only he
painter from the time when he first sits down to sees the dance of sunbeams wreathing itself, into
his canvas with only chaotic ideas of a few fine elfin fancies, examples of this mystic touch being
sweeping lines, until the time when a form of exemplified in his performances, Springtime (below)
beauty has begun to emerge from the " wandering " and The Fairy Woods (p. 2 1 3).
strokes of his brush. Rosa Columbier (p. 214), a riot William F. James, another name in the Chicago
of beautiful curves, shows a background, formed list, is also a very sincere worker, a man who is
chiefly by the melting tones of a portrait on the quite independent even of his brother Secessionists,
wall, which combines with the mass produced by a deriving his greatest pleasure from the opportunity
quaint character study in profile. In portraiture, of setting down his impressions in the language of
Mr. Dyer is especially strong, as the admirable photography. With him, the feeling seems to be no
study of Miss Crawley (p. 205) convincingly attests. compromise between him and the direct accom-
S. L. Willard, likewise a Chicagoan, and Frederick plishment of his work, which, naturally is straight-
K. Lawrence as well, are men whose names are forward, devoid of embellishments and essentially
familiarly known in exhibitions on both sides of truthful. His portrait of Alfred Jteergens, the
the Atlantic. Mr. Willard delights us in tender, painter (p. 200) has been much admired.
" SPRINGTIME "
BY FREDERICK K. LAWRENCE