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diff --git a/28024.txt b/28024.txt new file mode 100644 index 0000000..a7e8d25 --- /dev/null +++ b/28024.txt @@ -0,0 +1,1687 @@ +The Project Gutenberg EBook of Pictorial Photography in America 1922 by +Pictorial Photographers of America + + + +This eBook is for the use of anyone anywhere at no cost and with almost no +restrictions whatsoever. You may copy it, give it away or re-use it under +the terms of the Project Gutenberg License included with this eBook or +online at http://www.gutenberg.org/license + + + +Title: Pictorial Photography in America 1922 + +Author: Pictorial Photographers of America + +Release Date: February 8, 2009 [Ebook #28024] + +Language: English + +Character set encoding: US-ASCII + + +***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1922*** + + + + + +Pictorial Photography in America 1922 + + + + + + + + + + + + + +Pictorial Photographers of America + +New York + +1922 + + + + + +_Committee of Selection_ +DR. A. D. CHAFFEE +JOHN PAUL EDWARDS +G. W. HARTING +DR. ARNOLD GENTHE +GERTRUDE KASEBIER +O.C. REITER + +_Advisory Committe from American Institute of Graphic Arts_ +RAY GREENLEAF +HARRY A. GROESBECK, JR. +WILLIAM EDWIN RUDGE + +_Publication Committee_ +GUY GAYLOR CLARK +G. W. HARTING +DR. THERON W. KILMER +JOSEPH R. MASON +HENRY HOYT MOORE +CORNELIA WHITE +MILDRED RUTH WILSON +JERRY D. DREW, _Chairman_ + + + + + +ILLUSTRATIONS + + +A DECORATIVE PANEL +_By _Thos. O. Sheckell, _Salt Lake City, Utah_ +IN A DANCER'S STUDIO +_By _Wayne Albee, _Seattle, Washington_ +HOUSE-BOATS +_By _Ernest M. Pratt, _Los Angeles, Calif._ +MAY I COME IN? +_By _Robert R. McGeorge, _Buffalo, N. Y._ +THE DISTANT SAIL +_By _William Gordon Shields, _New York City_ +GATEWAY, DINAN +_By _Dr. Chas. H. Jaeger, _New York City_ +SILHOUETTES--EGYPT +_By _JULIA MARSHALL, _Duluth, Minn._ +MOUNT EVERETT +_By _Robert B. Montgomery, _Brooklyn, N. Y._ +THE BACK FENCE +_By _C. R. Herzler, _New York City_ +ON DECK OF THE METAGAMA +_By _JOHAN HAGEMEYER, _San Francisco, Calif._ +TIDEWATER +_By _Amelia H. McLean, _Bronxville, N. Y._ +STREET VENDORS--ROME, ITALY +_By __H. A. Latimer, __Boston, Mass._ +SUMMERTIME +_By _PAUL WIERUM, _Chicago, Ill._ +TORSO OF A DANCER +_By _Arnold Genthe, _New York City_ +A MAINE FISHING VILLAGE +_By _EUGENE P. HENRY, _Brooklyn, N. Y._ +SMOKE EATERS +_By _W. H. ZERBE, _Richmond Hill, N. Y._ +PUEBLO DWELLING +_By _Ernest Williams, _Los Angeles, Calif._ +IN THE BERKSHIRES +_By _William Elbert Macnaughton, _New York City_ +BEPPY +_By _HELEN W. DREW, _Montclair, N. J._ +EMPTIES +_By _K. B. LAMBERT, _Glen Ridge, N. J._ +THE WOODCHOPPER'S WOMAN +_By _HARRY C. PHIPPS, _Chicago, Ill._ +THE DES PLAINES TRAIL +_By _E. E. GRAY, _Chicago, Ill._ +MOTHER AND CHILD +_By _Clarence H. White, _New York City_ +YE OLD BARN +_By _Olive Garrison, _Yonkers, N. Y._ +INTERIOR +_By _JANE REECE, _Dayton, Ohio_ +PENNSYLVANIA STATION +_By _Dr. D. J. Ruzicka, _New York City_ +CLOUDS OF MORNING +_By _Francis O. Libby, F.R.P.S., _Portland, Me._ +THE CANYON +_By _Jerry D. Drew, _Montclair, N. J._ +THE EAST RIVER +_By _John Paul Edwards, _San Francisco, Calif._ +THE TRAIN SHED--PITTSBURGH +_By __W. W. Zieg, __Pittsburgh, Pa._ +ODD MOMENTS IN BRITTANY +_By _GEORGE HENRY HIGH, _Chicago, Ill._ +UZERCHES: "IL FAIT UN BON SOLEIL" +_By _DR. A. D. CHAFFEE, _New York City_ +A MISTY MORNING +_By _N. S. Wooldridge, _Pittsburgh, Pa._ +PTARMIGAN IN WINTER +_By _Clark Blickensderfer, _Denver, Colo._ +MARJORIE +_By _SOPHIE L. LAUFFER, _New York City_ +THE PATTERNED WALL +_By _Mildred Ruth Wilson, _Montclair, N. J._ +THE SUNNY WINDOW +_By _Mary F. Boyd, _Chambersburg, Pa._ +AT CLARENCE WHITE'S, CANAAN, CONN. +_By __Florence Burton Livingston, __Mohegan Lake, N. Y._ +STUDY OF A YOUNG GIRL +_By _CHARLES H. BROWN, _Santa Barbara, Calif._ +IVY AND OLD GLASS +_By _Clara E. Sipprell, _New York City_ +ROSE DANCE +_By _J. ANTHONY BULL, _Cincinnati, Ohio_ +A CONCERT IN THE NURSERY +_By _FRANK R. NIVISON, _Fall River, Mass._ +GREY ATTIC +_By _Edward Weston, _Glendale, Calif._ +MUD-PIES +_By _Cornelia F. White, _New York City_ +CARVED WITH THE TOOLS OF TIME, THE SCULPTOR +_By _EDITH R. WILSON, _Mt. Vernon, N. Y._ +MORNING GLORY +_By _Otis Williams, _Los Angeles, Calif._ +THE CIRCUS COMES TO TOWN +_By _THOMAS R. HARTLEY, _Pittsburgh, Pa._ +SEAR AUTUMN +_By _Anson Herrick, _San Francisco, Cal._ +THE BAZAR +_By _Margaret D. M. Brown, _Arlington, Poughkeepsie, N. Y._ +WANDERERS FROM HOME +_By _P. Douglas Anderson, _San Francisco, Calif._ +DECORATIVE STUDY +_By _Henry A. Hussey, _Berkeley, Calif._ +THE WAY UP +_By _Folsom Rich, _Chicago, Ill._ +COLONEL MARSH +_By _E. L. Mix, _New York City_ +SHADOW DESIGN +_By _G. W. Harting, _New York City_ +AT GUINGAMP +_By _Mrs. Antoinette B. Hervey, _New York City_ +KISSING THE PADRE'S HAND +_By _MYERS R. JONES, _Brooklyn, N. Y._ +UNDER BROOKLYN BRIDGE +_By _A. E. SCHAAF, _Cleveland, Ohio_ +THE BRIDGES +_By _Henry Hoyt Moore, _Brooklyn, N. Y._ +WHIRLPOOL RAPIDS, NIAGARA +_By _WILLIAM A. ALCOCK, _New York City_ +STUDY +_By _A. RALPH STEINER, _New York City_ +DOMESTIC SYMPHONY +_By _Margaret Watkins, _New York City_ +MORNING SUNLIGHT +_By _Ira W. Martin, _New York City_ +L'ESPRIT DE MANDALAY +_By _J. Ludger Rainville, _Portland, Me._ +THE GORGE BELOW THE WHIRLPOOL, NIAGARA +_By _W. H. PORTERFIELD, _Buffalo, N. Y._ +PORTRAIT--GIRL IN BLACK +_By __Rabinovitch, __New York City_ +THE TOILERS +_By _Edward Ostrom, Jr., _Brooklyn, N. Y._ +FROM MY WINDOW +_By _Betty Gresh, _Norristown, Penn._ +YOUNG AMERICAN +_By _Louis Fleckenstein, _Long Beach, Calif._ +MESA DEL MAR +_By _G. H. S. HARDING, _Berkeley, Calif._ +SEINE BOATS +_By _William B. Imlach, _New York City_ +THE MOON OF THE RED GODS +_By _LAURA GILPIN, _Colorado Springs, Colo._ +HIGH SEAS +_By _Joseph Petrocelli, _New York City_ +SIXTH AVENUE, NEW YORK CITY +_By _BEN J. LUBSCHEZ, _New York City_ +HILLSIDE SHADOWS +_By _Charles K. Archer, _Pittsburgh, Pa._ +MOTHER CAREY'S CHICKENS COME HOME TO ROOST +_By _HERBERT B. TURNER, _Boston, Mass._ +THE SCHOOL YARD +_By _Vernon E. Duroe, _Brooklyn, N. Y._ + + + + + +CONTENTS + + +SINCERITY +THE YEAR'S PROGRESS +ON IDEAS +THE PURPOSE OF THE PICTORIAL PHOTOGRAPHERS OF AMERICA +THE PICTORIAL PHOTOGRAPHERS OF AMERICA + + + + + +SINCERITY + + +Art that endures is sincere. It is universal in its appeal though it may +have been produced in a remote corner of the world by one who was +unacquainted with the work of artists. + +I remember going with a friend into a picture gallery in Chicago, where an +artist--I think his name was Bradford--was showing some sketches he had +brought back from the arctic regions. "How true these are" I exclaimed. +"How do you know?" said my companion, "you have never been to the North +Pole." "That is not necessary" I rejoined. "These studies have the truth +written in every inch of them." The work proclaimed the sincerity of its +maker. + +He who reverently observes life and wrests from its verities those +elements which are in tune with his "ego"--transposes these into some +concrete form without the damning desire for self aggrandizement, +pretense, or mere seeking for originality--is building on good +foundations. It is from an over-weening desire for originality that most +of the affectations of so called "Modern Art" proceed. + +Natural individuality--the sincere personal vision of the artist--is an +inherited asset. His work is the acquiring of a technique, the constant +patient practice and experiment in his particular craft. This unending +exercise gives the artist power to state his message clearly--in the +simplest way. + +The graphic artist is concerned with "_pictorial_" ideas. These are +necessarily limited; they must be ideas possible of expression by light +and shade, by line, by form, by color. The artist's vision includes his +point of view. He receives an impression and simultaneously determines +how he will express it. He has, as it were, analyzed his subject and +decided at once on the form of its presentation--in the clay, on the +canvas, in the drawing or photograph. + +Given the most favorable mechanical contrivances which science places +today at the disposal of the painter or photographer, the latter may +proceed in his work under the same maxims, the same theories, that guide +the painter. His design may be as interesting, his key as aptly chosen, +his black and white (values) as colorful, his composition in the space as +distinguished. + +If over and above his technical skill the photographer starts with a +"vital idea," he may like the painter convey with his photograph "_the +moving thrill_" which is the final test of any work of art. + +Then perchance, working patiently along the lines here barely indicated, +the artist may one day unconsciously achieve that coveted note of true +originality which marks a forward step to be hailed and recorded in the +great tradition. + + Albert Sterner + + + + + +THE YEAR'S PROGRESS + + +_By _HENRY HOYT MOORE + +We cannot claim for our art any outstanding phenomenon like the interest +in the radio that has swept the country this year, or any remarkable +development in the science of photography like the invention a few years +ago of the Lumiere plate. The day may come when our exhibitions will show +masses of color on their walls which will make the water-colorists and the +miniaturists green with envy, but that day is not yet. And I for one +would be sorry to see it come. There is to me a charm about good monotone +photography that is all its own and that puts it on a plane with etching, +engraving, lithography, and other monotone processes. Of course some +artists, strictly so called, object to regarding photography as anything +but a mechanical process, but the number of those who would make art a +close corporation is happily diminishing. + +In fact, the recognition that photography is receiving from accredited +representatives of the fine arts makes its position no longer a doubtful +one. Any of the arts may be used for commercial purposes, but that fact +does not take away from them their rightful place when they are used by +competent hands for aesthetic purposes. The increasing number of museums +that are opening their exhibition halls to good photography is an evidence +that is obvious to all observers. Caustic critics like Joseph Pennell may +decry photography, but many able artists and critics, attending +exhibitions of photography that are being held in many of our centers of +art, are having their eyes opened to the beauty of lens work in the hands +of men and women who use the camera with feeling and insight. Then, too, +we must not forget the fact that some well-known artists, beginning with +D. O. Hill and continuing with Mrs. Kasebier, Frank Eugene, Steichen, and +others, have found in the practice of photography a more lasting fame than +in any other line of their effort. + +Among notable exhibitions of the past year several should be mentioned. Of +course there are what might be called the historic exhibitions that have +won an established place, like the London Salon, the Royal Photographic +Exhibition, the Pittsburgh Salon, the Los Angeles Salon, the Portland +Exhibition, and others. More recently established exhibitions that are to +be noted are those of the San Francisco Pictorialists, the Oakland Salon, +the Canadian National at Toronto, the Buffalo Salon, and that of the +Pictorial Photographers of America at the opening of the Art Center in New +York City. At many of these exhibitions pictures from the same exhibitors +were hung, and as the judges at practically all of them were different men +(and women), including professional artists, it is evident that there was +a consensus among the competent critics that these exhibitors at least are +doing worthy work. But in that fact there is no cause for discouragement +to the novice, for new names are to be found in the catalogues of all the +exhibitions, and there is no league to keep out any individual's pictures +anywhere. That is one of the triumphs of our art--that, while judges may +sometimes err and exclude a good picture or select a poor one, there is a +general open-mindedness in recognizing merit wherever it exists. A +well-known worker is pretty sure to have his photographs declined by the +judges in most of the photographic exhibitions if he falls below his +standard, and, on the other hand, a gifted beginner will quickly get a +place in the seats of the mighty if he can produce the photographs that +entitle him to distinction. + +Some notable one-man exhibitions have been held since our last Annual was +published. Among them should be mentioned those of the veterans Alfred +Stieglitz and Rudolph Eickemeyer in the Anderson Galleries in New York--and +it is a significant testimony to the lure of our art that these masters of +it have "come back"; those of Dr. H. B. Goodwin, of Stockholm, at the +Brown-Robertson Gallery, and E. O. Hoppe, of England, at Wanamaker's, in +New York; that of Clarence H. White, of New York, at the Art Center; the +joint exhibition of prints of W. E. Macnaughtan and William A. Alcock, of +Brooklyn, at the New York Camera Club, and of F. J. Mortimer and Alexander +Keighley of England at the same place; and by Mrs. Antoinette B. Hervey, +Miss Sophie Lauffer, Nicholas Muray, and F. O. Libby, with numerous +others, that show the popularity of this method of placing good work +before the public. Such exhibitions should be encouraged, for not only do +they stimulate the exhibitor to show worthy work, but they are in the +nature of spurs to the activity of every serious worker who has the +privilege of seeing them. + +As to processes that are in favor, the bromoil and the bromoil transfer +still continue to attract a host of workers. European workers seem still +to have access to better and cheaper materials for this work than we in +America, as is evidenced by the number and quality of the prints that are +produced in the Scandinavian countries and in Germany, where bromoil work +has even acquired a commercial status among professional photographers. + +The question is sometimes raised whether the general public who attend +photographic exhibitions are interested in processes as such. I think the +question must be answered in the negative. It is the general effect that +interests the outsider, and he cares not whether the print is a gum, a +bromoil, a bromide, a platinum, or a palladiotype. We must beware lest we +get enamored of a process rather than the result. I say this with no +disrespect to the bromoilists, many of whom are gifted workers and endowed +with art feeling. But we must remember that we are working to popularize +photography as an art as well as to demonstrate our own artistic feeling +and technical skill, and we ought not to lay too great stress on a +difficult branch of our work, to the discouragement of those who would +seek to share the delights of a beautiful recreation. The problem must be +left to each individual. The beauty of a bromoil print, for instance, is +supreme to its devotee: is its superiority to other processes worth the +time and the toil necessary to make it, which might be devoted to the +study of composition, of a wider range of subject, or to the mastery of +simpler processes? Picture construction and print quality are after all +the main things in photography, not the medium we use. + +There is no royal road to distinction in photography, but each year sees +some helps devised for the earnest worker, whether amateur or +professional. For the amateur there is now an increasing variety of +cameras and photographic material. New cameras are coming from abroad, +among them a small French moving-picture machine, the "Sept," which can be +carried in the hand and with which, it is claimed, good "stills" may be +taken as well as good regulation movie pictures. An auto-focus enlarger, +at a comparatively small price, has also been put on the market for +amateur use; and with the increasing use of small cameras and the adoption +of simpler methods this may prove a boon to those who wish to make bromide +enlargements more easily than they could by the older methods. It is to +be regretted that platinum paper is not being manufactured in America for +photographic purposes, for the quality of a choice platinum print is still +regarded by many as unsurpassed, and many workers wish to see platinum +resume its old place among the photographer's resources. Many "spotlight" +machines and artificial illuminating devices have been put on the market, +and with these the photographer will be equipped to play on his sitters +the "light that never was on sea or land," if he so desires. But the +ingenious photographer who is quick to seize good lighting effects will +not need the aid of artificial lighting, anymore than did the early master +of photography, D. O. Hill, whose simple effects reached almost the +finality of lens art. + +Just here I might add a word as to the increasing coalescence of the +amateur and the professional photographer in America. Strictly speaking, +an amateur may be said to be one who gets no return in money for his work, +while the professional's work is mainly financial in its object. The +amateur photographer, however, finds his expenses heavy and the temptation +strong to sell his pictures; while in America the professional +photographer is frequently so much in love with the pictorial +possibilities of his work that he loses sight of the financial end of it. + +For the worker to get the real enthusiasm and benefit from photography, +the thing now necessary to mark a distinct note of progress, or to make an +outstanding year, is to have a great international exhibition, similar to +the one held in Buffalo in 1910. This, I am glad to say, is already +planned for next year, to be held in New York City, which, although the +great center of activity, has never had an exhibition of this kind. + + + + + +ON IDEAS + + +_By _HEYWORTH CAMPBELL + +Thackeray resigned the editorship of a British periodical only because he +could not endure the ordeal of rejecting the thousands of submitted +manuscripts. This is a distressing phase of an Art Director's duties and +to my mind his most sacred obligation. No matter how hardened by +experience, a conscientious editor cannot fail to suffer for and with the +unhappy authors and artists whose work goes back with the proverbial pink +rejection slip. Why are drawings and photographs rejected? What is wrong +with the great mass of rejected material? My observation is that they +suffer more from a lack of clear thinking and careful execution than from +a paucity of ideas. + +The weird conceptions and grotesque ideas in back of most of the +unsolicited material submitted would make one easily believe that the +artists are inmates, or perfectly qualified to be inmates of asylums. I +am seldom inclined or required to urge an artist to seek originality of +idea. My constant plea, and what to my mind is a prerequisite, is an +optimistic point of view, a sound, intelligent thought rendered with, may +I say, reverence. + +Struggling young artists are constantly advised to cultivate their +imagination. What is imagination? Arthur Brisbane defined this in the +most compact, tangible statement: "Imagination is nothing more than the +power to see and realize what others fail to see and realize." The +illusive idea that we are searching for is nothing hidden or mystic but +right before our very eyes. We have only to "see and realize." + +It is conceded, I am sure, that the idea is the prime requisite of a +political cartoon. A prominent cartoonist was once asked where he got his +ideas. In reply he asked "what ideas?" Men of ideas have brains that +function exactly as those of other normal well-ordered citizens. They are +not gifted by strange kinks in their brain cells. When the prominent +cartoonist is contemplating the banal act of shaving or putting in a new +furnace, his thoughts are no more or less exalted or lofty than when +creating a cartoon idea intended to sway public opinion. Strange, isn't +it, that considering the thousands of earnest thinking diligent-working +young students, that there are so few artists whose work reflects real +genius? Strange that the standard of the Graphic Arts is as +discouragingly low as it is considering this army of talent. But even +more strange that this contradiction to the law of averages is also +applicable to the field of sports--to a field so practical, tangible and +therefore measurable. Every healthy-minded youngster born, has two early +ambitions: one to be a great baseball player, another to become President. +And yet the scouts and managers for the Big Leagues have difficulty in +discovering talent above the average. + +In the field of Pictorial Photography, the average is exceedingly high. +This volume is a demonstration. To be sure, if one seeks, one can quickly +discover atrocities in the galleries and on the printed page; but my +conviction is that the progress from the purely aesthetic standpoint has +kept pace with the mechanical and scientific strides made in Photography. + +Quotations are generally sneered at, but they make excellent conclusions. +Some one once said: "All one's life is music if one touched the notes +rightly and in tune." A very happy thought and true. But finding the +right note is infinitely more difficult than the striking in tune. Ideas, +to be sure, you must seek. But orderly thought, patience and fine +craftsmanship in carrying out your idea frequently count for more than the +originality or brilliance of the idea itself. Owing to the restlessness +of the world situation--wars and rumors of wars, strikes and overtendency +towards jazz and slang--there is already, especially in the work of +youngsters, too evident an urge to be different; different merely for the +sake of being different. + +A thought possibly worthy of the deliberation of every artist is that +Distinction is a result, never the object, of a great mind. + + + + + + + [A DECORATIVE PANEL, By Thos. O. Sheckell, Salt Lake City, Utah] + + A DECORATIVE PANEL + _By _Thos. O. Sheckell, _Salt Lake City, Utah_ + + + [IN A DANCER'S STUDIO, By Wayne Albee, Seattle, Washington] + + IN A DANCER'S STUDIO + _By _Wayne Albee, _Seattle, Washington_ + + + [HOUSE-BOATS, By Ernest M. Pratt, Los Angeles, Calif.] + + HOUSE-BOATS + _By _Ernest M. Pratt, _Los Angeles, Calif._ + + + [MAY I COME IN?, By Robert R. McGeorge, Buffalo, N. Y.] + + MAY I COME IN? + _By _Robert R. McGeorge, _Buffalo, N. Y._ + + + [THE DISTANT SAIL, By William Gordon Shields, New York City] + + THE DISTANT SAIL + _By _William Gordon Shields, _New York City_ + + + [GATEWAY, DINAN, By Dr. Chas. H. Jaeger, New York City] + + GATEWAY, DINAN + _By _Dr. Chas. H. Jaeger, _New York City_ + + + [SILHOUETTES--EGYPT, By Julia Marshall, Duluth, Minn.] + + SILHOUETTES--EGYPT + _By _JULIA MARSHALL, _Duluth, Minn._ + + + [MOUNT EVERETT, By Robert B. Montgomery, Brooklyn, N. Y.] + + MOUNT EVERETT + _By _Robert B. Montgomery, _Brooklyn, N. Y._ + + + [THE BACK FENCE, By C. R. Herzler, New York City] + + THE BACK FENCE + _By _C. R. Herzler, _New York City_ + + + [ON DECK OF THE METAGAMA, By Johan Hagemeyer, San Francisco, Calif.] + + ON DECK OF THE METAGAMA + _By _JOHAN HAGEMEYER, _San Francisco, Calif._ + + + [TIDEWATER, By Amelia H. McLean, Bronxville, N. Y.] + + TIDEWATER + _By _Amelia H. McLean, _Bronxville, N. Y._ + + + [STREET VENDORS--ROME, ITALY, By H. A. Latimer, Boston, Mass.] + + STREET VENDORS--ROME, ITALY + _By __H. A. Latimer, __Boston, Mass._ + + + [SUMMERTIME, By Paul Wierum, Chicago, Ill.] + + SUMMERTIME + _By _PAUL WIERUM, _Chicago, Ill._ + + + [TORSO OF A DANCER, By Arnold Genthe, New York City] + + TORSO OF A DANCER + _By _Arnold Genthe, _New York City_ + + + [A MAINE FISHING VILLAGE, By Eugene P. Henry, Brooklyn, N. Y.] + + A MAINE FISHING VILLAGE + _By _EUGENE P. HENRY, _Brooklyn, N. Y._ + + + [SMOKE EATERS, By W. H. Zerbe, Richmond Hill, N. Y.] + + SMOKE EATERS + _By _W. H. ZERBE, _Richmond Hill, N. Y._ + + + [PUEBLO DWELLING, By Ernest Williams, Los Angeles, Calif.] + + PUEBLO DWELLING + _By _Ernest Williams, _Los Angeles, Calif._ + + + [IN THE BERKSHIRES, By William Elbert Macnaughton, New York City] + + IN THE BERKSHIRES + _By _William Elbert Macnaughton, _New York City_ + + + [BEPPY, By Helen W. Drew, Montclair, N. J.] + + BEPPY + _By _HELEN W. DREW, _Montclair, N. J._ + + + [EMPTIES, By K. B. Lambert, Glen Ridge, N. J.] + + EMPTIES + _By _K. B. LAMBERT, _Glen Ridge, N. J._ + + + [THE WOODCHOPPER'S WOMAN, By Harry C. Phipps, Chicago, Ill.] + + THE WOODCHOPPER'S WOMAN + _By _HARRY C. PHIPPS, _Chicago, Ill._ + + + [THE DES PLAINES TRAIL, By E. E. Gray, Chicago, Ill.] + + THE DES PLAINES TRAIL + _By _E. E. GRAY, _Chicago, Ill._ + + + [MOTHER AND CHILD, By clarence H. White, New York City] + + MOTHER AND CHILD + _By _Clarence H. White, _New York City_ + + + [YE OLD BARN, By Olive Garrison, Yonkers, N. Y.] + + YE OLD BARN + _By _Olive Garrison, _Yonkers, N. Y._ + + + [INTERIOR, By Jane Reece, Dayton, Ohio] + + INTERIOR + _By _JANE REECE, _Dayton, Ohio_ + + + [PENNSYLVANIA STATION, By Dr. D. J. Ruzicka, New York City] + + PENNSYLVANIA STATION + _By _Dr. D. J. Ruzicka, _New York City_ + + + [CLOUDS OF MORNING, By Francis O. Libby, F.R.P.S., Portland, Me.] + + CLOUDS OF MORNING + _By _Francis O. Libby, F.R.P.S., _Portland, Me._ + + + [THE CANYON, By Jerry D. Drew, Montclair, N. J.] + + THE CANYON + _By _Jerry D. Drew, _Montclair, N. J._ + + + [THE EAST RIVER, By John Paul Edwards, San Francisco, Calif.] + + THE EAST RIVER + _By _John Paul Edwards, _San Francisco, Calif._ + + + [THE TRAIN SHED--PITTSBURGH, By W. W. Zieg, Pittsburgh, Pa.] + + THE TRAIN SHED--PITTSBURGH + _By __W. W. Zieg, __Pittsburgh, Pa._ + + + [ODD MOMENTS IN BRITTANY, By George Henry High, Chicago, Ill.] + + ODD MOMENTS IN BRITTANY + _By _GEORGE HENRY HIGH, _Chicago, Ill._ + + +[UZERCHES: "IL FAIT UN BON SOLEIL", By Dr. A. D. Chaffee, New York City] + + UZERCHES: "IL FAIT UN BON SOLEIL" + _By _DR. A. D. CHAFFEE, _New York City_ + + + [A MISTY MORNING, By N. S. Wooldridge, Pittsburgh, Pa.] + + A MISTY MORNING + _By _N. S. Wooldridge, _Pittsburgh, Pa._ + + + [PTARMIGAN IN WINTER, By Clark Blickensderfer, Denver, Colo.] + + PTARMIGAN IN WINTER + _By _Clark Blickensderfer, _Denver, Colo._ + + + [MARJORIE, By sophie L. Lauffer, New York City] + + MARJORIE + _By _SOPHIE L. LAUFFER, _New York City_ + + + [THE PATTERNED WALL, By Mildred Ruth Wilson, Montclair, N. J.] + + THE PATTERNED WALL + _By _Mildred Ruth Wilson, _Montclair, N. J._ + + + [THE SUNNY WINDOW, By Mary F. Boyd, Chambersburg, Pa.] + + THE SUNNY WINDOW + _By _Mary F. Boyd, _Chambersburg, Pa._ + + + [AT CLARENCE WHITE'S, CANAAN, CONN., By Florence Burton Livingston, + Mohegan Lake, N. Y.] + + AT CLARENCE WHITE'S, CANAAN, CONN. + _By __Florence Burton Livingston, __Mohegan Lake, N. Y._ + + + [STUDY OF A YOUNG GIRL, By charles H. Brown, Santa Barbara, Calif.] + + STUDY OF A YOUNG GIRL + _By _CHARLES H. BROWN, _Santa Barbara, Calif._ + + + [IVY AND OLD GLASS, By Clara E. Sipprell, New York City] + + IVY AND OLD GLASS + _By _Clara E. Sipprell, _New York City_ + + + [ROSE DANCE, By J. Anthony Bull, Cincinnati, Ohio] + + ROSE DANCE + _By _J. ANTHONY BULL, _Cincinnati, Ohio_ + + + [A CONCERT IN THE NURSERY, By Frank R. Nivison, Fall River, Mass.] + + A CONCERT IN THE NURSERY + _By _FRANK R. NIVISON, _Fall River, Mass._ + + + [GREY ATTIC, By Edward Weston, Glendale, Calif.] + + GREY ATTIC + _By _Edward Weston, _Glendale, Calif._ + + + [MUD-PIES, By Cornelia F. White, New York City] + + MUD-PIES + _By _Cornelia F. White, _New York City_ + + + [CARVED WITH THE TOOLS OF TIME, THE SCULPTOR, By Edith R. Wilson, Mt. + Vernon, N. Y.] + + CARVED WITH THE TOOLS OF TIME, THE SCULPTOR + _By _EDITH R. WILSON, _Mt. Vernon, N. Y._ + + + [MORNING GLORY, By Otis Williams, Los Angeles, Calif.] + + MORNING GLORY + _By _Otis Williams, _Los Angeles, Calif._ + + + [THE CIRCUS COMES TO TOWN, By Thomas R. Hartley, Pittsburgh, Pa.] + + THE CIRCUS COMES TO TOWN + _By _THOMAS R. HARTLEY, _Pittsburgh, Pa._ + + + [SEAR AUTUMN, By Anson Herrick, San Francisco, Cal.] + + SEAR AUTUMN + _By _Anson Herrick, _San Francisco, Cal._ + + + [THE BAZAR, By Margaret D. M. Brown, Arlington, Poughkeepsie, N. Y.] + + THE BAZAR + _By _Margaret D. M. Brown, _Arlington, Poughkeepsie, N. Y._ + + + [WANDERERS FROM HOME, By P. Douglas Anderson, San Francisco, Calif.] + + WANDERERS FROM HOME + _By _P. Douglas Anderson, _San Francisco, Calif._ + + + [DECORATIVE STUDY, By Henry A. Hussey, Berkeley, Calif.] + + DECORATIVE STUDY + _By _Henry A. Hussey, _Berkeley, Calif._ + + + [THE WAY UP, By Folsom Rich, Chicago, Ill.] + + THE WAY UP + _By _Folsom Rich, _Chicago, Ill._ + + + [COLONEL MARSH, By E. L. Mix, New York City] + + COLONEL MARSH + _By _E. L. Mix, _New York City_ + + + [SHADOW DESIGN, By G. W. Harting, New York City] + + SHADOW DESIGN + _By _G. W. Harting, _New York City_ + + + [AT GUINGAMP, By Mrs. Antoinette B. Hervey, New York City] + + AT GUINGAMP + _By _Mrs. Antoinette B. Hervey, _New York City_ + + + [KISSING THE PADRE'S HAND, By Myers R. Jones, Brooklyn, N. Y.] + + KISSING THE PADRE'S HAND + _By _MYERS R. JONES, _Brooklyn, N. Y._ + + + [UNDER BROOKLYN BRIDGE, By A. E. Schaaf, Cleveland, Ohio] + + UNDER BROOKLYN BRIDGE + _By _A. E. SCHAAF, _Cleveland, Ohio_ + + + [THE BRIDGES, By Henry Hoyt Moore, Brooklyn, N. Y.] + + THE BRIDGES + _By _Henry Hoyt Moore, _Brooklyn, N. Y._ + + + [WHIRLPOOL RAPIDS, NIAGARA, By William A. Alcock, New York City] + + WHIRLPOOL RAPIDS, NIAGARA + _By _WILLIAM A. ALCOCK, _New York City_ + + + [STUDY, By A. Ralph Steiner, New York City] + + STUDY + _By _A. RALPH STEINER, _New York City_ + + + [DOMESTIC SYMPHONY, By Margaret Watkins, New York City] + + DOMESTIC SYMPHONY + _By _Margaret Watkins, _New York City_ + + + [MORNING SUNLIGHT, By Ira W. Martin, New York City] + + MORNING SUNLIGHT + _By _Ira W. Martin, _New York City_ + + + [L'ESPRIT DE MANDALAY, By J. Ludger Rainville, Portland, Me.] + + L'ESPRIT DE MANDALAY + _By _J. Ludger Rainville, _Portland, Me._ + + + [THE GORGE BELOW THE WHIRLPOOL, NIAGARA, By W. H. Porterfield, Buffalo, + N. Y.] + + THE GORGE BELOW THE WHIRLPOOL, NIAGARA + _By _W. H. PORTERFIELD, _Buffalo, N. Y._ + + + [PORTRAIT--GIRL IN BLACK, By Rabinovitch, New York City] + + PORTRAIT--GIRL IN BLACK + _By __Rabinovitch, __New York City_ + + + [THE TOILERS, By Edward Ostrom, Jr., Brooklyn, N. Y.] + + THE TOILERS + _By _Edward Ostrom, Jr., _Brooklyn, N. Y._ + + + [FROM MY WINDOW, By Betty Gresh, Norristown, Penn.] + + FROM MY WINDOW + _By _Betty Gresh, _Norristown, Penn._ + + + [YOUNG AMERICAN, By Louis Fleckenstein, Long Beach, Calif.] + + YOUNG AMERICAN + _By _Louis Fleckenstein, _Long Beach, Calif._ + + + [MESA DEL MAR, By G. H. S. Harding, Berkeley, Calif.] + + MESA DEL MAR + _By _G. H. S. HARDING, _Berkeley, Calif._ + + + [SEINE BOATS, By William B. Imlach, New York City] + + SEINE BOATS + _By _William B. Imlach, _New York City_ + + + [THE MOON OF THE RED GODS, By Laura Gilpin, Colorado Springs, Colo.] + + THE MOON OF THE RED GODS + _By _LAURA GILPIN, _Colorado Springs, Colo._ + + + [HIGH SEAS, By Joseph Petrocelli, New York City] + + HIGH SEAS + _By _Joseph Petrocelli, _New York City_ + + + [SIXTH AVENUE, NEW YORK CITY, By Ben J. Lubschez, New York City] + + SIXTH AVENUE, NEW YORK CITY + _By _BEN J. LUBSCHEZ, _New York City_ + + + [HILLSIDE SHADOWS, By Charles K. Archer, Pittsburgh, Pa.] + + HILLSIDE SHADOWS + _By _Charles K. Archer, _Pittsburgh, Pa._ + + + [MOTHER CAREY'S CHICKENS COME HOME TO ROOST, By Herbert B. Turner, + Boston, Mass.] + + MOTHER CAREY'S CHICKENS COME HOME TO ROOST + _By _HERBERT B. TURNER, _Boston, Mass._ + + + [THE SCHOOL YARD, By Vernon E. Duroe, Brooklyn, N. Y.] + + THE SCHOOL YARD + _By _Vernon E. Duroe, _Brooklyn, N. Y._ + + + + + + +THE PURPOSE OF THE PICTORIAL PHOTOGRAPHERS OF AMERICA + + +To stimulate and encourage those engaged and interested in the Art of +Photography; to honor those who have given valuable service to the +advancement of Photography; to form centers for intercourse and for +exchange of views; to facilitate the formation of centers where the +photographers may be always seen and purchased by the public; to enlist +the aid of museums and public libraries in adding photographic prints to +their departments; to stimulate public taste through exhibitions, +lectures, and publication; to invite exhibits of foreign work and +encourage participation in exhibitions held in foreign countries; to +promote education in this Art so as to raise the standards of Photography +in the United States of America. + + * + + + + + +THE PICTORIAL PHOTOGRAPHERS OF AMERICA + + +Some five years ago a small group of photographers in New York City and +vicinity formed a nucleus for the institution of a society. Its name was +ambitious--The Pictorial Photographers of America; its aims and objects +sounded visionary, almost fantastic. Already many times printed, they +bear repetition and have been incorporated in a separate page in this +book. In one sense these aims were visionary, because they were thought +out and formulated by men of vision, who now stand justified: in hardly +one of these directions have we failed to make important advance and in +many we have pushed far. But we do not rest upon what we have done; in +none of these pursuits can we pause and say "It is accomplished"; much +remains to be achieved in every line; new activities constantly present +themselves; and the maintenance of each of our undertakings implies +continuance of effort nearly as strenuous as that of its initiative. + +In the Art Center, from its inception as a mere idea, the Pictorial +Photographers of America have been active. This Institution, +enthusiastically planned and rapidly carried forward, has been since +November, 1921, an accomplished fact. It is devoted to the development and +association of various Arts and Crafts, to interesting the public therein +and, particularly, to bringing producer and user together. It is +compounded of the seven following Societies, to wit: Art Alliance of +America, Art Directors Club, American Institute of Graphic Arts, New York +Society of Craftsmen, Society of Illustrators, the Stowaways and the +Pictorial Photographers of America, which together own a fine, large, +centrally situated building, completely remodeled for their occupation and +divided into galleries, meeting rooms and executive offices. The +Pictorial Photographers, besides holding their general meetings in one of +the larger rooms and sharing the lounge for social purposes, have now +their own room (with attendance) which, accessible day and evening, will +be a meeting place for our members, resident and non-resident, and a +center from which we may get into touch with one another; a place for the +continuous exhibition of prints upon the walls and in portfolios, where +art lovers, buyers and advertisers can see and, if they wish, arrange to +buy our work or come into communication with our workers; a reading room +supplied with recent photographic magazines and literature; and a +publicity bureau with a bulletin board displaying announcements of current +and future local and national photographic events. + +The usual series of monthly meetings has been held throughout the past +season, with a larger attendance than heretofore. Our first meeting was +the usual informal "get-together" dinner. Our second took place in the +opening week of the Art Center: we held an informal reception during the +afternoon and in the evening gave a large dinner to our members and +friends. Mrs. Ripley Hitchcock was our guest of honor. Our general +meeting followed, at which Mr. Ben J. Lubschez addressed a large audience +upon the "Story of the Motion Picture," followed by Mr. Herbert J. +Seligman upon "Cinema Plastik." At our succeeding meetings we have had +the pleasure of listening to Mr. William H. Zerbe, Mr. Richard M. Coit, +Mr. Ira W. Martin, Mr. Pirie MacDonald, Mr. Edward Penfield, Mr. Fred Dana +Marsh and Mr. Alexander P. Milne. Interest in the monthly print contests +held at these meetings has been maintained and the value of the feature +demonstrated by the gain in number and quality of the entries. We hope +during the succeeding year to keep the monthly prints upon exhibition +until the following meeting, believing that this measure will both +stimulate those who show and benefit those who look. + +As a part of the general exhibition of all the conjoined Societies +throughout the opening month of the Art Center (November, 1921) we +presented a collection of one hundred and sixty-two prints from our own +membership, filling one of the large galleries upon the ground floor. +This Exhibition, representing all parts of the country, was exceedingly +well received and, under the charge of the American Federation of Arts, +was afterwards shown in Corvallis, Oregon; Emporia, Kansas; College +Station, Texas; and Greeley, Colorado. + +During the past summer we have shown at the Art Center a collection of +fifty prints from the Copenhagen Photographic Amateur Club. We have thus +enjoyed the double privilege of in some measure returning the courtesy of +the Copenhagen Club, who invited us to cooperate in their Twenty-fifth +Anniversary Exhibition, and of seeing and showing representative and +distinguished work from the members of this Club. + +A periodical Bulletin of the meetings, activities and news of the Society, +long contemplated, has been established, which through the ensuing year we +expect to issue monthly in the shape of an eight-page miniature magazine. +The Art Center has also undertaken the issue of a monthly Bulletin of the +conjoined Societies, in which we shall have our proportionate share. + +In conjunction with the _Shadowland Magazine_ we have begun a series of +monthly print contests, in which the magazine offers to the winners not +only valuable prizes but expert reproduction and wide publicity. Though +not many months in operation, entries and awards have been encouraging and +interest has been aroused abroad, even so far as China, as well as at +home. + +We have become affiliated with _The Club Photographer_ of Great Britain, +contributing the articles and illustrations of the issue for April, 1922, +and have been invited to supply such material in the future for one number +per year. + +It is interesting to note that, besides satisfactory sales at home, we +received from Japan two large orders for _Pictorial Photography in +America_ for 1921. + + ----------------------------------------------------------- + +Our year has been shadowed by the death of Edward R. Dickson, one of the +Society's most enthusiastic founders and active promoters. We can do no +better than to quote the brief memorial account of his life, written at +the time of his death by a few of his intimate friends. + +"On March 5, 1922, occurred the untimely death of Edward R. Dickson, one +of the most eager and gifted workers in the group of men and women +devoting themselves to pictorial photography. He was born in Quito, +Ecuador, forty-two years ago. According to the custom in Ecuador, he, as +the eldest son, was sent abroad, to London, to finish his education. He +returned home only to find that he had outgrown the thought and customs of +his country. He therefore returned to England, and later, in 1903, came +to New York. Here he joined the staff of the Marine Engine Corporation, +later merged with the Otis Elevator Company. His chief interest, however, +was not in engineering but in art. He was a friend and pupil of Clarence +H. White, and for many years devoted every moment of his spare time to +artistic creation. In 1917 he cut loose from his his business moorings and +embarked on the great adventure of his life. Henceforth until his death +he devoted himself wholly to creative work in photography. + +"The later years of his life were spent in that part of Manhattan, beyond +Dyckman Street, known as Inwood. That section of the Island he very much +loved, and many of his pictures were taken in or around those wooded +heights overlooking Spuyten Duyvil. These pictures include a series of +illustrations to Stephen Phillips' poem, 'Marpessa.' + +"It was in October, 1913, that Mr. Dickson published the first number of +_Platinum Print_, 'a journal of personal expression.' Between that date +and October, 1917, eleven numbers of this remarkable magazine were +published, the last two under the title of _Photo-Graphic Art_. + +"He was one of the founders in 1916 of the Pictorial Photographers of +America and was secretary to that organization until 1920. In 1921 he +completed the editing of the 'Poems of the Dance,' an anthology +illustrated by his own photographs, which was published in the same year. +At the time of his death he was at work on other projects, which would +have been genuine contributions. + +We have also been saddened by the death of Richard H. Rice, which occurred +last February and cost the country one of its wisest industrial leaders. +Becoming manager of the Lynn Works of the General Electric Company during +a great strike, he had made them famous for productive cooperation. His +methods have been generally copied; and the confidence and support of his +twelve thousand workmen and women were due to his devotion and his +inviolable sense of justice. + +Photography was his refuge from pressing affairs. With the engineer's +skill and interest in processes and a keen love of natural beauty, he +produced during his last decade half a hundred landscape studies of a +reticent and enduring beauty. The scant leisure of his last winter had +been spent in preparing these for exhibition, and they remain as a +characteristic memorial to an unusual personality. + + ----------------------------------------------------------- + +In this book, our third Pictorial Annual, we offer the choice of our Jury +from nearly a thousand prints, selected without regard to membership in +the organization and solely with the intention of exhibiting the best that +America can produce. We are grateful to all who have contributed, whether +successfully or not, for their encouragement and support, often by letter +as well as by entries; to the Jury of Selection for their careful, +painstaking judgment; to our Committee on Publication for its detailed and +arduous work; to our engravers and printers for their preparation and +presentation of our material; to all, in fact, who have cooperated in +making _Pictorial Photography in America for 1922_ a good record of +current American Photographic Art. + + AMASA DAY CHAFFEE, _President._ +The Art Center +Sixty-five East Fifty-sixth Street, +New York City. + [Advertisement: Eastman Kodak Company] + [Advertisement: Harold M. Bennett] + [Advertisement: The Beck Engraving Company] + [Advertisement: Roehrig-Bielenberg Co., Inc.] + [Advertisement: Wollensack Optical Company] + [Advertisement: Louis Dejonge and Company] + [Advertisement: Graf Super Lenses] + [Advertisements: Pinkham and Smith Company, Camera Craft Publishing + Company] + [Advertisements: Japan Paper Company, New York Camera Exchange] + [Advertisements: Hathaway-Dunn, Willoughby's] + [Advertisements: J. L. Lewis, Inc., Gundlach-Manhattan Optical Company] + [Advertisements: George Murphy, Inc.; Abe Cohen's Exchange, Inc.] + [Advertisement: William Edward Rudge, New York City] + + + + + +***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1922*** + + + +CREDITS + + +February 8, 2009 + + Project Gutenberg Edition + Martin Schub + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 28024.txt or 28024.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/2/8/0/2/28024/ + + +Updated editions will replace the previous one -- the old editions will be +renamed. + +Creating the works from public domain print editions means that no one +owns a United States copyright in these works, so the Foundation (and +you!) can copy and distribute it in the United States without permission +and without paying copyright royalties. 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