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Pictorial Photographers of America







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Title: Pictorial Photography in America 1922



Author: Pictorial Photographers of America



Release Date: February 8, 2009 [Ebook #28024]



Language: English



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***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.

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