Photography as an Art. The Second Exhibition at the Academy of Fine Arts, Philadelphia

W. P. Lockington
1899 The Collector and Art Critic  
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more » ... ntent at JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not--for--profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact f THE COLLECTOR AND ART CRITIC. Coffin, carried away the gold medal, and now he, in his canvas of "Jen ner Valley and Laurel Hill," is skied, and all he will get will be the receipt for its entry. I raise my hat in all respect to -the "Street in " Algiers," by William Sartain. The rendering is so soft, tuneful, ex pressive, and withal full of the light waves and vibrations. Big. Frank L. Kirkpatrick stands yonder, and not far off his "Old Interior," full of architectural lines; its strong point is the mass of color injected from marble to drapings, from windows to jewels and medieval figures. Not since I8go has he exhibited, when his picture was bought by the Pennsylvania Academy of Fine Arts. -Bolton Jones labels his "Afternoon by the River" "Copyrighted." -:Why? Surely he is not afraid of his fellow-workmen? And it is hardly appropriate for a new shoe polish. It is broader and more interesting than someT-of-his works-but why label it, Jones? Peter Moran contributes four subjects, and while "San Juan, N. M.," is the least ambitious, it has my preference. Emily K. Moran presents "The Pasture Land," very nicely interpreted, not strong, perhaps, for its very timidity gives it the feeling proper. Why was '"Thought" ad mitted? Is this essential in the Art Club? This was contributed by Christine Lumsdon, and is a fairly good piece of work-but look again; it is a pastel, as seen by my glass eye, and according to the tenets is not supposed to have entree to this exhibition. "The Star of Bethlehem" is too ambitious for Ella Coudie Lamb. Try again, Miss L. This is a serious undertaking, and one that needs thought, knowledge and conception. Healthy and gratifying, Harry Eaton's-"Bit of a Brook" stands invitingly fresh, full of vigor and poet ically expressive, while "Along the River" one's fancy roams in shadow and sun, where nature's voice is so attuned as to destroy all acrimony. "The Neglected Road," by Charles C. Proctor, deserves recognition, while "The Message from the Sea," 'by Seymour J. Guy, stands forever damned. Lewis E. Herzog contributes four canvases full of a broad intelligence. "A September Late Afternoon" catches the spirit admira bly. Houses and trees glinting with the rays of the departing sun. Edward Potthast in "The Fisherman's Return," Birney's "Solid Com fort" and. Douglas Volk's "Thoughts of Youth" and Edward Moran's "Brush Burning, Long Island," should not be passed by without notice. There are many good qualities in the "Old Vanderbilt Dock," by F. K. Kost. The wharf, however, is out of drawing, necessitating its lower submersion in twenty fathoms of water. "Bringing Home the Faggots," by Harrington Fitzgerald, and "Early October Morning," by E. Taylor Snow" are nicely adjusted in low tones. The more ambitious of James B. Sword's work lies in his "To the Rescue," depicting the passage of the lifeboat through fog and waves to the foundering vessel. The best qualities are to be seen in the weight and depth of the water. W. P. LOCKINGTON. PHOTOGRAPHY AS AN ART. THE SECOND EXHIBITION AT THE ACADEMY OF FINE ARTS, PHILADELPHIA.
doi:10.2307/25435295 fatcat:6drv7v7vxbhgnd42b2hc4jvj2q