The sun., 1908-04-26

IT SEEKS TO TEACH THE BEAUTY
~ EVERYDAY LIFE.
Alfred SteElItL Tells How He started
the PhOtO-SeCesslOn Movement and
Nhat Tie and Ills Associates Hope
10 Accomplish With the Camera.

p Alfred Stiegltl. leader Of the new art
movement that calls itself photo-secession,
NAV be seen in the little exhibition rooms
Al 29i Fifth avenue on any day Of the week
showing the latest work Of some fellow
artist with the camera, answering pa
tiently the unnteresting questions OF many
bromide visitors and accepting always
without annoyance the eternal exclama-
tom We'll, il 1t doesn't almost look like
painting or the patronizing Il really
must take up photography
And always he must face the question:
what ia the photo-seoesson movement
what ia It trying TO accomplish
Before answering Mr.. Stieglita carefully
sizes up the questioner, and II the face Is
one ~ those which Mr.. Stieglitz calls dead
the reply comes in sad tones:
N you do not know | cannot tell you,
because you would not understand
II, on the other hand, there Is as much
as a spark Of sympathy in the attitude OF
the listener perfect avalanche OF words
may come TO oyerwhelm him, 70 carry him
away from the world Of debit and credit
to realms where only the beautiful Is real
and only reality can exist.
we are searching for the ultimate truth,
Tor the human being who Is 40 simple in
every way that he can look at things OBJ
jectively with a purely analytical point OF
view no will say. 4We are striving for
freedom oi experience and justice in the
fullest sense Of the word.
we have no formulated theories like
George Bernard Shaw's, because we believe
that a formulated theory is narrowing
thing, lacking in that perfect freedom
which We are looking for. OF course We
do not expect to achieve this, but we be-
lievs that IL only people are taught TO APP
preciate the beautiful side Of their daily
existence, 10 I've aware Of all the beauty
which constantly surrounds them, they
must gradually approach this ideal For
beauty Ia the ultimate truth, and truth
means freedom,
And we believe that the camera 10 one
Of the most effective means Of teaching
people TO distinguish between what 10 beau
tful and what ia not. II forces upon them
q realization of line and composition and
forms in them the habit Of looking for the
pictorial side Of everything.
My own experience has taught me that
people can I've educated up TO an spprecis-
ton Of art When was boy Of 10 openly
declared that Rembrandt was rot. At this
time | was living in Berlin with sculptor
who was very wiss person,
Instead Of arguing with me he sent me
every day to look at the statues and the
old Madonnas. and gradually things began
10 happen to me.
That's the best you can do for person
keep putting things in front Of him. and
that's why we have such faith in these
little galleries OF ours. People come In
here some Of them week after week, and
the exhibits which they see cannot help
having some effect.
It's like a process Of sticking pins into
them. Even the least sensitive must feel
II eventually,
How did the secession movement be-
gin? Well. the thing started some twenty
years ago )n was still studying in Ger
many. had always had hankerinR for
the dark room. and when / discovered
that q certain. Prof. vogel was giving a
course in Photographic chemistry Joined
bis class
. Il looked upon that man as a perfect
god. and when | saw some Of the things
he had done said to him: Teach me this
and will be the happiest man on earth
Soon knew all Vogel had to show me.
and instead Of being the happiest was the
most miserable man on earth.
However, | had been strongly drawn
IN tbe subject Fascinated by the little
knowledge | had gained and spurred on
hy the limitations which felt 80 keenly,
I now began to work independently, and
when felt that | had really accomplished
results showed them to the sculptor with
whom lived.
ION his persuasion | also showed them
10 the artistic friends with whom We as
socisted. but only to meet the eIclams-
ton To think that photography can do
thisl When ! demanded serious artistic
recognition they laughed
aIrritatei by this patroniZing attitude
] went home and did some hard thinking.
determined then and there 10 take up the
fthtof photography and to see il through
even il it took my whole life. | recognized
The fact that / should have TO get over the
stepping stones so worked along hard and
fast and watched what the other people
we're doing
In 1896 won my first prize, 1t was in the
International exhibit in London and the
Judge Of TIE show, Or. p. H. Emerson,
wrote me a letter predicting great future
for me. Being a very human person Of
course felt that | was great, but IL didn't
take me an hour to see that the other com
uetitors must have heen a pretty poor lot
N had hean able to beat them.
Until 1897 was VerHabe medal fiend
Wherever there was an exhibition, in Ger
MANY. England, Austria or France, | always
so I some pictures and generally with
pretty good success But always ! was
working with he fixed purpose Of under
mining the ole traditions, OF forcing people
10 recognize he possibilities Of the camera
End lis work,
About this time | was called back TO
America through family affairs and here
Il vas gently suggested to me that | had
reached The age when most people began
to think Of being useful Photography
was all knew, but | would not use my
photography for gaining a livelihood.
By some friends who had failed ! was
presented with a photo-engraying estab-
1shment and in a few months had gone
through some 81? 900. ] had used my little
plant 10 reproduce photographs, Tor In
order to give a practical value to my en-
deavors | had to prove that reproduction
could he done. But ] simply couldn't
put up with all the grating and robbery
that saw going on about me Sc ! got out
~ business and stayed out
Rather than do nothing | now devoted
my time TO the Photographic organiza-
tons. For the amateur photographers
of New York published little magazine
called Camera Notes and soon American
photography began making a sensation
abroad People like Clarence White and
Steichen began working at this time and