The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24
Even the Name of the Shrine Of the Photo Secessionists
a Matter Of Doubt Among Its Famiiars-The little
Gallery and Alfred Stieglitz's Fight for the Unusual

tache. He is quick and nervou IN his
movements, a voluble and versatile
talker, but never obtrusive and always
perfectly ready on occasion to remain
silent and listen. The restless r
eyes behind his glasses sparkle with
all the zeal Of a true enthusiast, yet
with broad tolerance and deep human
sympathies and withal a decided gint
Of hunror.
How annoying. Those eyes are
twinkling at my expense; / feel him
making a mental note: Experiment
No. 9s7. Reaction perfect"
Thus writes an imprcsslonistic
writer who knows him well Of the
presiding diety of "291.' And indeed
Alfred Stieglitz is n good deal OF a
scientist. though far from being a cold
blooded one. He has the true scientific
attitude; no dogmas or preconceived
theories. but an open mind on every
question. a desire to learn the truth
by the scientific method. experiment.
His own definition OF his little garnet
II AN experimental laboratory" II Is
In this spirit that he has espoused the
cause Of the unorthodox in art. Not
that he holds any RET for the new
schools, but hat their value n be de-
termined only by giving them a fair
chance to bring their case before the
public. His experiments, moreover,
are not confined to painting. sculpture
and literature. but embrace every
phase OF human life and expression.
Indeed he is primarily concerned not
with pictures but with people, living
people.
Something Of the breadth OF Stleg-
litz's interests and viewpoint IL re-
Elected in the history OF the unique
laboratory" OF which he has been for
the ten years OF its existence the lead
ing spirit. The Little Gallery. now for
some years prominently identified with
the "anti-photographic' school in art,
began its varied career. ~curiously
enough. in the realm of photography.
We have all heard some echoes OF the
discussion as to whether photography
Is an art or merely" a science Stieg-
litz. himself an amateur photographer
Of international reputation. was one o.
the first tn assert that the science Of
the camera vas also. or might become.
one OF the arts. This the artists-or
for that matter even all the photogra-
~phers-were by no mean prepared to
admit. In this connection Stiegli;z
has an amusing "reminiscences OF his
first clash over this question.
At the age Of IL he had been sent 10
Germany this fathers native country
TO study mechanical engineering at
the celebrated P~olytechnic Institute Of
Berlin. Engineering. however. held no
attractions for him. but one depart
ment OF the Polytechnic Institute
aroused and held his interest-the
photo-chemical laboratory. From the
beginning. although he had then no
theories on the subject. he went about
photography in his own original way.
He would photograph one object--a
statue, a building. a bit OF street-over
and over TO get a desired effect with
out even knowing IN advance Just
what that effect was or whether II was
possible to obtain II.
My first subject" he relates. was
a statue. the Apollo Be!vedere. which
| draped with "A piece of black velvet.
| photographed that thing at least a
thousand times. ! didn't love that
statue-indeed. ! grew to hate ,t-put