. International studio. t a été mal imprimé, l'art avant-gent de l'impression a été atteint onlytout récemment. Ensuite, dans l'ordre chronologique, mais dans les manyégards de première importance en raison de l'influence wideet positive exercée par eux sur l'ensemble du mouvement de la photo-phy picturale d'aujourd'hui, est le groupe de sept imprimés fournis par Alfred Stieglitz. Ici on a trouvé l'incitation formany un imprimé par de nouveaux arrivants et pas quelques peintures, comme, par exemple, l'hiver sur la Cinquième Avenue, fait en 1893, qui a donné à beaucoup de nos jeunes photographes l'inspiration pour une série entière o

• Contributeur: Reading Room 2020 / Alamy Banque D'Images
• ID de l’image: 2CERR4D
• Taille du fichier: 7,1 MB (310,7 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1862 x 1342 px | 31,5 x 22,7 cm | 12,4 x 8,9 inches | 150dpi

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. International studio. t was poorly printed, the pres-ent fine art of printing having been achieved onlyquite recently. Next in order chronologically, but in manyrespects of prime importance because of the wideand positive influence exerted by them on thewhole movement of present-day pictorial photogra-phy, is the group of seven prints contributed byAlfred Stieglitz. Here one found the incentive formany a print by newcomers and not a few paintings, as, for example, the Winter on Fifth Avenue, done in1893, which has furnished many of our youngerphotographers the inspiration for a whole series ofNew York street scenes, besides being responsiblefor opening the eyes of the painters to the pictorialpossibilities of so-called ugly New York. Pictori-ally and photographically these prints were amongthe most interesting and important in this exhibitionof big men. Absolutely straightforward, plates andprints untouched by any manipulation whatever, they more than held their own with much of the LXV Pictorial PJwtography. eral and intelligent recognition Courtesy of The Photo SecessionVILLA FRASCATI more pretentious, eye-compelling work that at firstsight took your breath away. Contemporaneous with Mr. Stieglitz in this pio-neer movement the names of Gertrude Kaesebier andClarence H. White stand out conspicuously. Thegroup of seven prints contributed by Mrs. Kaese-bier, including her portrait of Rodin, her well-known print called 77/e Heritage oj MolherJiood andthe Sorhonne, was highly indicative of her powers.No better example of intelligent and inspirationaluse of the camera has so far been achieved than thework of Clarence H. White, whose group of seven])rints was distinguished by a fine sense of the lim-itations as well as the possibilities of i)hotographv.1 In- motif, so to speak, of all his best work is light.He celebrates the glory of light on the summit ofthings and the mystery of light in the shadows to adegree unsurpassed by any one else. This wasbeautifully exemplifie

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