Camera work

from Wikipedia, the free encyclopedia
Cover of Camera Work , 2, 1903, designed by Edward Steichen .

Camera Work was a quarterly photography magazine . The independent artist magazine was founded in 1903 by the American photographer and gallery owner Alfred Stieglitz as part of the Photo Secession in New York and sold as the in-house magazine and exhibition catalog of his gallery 291 . It appeared continuously until 1917 with a total of 50 issues and three special issues. The magazine, presented in book form, was elaborate, partly designed by hand; it presented innovative works by important photographers and artists, paired with detailed picture reviews. Initially conceived as the mouthpiece of the Pictorialists , the magazine developed within a decade into an important, often controversial medium of the European and American avant-garde . In addition to its photographic historical value, Camera Work documents the transition from symbolism of the fin de siècle to modernism of the 20th century thanks to the essays, reviews and theoretical considerations written by numerous well-known authors .

history

Prehistory, photo secession, camera notes

Frank Eugene : Mr. Alfred Stieglitz . Published in Camera Work 25, 1909

The American photographer Alfred Stieglitz was already one of the most influential people in the international art scene before the beginning of the 20th century. In 1896 he was actively involved in merging the Society of Amateur Photographers and the New York Camera Club into a new association. Stieglitz became vice president of the new association, which was now called the Camera Club of New York . He was also responsible for the association's publications. From the club newspaper, he designed the quarterly, international magazine Camera Notes , which enabled members and non-members to publish their photographs in high-quality reproductions. In addition, essays, exhibition dates and reviews were printed in it. Renowned photo artists such as Alvin Langdon Coburn , Fred Holland Day , Frank Eugene , Gertrude Käsebier , Adolphe de Meyer , Clarence Hudson White and Edward Steichen presented their work in this environment .

At the time, American photographers oriented themselves towards Europe, primarily towards the elitist Brotherhood of the Linked Ring in London , whose membership was only possible by personal invitation. Stieglitz, himself a member of the Linked Ring, called for the United States to have its own photographic salon, which should be based on the London model, but should be independent of it - especially when it comes to awarding prizes. On February 17, 1902, he founded the Photo-Secession in New York as a group independent of the academic establishment. The term Secession was a deliberate allusion to the Secessionists in Germany and Austria. Immediately after the Photo Secession was founded, Stieglitz received an invitation from the New York National Arts Club to organize an exhibition with works by American art photographers in its premises. Under the title American Pictorial Photography Arranged by The Photo-Secession , an extensive exhibition was organized in March 1902 in which 136 framed photos by 32 photographers were shown. The art critics were largely positive. Negative voices condemned the performance of imitation paintings as presumptuous and asked the mocking question, "whether one had held a soot glass in front of nature."

founding

Camera Notes , the forerunner of Camera Work . Design by Thomas A. Sindelar (1867–1923).

Stieglitz published the reviews of the National Arts Club exhibition, accompanied by a long editorial about the Photo Secession, in the last edition of Camera Notes he edited . This led to a dispute with members of the Camera Club who accused him of self-importance in the selection of contributions and questioned his bookkeeping. In response, Stieglitz resigned as editor-in-chief in June 1902 and decided to work exclusively for himself in the future. Soon afterwards he designed Camera Work , whose editor-in-chief and publication he now took over in personal union. As with Camera Notes before, he was assisted by Dallett Fuguet, Joseph Keiley and John Francis Strauss. It was also Keiley who had encouraged his friend Stieglitz to read the new magazine. The first issue of Camera Work appeared in January 1903. The simple title was a deliberate allusion to the photographer as "camera worker", a term that was common at the time and which, with regard to the following avant-garde content, was probably an understatement intended by Stieglitz.

Camera Work should develop into an independent mouthpiece of American pictorialism , as Stieglitz had conceived and propagated it: “ Camera Work is not obliged to any organization or group, and although it is the mouthpiece of the Photo Secession, it does not in the least become the magazine limited in their independence, ”said Stieglitz. However, this statement turned out to be unrealizable. At the latest with the redesign of the magazine into the "unofficial" exhibition catalog of the gallery 291 from issue 14, Stieglitz was no longer able to maintain a conceptual and content-related separation of gallery and magazine.

Presentation

Clarence H. White : Boy with Camera Work . Published in Camera Work 9, 1905
David Octavius ​​Hill and Robert Adamson : Christopher North (Professor Wilson) , around 1843–1847. Halftone reproduction published in Camera Work 11, 1905

The luxuriously designed glossy magazine was published every quarter from 1903 to 1917. The entire graphic design, such as the factual cover design - a signet with Art Nouveau typography - came from Edward Steichen. The now independent spirit of the magazine was highlighted with the subline in the title A Photographic Quarterly, Edited and Published by Alfred Stieglitz, New York . Stieglitz reserved the back for advertisements, which he often designed himself; so Eastman Kodak , who advertised on almost every back cover, got the same typography that Steichen had designed for the title. Other constant advertisers were Bausch & Lomb , Schering's photochemicals and Graflex cameras. For the typesetting of the magazine, Stieglitz resorted to a design that was very much based on William Morris ' style: heavy, black text with wide margins, flanked by intricately decorated initials that introduced each new article. The design remained unchanged for the entire 50 numbers.

A single copy of Camera Work was two dollars; the annual subscription price was initially four dollars. Registered mail cost 50 cents extra. In later years Stieglitz doubled the subscription price and demanded the price of an annual subscription for archive editions such as the Steichen special from 1906. In the 1920s, Stieglitz issue No. 36 from 1911 was $ 15 and the double edition No. 49/50 with Paul Strand from 1917 was priced at $ 17.50. Camera Work initially had a subscriber base of around 650 people with 1,000 printed copies. The gradual change from photo to art magazine cost Stieglitz numerous subscribers; by 1912 the number had been reduced by more than half to 304. When the magazine was discontinued in 1917, there were only 36 subscribers to 500 printed issues.

Stieglitz financed the magazine largely from his private fortune and spared neither expense nor effort. In any case, he had not planned Camera Work as a commercial project and had even calculated losses, although he feared a “loss of artistic freedom” in an economic success. His top priority, however, was to reproduce the work as precisely as possible . Only the best available photographs - in Stieglitz's opinion - should be shown and these should be reviewed by the best of critics. He formulated this quality standard in the introduction to the first edition:

“Photography is first and foremost a monochrome process, and its artistic beauty often rests on its fine gradations of tint and values. It is therefore of the utmost importance that reproductions of photographic works be made with extreme care and sensitivity in order to preserve the spirit of the original. Such care is taken in the illustrations in every issue of Camera Work . "

- Alfred Stieglitz : Camera Work 1, January 1903

The picture panels consisted of heliogravures (photo engravings) on Japanese paper in order to capture all the subtleties of tonal values and structures. The engravings were drawn off by hand on art paper with a deckle edge . The colors of the papers were chosen to match the tint of the pictures. In the beginning Stieglitz also used autotypes , which were cheaper than heliogravures, but his claim to perfection took precedence over economic considerations. Since the heliogravure is a monochrome process, the autotypical process was used again in the later painting reproductions. Stieglitz also used mezzotint engravings, duotone printing , tinting by hand, three- and four-color printing and collotypes . Since Stieglitz rarely kept records, it is no longer possible to determine what, presumably immense, financial expenditure he made. In addition, some of the images had to be scaled down to the format of Camera Work .

The engravings were then separated from the text by a sheet of glassine . When making the selection, Stieglitz made sure that only photographic works with exemplary character and perfect visual works were included. When printing the photos, he attached great importance to manual work and the exact description of the process used. If necessary, he would retouch the engravings himself. The photo engravings came mainly from the original negatives or prints ( rubber or platinum prints ). If the engravings came directly from the negative, this was noted under the illustration in the booklet.

pressure

The first issues of Camera Work were printed by the Photochrome Engraving Company in New York, later issues were taken over by the Manhattan Photogravure Company , the printing company T. & R. Annan & Sons in Glasgow and Frederick Goetz via the publishing house F. Bruckmann in Munich . Stieglitz had met Goetz at the Heliochrome Company (later the Photochrome Engraving Company ) in New York and made friends with him. Back in Europe, Goetz worked for Bruckmann in Munich, who was then only European printing plant outside the UK, the heliogravures the gravure printing process by rotation could print. The production of the photo engravings was divided according to nationalities: The Manhattan Photogravure Company made photo engravings for American photographers; James Craig Annan took care of the British photographers and in particular the prints made from the original negatives by David Octavius ​​Hill and Robert Adamson ; Frederick Goetz provided the engravings for European artists such as Frank Eugene or Heinrich Kühn and in 1908 printed colored autochromes for Edward Steichen. Later, Stieglitz entrusted the delivery of the engravings almost exclusively to Goetz.

Authors and Photographers

Gertrude Käsebier : Blessed Art Thou among Women . Published in Camera Work 1, 1903

Each issue contained detailed information about the works depicted, background reports and exhibition reviews. Well-known authors of the articles were - besides Stieglitz himself - Charles Caffin , Robert Demachy , Sidney Allan ( Sadakichi Hartmann ), George Bernard Shaw and Edward Steichen.

Different points of view came into play with the authors: Demachy was considered a staunch advocate of retouching who emphasized the painterly element; Shaw, on the other hand, called for photography to be respected as an art form, and Steichen rejected the idea of ​​the perfect negative, since every photograph can be changed again and again.

The first issue of Camera Work was dedicated to Gertrude Käsebier, a pictorialist "from the very beginning"; she was followed by Edward Steichen, whose work was most frequently illustrated with a total of 68 photographs (five booklets were dedicated to him alone). Steichen also wrote regular art reviews and columns on color photography . Subsequently, monographs by the Photo Secessionists, their friends and colleagues and the leading photographers from Europe were added, such as Alvin Langdon Coburn, Frederick H. Evans , Clarence H. White or the “Trifolium”, the Viennese photographer group Hugo Henneberg , Heinrich Kühn and Hans Watzek . A French edition was devoted to Robert Demachy, René Le Bègue and Constant Puyo ; another issue featured photographers with Alice Boughton , Annie W. Brigman and Ema Spencer . However, less attention was paid to the discovery of new talent.

The history of photography was also dealt with in Camera Work , and so Stieglitz had calotypes by David Octavius ​​Hill and Robert Adamson or portrait photographs by Julia Margaret Cameron reproduced - photography pioneers who by then had already been forgotten again. The photo engravings were made by the Scottish pictorialist James Craig Annan, who was in possession of the original negatives.

This was followed by essays and reflections by art critics and members of the Photo Secession, who wrote reports on the activities of the association. Camera Work thus offered thorough documentation of the art photography movement and at the same time a worthy representation of its protagonists.

Extension to the art magazine

Auguste Rodin : Nude with Drapery , around 1900–1905; published in Camera Work 39, 1912
Auguste Rodin: Balzac , modern photography

In issue 14 in April 1906, Stieglitz reported with pride of the opening of the Little Galleries of the Photo-Secession on Fifth Avenue - better known as 291 in the course of time - the previous November. The first exhibitions were reserved for the members of the Photo Secession, for whom the gallery served as an additional meeting point apart from the usual clubs. The following exhibition periods mainly focused on photography. With a retrospective of the illustrator Pamela Colman Smith in 1907, Stieglitz soon brought about a turning point by, surprisingly for most of the members, allowing other forms of art, or "art" in general.

Accordingly, Camera Work initially only pursued the artistic and technical development of photography, although Stieglitz had planned an editorial mix of photography, art and literature from the start. In addition, he wanted photography to be on a par with the pictorial avant-garde from Europe and strictly rejected the conservative photographers' view of photography as a pure craft. In the meantime he moved further and further away from photography; after all, only four photography exhibitions were shown in the gallery from 1910 until it closed in 1917. Accompanied by emotional outbursts, Stieglitz's relationship with the other photographers deteriorated drastically, ultimately he was scolded as “dictatorial” and “despotic” and in 1908 he was expelled from the Camera Club on charges of abuse of trust . Deeply hurt, Stieglitz returned the favor with biting letters in Camera Work .

A phase of “photographic schisms ” followed: in 1909 the Linked Ring in London dissolved in a dispute, as did other associations of Photo Secessionists in Europe. In America, Gertrude Käsebier and Clarence H. White finally broke with the “hated world of commerce” and split off into their own photographic interest groups. Stieglitz, meanwhile, concentrated exclusively on art, especially on the European painter avant-garde.

With the transformation of Galerie 291 from a pure photo salon to an avant-garde art gallery, the content of Camera Work gradually changed from a photo to an art magazine and thus the readership. “At this stage of development, art work would have been a more appropriate term than camera work, ” says photo historian Pamela Roberts. In January 1910 Camera Work published caricatures for the first time by the Mexican artist and intellectual Marius de Zayas , who was in contact with the Parisian avant-garde and who became the “right-hand man” in Europe for the exhibition organizer Stieglitz. Building on the new exhibition concept of the gallery , from this point onwards, texts of the philosophy of art were largely printed in Camera Work .

In October 1910, Stieglitz published engravings with nude drawings by Henri Matisse , which led to a storm of protest and cancellations among subscribers. In April 1911 he printed colored collotypes of Rodin's nude drawings. Meanwhile half of the remaining readers had canceled their subscription. Photographs of naked women were widely accepted, but paintings of them were not. Stieglitz responded in an article:

“To those of our readers who don't understand why these drawings are shown in Camera Work , I would like to say that these reproductions are beautiful examples of what one of the most useful areas of camera work can do, the photomechanical process [...] we also allow ourselves to remind our readers that one of the tasks of Camera Work is to illustrate the activities of the Photo Secession and its gallery. What these consist of has been explained several times in the last issues of the magazine. "

- Alfred Stieglitz : Camera Work 34/35, April / July 1911
Alfred Stieglitz: The Steerage , Camera Work 36, 1911

Stieglitz meanwhile intensified the interdisciplinary comparison of images between sculpture, painting and photography, paired with literary texts. In 1911, for example, he printed a photo by Steichen showing Rodin's sculpture by Balzac and placed watercolors by Rodin next to it. He provided paintings by John Marin , Henri Matisse and Pablo Picasso with comments by Gertrude Stein and in turn showed exhibition photos by Constantin Brâncuși , Georges Braque and Picasso. In October 1911, issue 36, which was dedicated to himself, Stieglitz distanced himself clearly from pictorialism; the following editions dealt less and less with photography; instead, exhibition reviews from other art magazines were reprinted.

Mouthpiece of the avant-garde

Over time, Camera Work increasingly developed into a forum for writers, cultural scientists and philosophers , such as Henri Bergson , whose essay Le Rire (German: Das Lachen , 1914) was printed in excerpts in January 1912, made general aesthetic considerations and comparisons between the Utilitarianism and the material language of art. In it he asked Stieglitz's programmatic question “What is the object of art?”. Maurice Maeterlinck , who dealt with the “symbolism of light”, looked at artistic photography from an occult , spiritualistic point of view, to which Stieglitz himself was open, and already anticipated views of surrealism . Consequently, two editions later, excerpts from Wassily Kandinsky's art-philosophical essay On the Spiritual in Art were published .

Gertrude Stein published an article in the USA for the first time in Camera Work . Photograph by Carl van Vechten , 1934

The special edition in August 1912 finally showed no more photographs and was a clear indication that Stieglitz's interests had changed. Gertrude Stein's comments, or “word portraits”, on works by Matisse and Picasso were published in the issue. It was the American writer's first contribution to be published in the country of her birth. Stein formulated her reception of the works in her characteristic, repetitive twisting of words and stylistically corresponded to her self-image as a “ cubist author”. In doing so, she reflected Stieglitz's perception of the new and his commitment to the experimental. She wrote about Picasso: “One whom some were certainly following was one who was completely charming. One whom some were following certainly was one who was charming. One whom some were following was one who was completely charming. One whom some were following was one who was certainly completely charming, “without giving any indication of who, or whether it is a painter at all.

In the preface to the special issue, Stieglitz stated:

“The development of this movement is the outward and visible sign of an intellectual and aesthetic state of mind which at the same time contradicts our known traditions and which most of our generation have not dreamed of. For the average observer, these attempts at self-portrayal are more or less puzzling, if not completely incomprehensible, at a first approach ... by chance this movement found its first expression in the field of painting and that in an area that was most impressive and therefore most was discussed. "

- Alfred Stieglitz : Camera Work , special edition No. 2, August 1912
Alfred Stieglitz: A Snapshot: Paris , Camera Work 41, 1913

Stieglitz first met Gertrude Stein in 1909 in her Paris Salon , a popular meeting place for the avant-garde. In an intensive exchange of ideas, they both realized that they were pursuing similar artistic goals. Stein liked the idea of ​​publishing texts about a painter in an image medium and compared this with Paul Cézanne , whose pictures in turn inspired her to write. Although most of the contributions to Camera Work were committed to modernism, most of the authors were less revolutionary than the Stein. An exception was the American journalist Benjamin De Casseres , who conveyed modernism with fun and hymns of praise and at the same time referred to the painter-poet William Blake and the " Freudians ". With the special edition in June 1913, Gertrude Stein reappeared as an author. With these "less pleasant" articles, Stieglitz signaled that modernity is now also reflected in the text.

End and new beginning of photography

After 1913, the number of subscribers to Camera Work declined, and revenue decreased accordingly. In addition, the outbreak of the First World War prevented the delivery of the expensive engravings that were made by Goetz, who was based in Germany. In the meantime, Stieglitz took care of gallery 291 , and the upcoming Armory Show demanded his attention.

Paul Strand in Camera Work 49/50, 1917
(external web links ! )

(Three examples. A total of eleven photo engravings from Strand were shown)

In the following four years only six issues of Camera Work appeared . Number 47 almost exclusively contained texts and letters to the editor on the question “What is 291?”, Which can be seen either as the last attempt at “reader loyalty” or as Stieglitz's search for confirmation. “He wanted to see these opinions in print before giving up. Possibly the anger, workload, and costs were straining on his nerves. Even he wasn't immune to the depressing reality of World War I, ”speculated photo historian Pam Roberts. People from the most varied of professions and social classes had their say in the letters; including the lift boy of the house, numerous designers, photographers, painters and writers. Among the more well-known were Francis Picabia , Man Ray , his friend, the anarchist and sculptor Adolf Wolff and finally Edward Steichen, who utterly disaffected that he had advised Stieglitz years ago to give up the gallery and magazine.

The penultimate edition, number 48, summarized the past few years and at the same time explored future prospects. The past was represented by pictorial works by Francis Bruguière , Frank Eugene and Arthur Allen Lewis , as well as an exhibition photo of German and Austrian photographs that were shown in 1906 in the 291 ; Stieglitz's photographs of the exhibitions by Brâncuși, African art, Picasso and Braque in 1914 and the Elie-Nadelmann exhibition in 1915 stood for the present. Stieglitz reserved the future only for the photographer Paul Strand , who had the last photo exhibition at 291 in 1916 . And so the last two issues of Camera Work , which were combined as double issue 49/50, were exclusively dedicated to the beach. The final issue even differed from previous editions in terms of design: the paper was stronger, the printing inks stronger. Strand's now hard, high-contrast photographs symbolized the end of pictorialism and the turn to pure “ straight ” photography.

Résumé

When Alfred Stieglitz closed Galerie 291 in 1917 , he still had countless unsold issues of Camera Work in storage. After sending a complete set to most of the institutions that were important to him in 1930, he burned the remaining 1,000 copies. Because he saw “no value” in it, he donated his photo archive with around 600 photographs by the Photo Secessionists to the Metropolitan Museum of Art in New York in 1933 . All copies of Camera Work that can still be found in second-hand bookshops or at auctions today come from the collections of the then subscribers. Individual editions of Camera Work can be found in the (not permanently shown) collections of the Musée d'Orsay in Paris , the National Gallery of Art in Washington, DC , the Cleveland Museum of Art , the George Eastman House in Rochester (New York) , the National Gallery of Australia in Canberra and the Metropolitan Museum of Art.

reception

“ When the camera notes were at their peak, it seemed impossible to beat them. But in this case we can only say that it did succeed in getting Goldfinch out of Stieglitz. With Camera Work he broke his own record, a record that no one could even come close to jeopardizing. "

- R. Child Bayley : Photography , Vol. XV, January 3, 1903, p. 738 

Every issue of Camera Work has received largely benevolent reviews from the British press. An editor of the contemporary magazine Photography said, "The execution and success of the magazine are entirely personal and until we can find a British goldfinch, Camera Work must remain unique."

The British pictorialist Alfred Horsley Hinton wrote in The Amateur Photographer in 1903 : “There can be no other judgment. Camera Work beats all previous publications in terms of good taste, reputation, actual importance […]. Public taste too often expects photographic magazines to be trivial and superficial, but here those interested in the artistic aspects of photography will find reading material that will last, that will make them think, as well as images that are famous today are and will probably also be in the future. One can Camera Work not praise enough, there is nothing like it. American photographers can rightly be proud of Mr. Alfred Stieglitz ... "

In 1924 Stieglitz was awarded the Progress Medal by the Royal Photographic Society, the society's highest honor. The award was made “in recognition of his significant achievements in the creation and promotion of American pictorialist photography and for his founding and dissemination of the magazine Camera Work , which over a period of 14 years was the most artistic attempt at documenting photography that has ever been made. "

The French photo historian Michel Frizot stated in an essay on Camera Work : “It was the most luxurious photo magazine of the era and was just as important as amateur photographer in Great Britain, Photographische Rundschau in Germany and Revue de photographie in France. […] Using Camera Work , the entire theoretical development over 15 years and the increasing influence of European models can be traced, which Stieglitz already presented in his gallery 291 and also showed in the magazine itself […] Most of the pictures published in Camera Work come from von Steichen, followed by Stieglitz, Craig, Annan, Coburn, White, Eugene, De Meyer, Demachy, Kühn, Seeley and others, all of them progressive photographers who tried to understand the world based on the visual arts. "

The American cultural scientist Michael North questions the multidisciplinarity of camera work in his reflections on aesthetic modernism and photography, published in 2005 . North assumes that photography has brought literature and visual arts into a new relationship: "The magazine has made photography an important vehicle for abstract art and experimental literature". The author attaches this to an anecdote from 1912, when a reader of Camera Work asked astonished what “Picasso & Co” had to do with photography.

The photo historian Pam Roberts summed up that Camera Work “from the publicity organ of the Photo Secession to the exhibition catalog of the gallery 291 ” fulfilled many tasks and “began as the last bastion of the meeting of symbolism, photography and literature and ended as an ambassador of modernity”. Although the magazine inspired many photographers, it was an anachronism for others, such as Ansel Adams , Walker Evans or Eliot Porter , since from the abundance of pictorial works one only remembers Steichen, Stieglitz and Strand. "Above all," says Roberts, " Camera Work was the autobiography of a creative person [...] a man who was described as a despot, dictator, guru, prophet and messiah: Alfred Stieglitz."

gallery

Photographers featured in Camera Work (selection ! )

Spending index

A total of 53 issues were published by Camera Work , including three special issues (the double issues No. 34/35, 42/43 and 49/50). All editions are online in a joint project between Brown University & The University of Tulsa.

Number 1, January 1903

Number 2, April 1903

  • Photographs: twelve works by Edward Steichen .
  • Texts: Articles by Edward Steichen, Charles Caffin and Sadakichi Hartmann; Miscellaneous by R. Child Bayley, Dallett Fuguet, John Barrett Kerfoot, and Eva Watson- Schützen .

Number 3, July 1903

  • Photographs: Five works by Clarence H. White; three by Ward Muir; one each from JC Strauss, Joseph Keiley, Alfred Stieglitz and Alvin Langdon Coburn.
  • Paintings: One each by Mary Cassatt , Eugène Boudin and Rembrandt .
  • Texts: Charles Caffin on Clarence H. White; Misc. From John Barrett Kerfoot, Dallett Fuguet, Ward Muir, and others; Quotes from James McNeill Whistler , Peter Henry Emerson .
  • Enclosures: Facsimile of the handwritten text Je Crois by Maurice Maeterlinck ; Guidelines and list of members of the Photo Secession.

Number 4, October 1903

  • Photographs: Six pictures by Frederick H. Evans ; one by Alfred Stieglitz (The Flatiron Building) ; one by Arthur E. Becher.
  • Texts: George Bernard Shaw on Frederick Henry Evans; Miscellaneous by Sadakichi Hartmann, Dallett Fuguet, John Barrett Kerfoot, Charles Caffin, Joseph Keiley and Edward Steichen.

Number 5, January 1904

  • Photographs: Six works by Robert Demachy ; one from Prescott Adamson; one by Frank Eugene (Smith).
  • Texts: Joseph Keiley on Robert Demachy ; Sadakichi Hartmann on reviews; Miscellaneous from FH Evans, Dallett Fuguet, and others; Quotes from James McNeill Whistler.

Number 6, April 1904

  • Photographs: Six works by Alvin Langdon Coburn ; two by Will A. Cadby; one from WB Post.
  • Texts: Charles Caffin on Alvin Langdon Coburn; Sadakichi Hartmann on the Carnegie exhibition; Miscellaneous by Will A. Cadby, Dallett Fuguet, and others.

Number 7, July 1904

  • Photographs: Six works by Theodor and Oscar Hofmeister; two from Robert Demachy; one by Edward Steichen; one by Mary Devens .
  • Texts: Ernst Juhl on the Hofmeister; Robert Demachy on rubber printing ; Miscellaneous from AK Boursault, FH Evans, and others; Subscriber Advertising.

Number 8, October 1904

  • Photographs: Six works by James Craig Annan; one from Alvin Langdon Coburn; one from FH Evans; six paper-cut portraits by John Barrett Kerfoot.
  • Texts: Joseph Keiley on J. Craig Annan; John Barrett Kerfoot on Silhouettes and Satire; Alfred Stieglitz on foreign exhibitions; Miscellaneous.

Number 9, January 1905

  • Photographs: Five by Clarence White; one by Edward Steichen; four by Eva Watson-Schütze .
  • Texts: Joseph Keiley on Eva Watson-Schütze; John W. Beatty of Clarence White; FH Evans on the London Photographic Salon in 1904; Satire by John Barrett Kerfoot; new series of reprints from New York critics, this time First American Salon in New York ; Miscellaneous; Quotes from Sebastian Melmoth ( Oscar Wilde ).

Number 10, April 1905

  • Photographs: Seven by Gertrude Käsebier; two by C. Yarnall Abbott; one from EM Bane.
  • Artwork: a print by Kitagawa Utamaro ; Painting by Thomas W. Dewing and Sandro Botticellis Primavera (in black and white).
  • Texts: Roland Rood on plagiarism; Charles Fitzgerald (a New York Sun reviewer , widely reprinted in Camera Work ); Edward Steichen: painter and photographer ; Miscellaneous.

Number 11, July 1905

  • Photographs: Six works by David Octavius ​​Hill ; two by Edward Steichen; one from Robert Demachy; two by A. Horsley Hinton.
  • Texts: J. Craig Annan on David Octavius ​​Hill; Dallett Fuguet on Art and Originality; Satire by John Barrett Kerfoot; different techniques; Alfred Stieglitz on Camera Works plans for 1906.

Number 12, October 1905

  • Photographs: Ten works by Alfred Stieglitz: Horses (1904), Winter, Fifth Avenue (incorrectly dated 1892, taken in February 1893), Going to the Post (1904), Spring (1901), Nearing Lund (1904), Katherine ( 1905), Miss SR (1904), Plowing (1904), Gossip, Katwyck (1894), September (1899); three works by F. Benedict Herzog.
  • Other images: reprints of hieroglyphics and cave paintings (half-page); two works by Giotto ; one by Botticelli (detail from Primavera ); one by Diego Velázquez .
  • Texts: Charles Caffin, “Truth and Illusion”; Roland Rood on the development of art; Announcement of the opening of the Little Galleries of the Photo-Secession Gallery for November 1st; Miscellaneous; Quotes from Sebastian Melmoth.

Number 13, January 1906

  • Photographs: three works by Hugo Henneberg; four by Heinrich Kühn ; five by Hans Watzek.
  • Other works of art: Edward Steichen's poster for the Photo Secession.
  • Texts: F. Mathies-Masuren on Hugo Henneberg, Heinrich Kühn and Hans Watzek; Charles Caffin, "Truths and Illusions II"; F. H, Evans on the London Salon 1905 (with a list of American photo exhibitions); Miscellaneous.

Number 14 April 1906

  • Photographs: Nine by Edward Steichen; four by Alfred Stieglitz of the exhibitions at 291 (Edward Steichen in March, Clarence White and Gertrude Käsebier in February and the exhibition opening in November-January (two images)); Cover design by Edward Steichen (Woman with Globe).
  • Texts: George Bernard Shaw , “The Unmechanicalness of Photography” and review of the London exhibition; Satire by John Barrett Kerfoot; Reprints of reviews of the Photo Secessionist exhibitions; Exhibition calendar.

Edward Steichen special issue , April 1906

  • Photographs: Sixteen works by Edward Steichen, including portraits of Eleonora Duse , Maurice Maeterlinck, JR Morgan and Auguste Rodin , as well as numerous hand-colored halftone prints.
  • Text: Maurice Maeterlinck, "I Believe."

Number 15, July 1906

  • Photographs: Five works by Alvin Langdon Coburn; one by George Bernard Shaw, portrait by Alvin Langdon Coburn; one by Edward Steichen, experiments with three-color photographs, unretouched halftone plates directly from the slide; a work by George Henry Seeley.
  • Texts: articles by Charles Caffin and Rolund Rood; George Bernard Shaw on Alvin Langdon Coburn; John Barrett Kerfoot, "The ABC of Photography, AG"; Miscellaneous, with a report from the First Pennsylvania Academy Photo Exhibition hosted by Joseph Keiley, Edward Steichen, and Alfred Stieglitz.

Number 16, October 1906

  • Photographs: Seven works by Robert Demachy; three by Constant Puyo ; two by René LeBégue.
  • Texts: Robert Demachy on oil pressure techniques; Charles Caffin on current exhibitions; John Barrett Kerfoot, "The ABC of Photography, H-N"; Miscellaneous.

Number 17, January 1907

  • Photographs: Six works by Joseph Keiley; two by F. Benedict Herzog; one from Harry Cogswell Rubincam; one by A. Radclyffe Dugmore.
  • Additional illustrations: Two satirical watercolor portraits by James Montgomery Flagg in two colors
  • Texts: Charles Caffin on F. Benedict Herzog: John Barrett Kerfoot, “The ABC of Photography, O – T”, FH Evans on the London Salon 1906; Miscellaneous.

Number 18 April 1907

  • Photographs: Six works by George Davison; two by Sarah Choate Sears; two by William B. Dyer.
  • Texts: Charles Caffin on symbolism and allegories; R. Child Bayley on Pictorialist Photography; John Barrett Kerfoot, "The ABC of Photography, U-Z"; Robert Demachy on "Modified" Prints, answered by George Bernard Shaw; FH Evans; Francis Meadow Sutcliffe ; Miscellaneous.

Number 19, July 1907

  • Photographs: Five works by James Craig Annan; one by Edward Steichen.
  • Texts: Robert Demachy “Straight print”; Misc. From Dallett Fuguet, Charles Caffin, John Barrett Kerfoot, and others.

Number 20, October 1907

  • Photographs: Six works by George Henry Seeley; three snapshots by Alfred Stieglitz - From My Widow , New York (after 1898), From My Window , Berlin (1888–90), In the New Work Central Yards (1903); a work by W. Renwick.
  • Texts: Alfred Stieglitz, "The new color photography" (the first report on the Autochrome process of Lumière and this salaried experiments in June 1907); Joseph Keiley on Gertrude Käsebier; CA Brasseur on color photography; Miscellaneous.

Number 21, January 1908

  • Photographs: Twelve works by Alvin Langdon Coburn.
  • Texts: (unsigned) “Is photography a new art?”; Charles Caffin and others. Explanation of why the color output is delayed.

Number 22 April 1908 (color edition)

  • Photographs: Three works by Edward Steichen, George Bernard Shaw , On the Houseboat , Lady H. (reproduced in four-color halftone printing by Bruckmann, Munich).
  • Texts: Edward Steichen, "Color Photography"; Charles Caffin and JC Strauss on the expulsion of Alfred Stieglitz from the New York Camera Club ; List of forty members of the "Camera Workers", a new group of photographers who have also left the Camera Club ; Miscellaneous, with a review of the exhibition of the Rodin drawings at 291 in January.

Number 23, July 1908

  • Photographs: Sixteen works by Clarence H. White.
  • Texts: Charles Caffin on the exhibitions by Clarence H. White and George Henry Seeley; Reprints of the reviews of the Henri Matisse show; Alfred Stieglitz, “Frilling and Autochromes”; Miscellaneous.

Number 24, October 1908

  • Photographs: seven pictures by Adolphe de Meyer ; one by William E. Wilmerding; two by Guido Rey.
  • Texts: George Besson asks artists such as Auguste Rodin and Henri Matisse about pictorialist photography; Charles Caffin, "The Camera Point of View in Painting and Photography"; Miscellaneous.

Number 25, January 1909

  • Photographs: Five by Annie W. Brigman ; one by Ema Spencer; one by C. Yarnall Abbott; two by Frank Eugene, including a portrait by Alfred Stieglitz.
  • Texts: Charles Caffin, "Henri Matisse and Isadora Duncan "; John Barrett Kerfoot on Henri Matisse; John Nilsen Laurvik via Annie W. Brigman; Miscellaneous, list of members of the Photo Secession.

Number 26 April 1909

  • Photographs: Six works by Alice Boughton ; one by James Craig Annan; one by George Davison.
  • Texts: Benjamin de Casseres, “Caricatures and New York”; Sir (Caspar) Purdon Clarke on art and Oscar Wilde on the artist; J. Nilsen Laurvik on the International Photography Exhibition at the National Arts Club; Miscellaneous.

Number 27, July 1909

  • Photographs: Five works by Herbert C. French; four by Clarence White and Alfred Stieglitz (joint work).
  • Texts: HG Wells, “About Beauty”; Benjamin de Casseres on Pamela Colman Smith ; Charles Caffin on the exhibitions of Adolph de Meyer and Alvin Langdon Coburn; New York reviews of Alfred Maurer and John Marin in 291 ; Quotes from Oscar Wilde; Miscellaneous.

Number 28, October 1909

  • Photographs: Six works by David Octavius ​​Hill; one by George Davison; one by Paul Burty Haviland ; one from Marshall R. Kernochan; one by Alvin Langdon Coburn.
  • Texts: unsigned text about impressionism ; Charles Caffin on Edward Steichen's photographs by Rodins Balzac and the international photo exhibition in Dresden; Quotes from Friedrich Nietzsche ; Miscellaneous,

Number 29, January 1910

Number 30, April 1910

  • Photographs: Ten works by Frank Eugene.
  • Caricatures: Marius de Zayas caricatures Alfred Stieglitz.
  • Texts: William D. MacColl on art criticism; Sadakichi Hartmann on composition; Charles Caffin via Edward Steichen; New York critics about Edward Steichen, John Marin, and Henri Matisse; Miscellaneous, Albright Gallery Exhibition Announcement in Rochester, NY in November.

Number 31, July 1910

  • Photographs: Fourteen works by Frank Eugene.
  • Texts: Max Weber , "The Fourth Dimension from a Plastic Point of View" and "Chinese Dolls and Modern Colonists"; Paul Burty Haviland defends the exhibition of other works of art in Gallery 291 and their images in Camera Work; Sadakichi Hartmann on Marius de Zayas; New York reviews of the Younger American Painters exhibition ; Miscellaneous.

Number 32, October 1910

  • Photographs: Five works by J. Craig Annan; one from Clarence White; Advertisement by Alvin Langdon Coburn.
  • Drawings: Two nude drawings by Matisse; a stage design by Edward Gordon Craig .
  • Texts: Sadakichi Hartmann on Puritanism ; Annan on photography as an artistic expression; Benjamin de Casceres on "Decadence and Mediocrity"; Elie Nadelman, My Drawings; Miscellaneous.

Number 33, January 1911

  • Photographs: Fifteen works by Heinrich Kühn (mezzotint and half-tone works).
  • Texts: Charles Caffin, Joseph Keiley, Alvin Langdon Coburn et al. about the exhibition at the Albright-Knox Art Gallery ; Sadakichi Hartmann, “What remains?”; Max Weber, poems on Mexican folk art; Miscellaneous.

Numbers 34/35, April-July 1911

  • Photographs: Four works by Edward Steichen, including Rodin and Balzac .
  • Drawings: Two engravings and seven collotypes by Auguste Rodin.
  • Texts: Benjamin de Casseres; Agnes E. Meyer ; Sadakichi Hartmann on Auguste Rodin; George Bernard Shaw, "A Page of Shaw"; Marius de Zayas on the Paris Autumn Salon; Charles Caffin on Paul Cézanne ; Marius de Zayas on Pablo Picasso ; LF Hurd, Jr .; Miscellaneous.

Number 36, October 1911

  • Photographs: Sixteen works by Alfred Stieglitz: The City of Ambition (1910), The City Across the River (1910), The Ferry Boat (1910), The Mauretania (1910), Lower Manhattan (1910), Old and New York ( 1910), The Airplane (1910), A Dirigible (1910), The Steerage (1907), Excavating, New York (1911), The Swimming Lesson (1906), The Pool - Deal (1910), The Hand of Man , ( 1902), In the New York Central Yards (1903), The Terminal (1892), Spring Showers, New York (1903).
  • Drawings: One by Pablo Picasso.
  • Texts: Benjamin de Casseres, “The Unconscious in Art”; Quotations from Henri Bergson and Plato ; Alvin Langdon Coburn, "The Relationship of Time to Art"; Miscellaneous.

Number 37, January 1912

  • Photographs: Works by David Octavius ​​Hill and Robert Adams .
  • Texts: Benjamin de Casseres on "Modernity and Decadence"; Sadakichi Hartmann on originality; Henri Bergson on the "object of art": Archibald Henderson on George Bernard Shaw and photography; Maurice Maeterlinck on photography; Charles Caffin on Adolph de Meyer; Gelett Burgess , "Essays in Subjective Symbolism"; Miscellaneous,

Number 38, April 1912

  • Photographs: Five works by Annie W, Brigman; eight by Karl F. Struss.
  • Texts: Benjamin de Casseres, “The ironic in art”; Sadakichi Hartmann, “The Aesthetic Meaning of the Moving Image”; Reprints of New York critics; Miscellaneous.

Number 39, July 1912

  • Photographs: Six works by Paul Burty Haviland; one by H. Mortimer Lamb.
  • Paintings: Two watercolors by John Marin, printed in three colors.
  • Drawings: Two works by Manuel Manolo.
  • Caricatures: Marius de Zayas caricatures Alfred Stieglitz.
  • Texts: Marius de Zayas, “The sun has set”; Sadakichi Hartmann on Henri Matisse; Excerpts from Wassily Kandinsky's “On the Spiritual in Art”; J. Nilsen Laurvik on John Marin; Sadakichi Hartmann on children's drawings ; Miscellaneous.

Special edition, August 1912

  • Paintings: Five works by Henri Matisse; three by Pablo Picasso.
  • Drawings: Two by Pablo Picasso.
  • Sculptures: two illustrations by Henri Matisse; two by Pablo Picasso (screened photo reproductions).
  • Texts: editorial to content; Gertrude Stein , "Henri Matisse" and "Pablo Picasso" (first publication of their writings in the United States).

Number 40, October 1912

  • Photographs: Fourteen works by Adolphe de Meyer.
  • Texts: John Galsworthy , “Fleeting Thoughts on Art”; Hutchins Hapgood, "A New Form of Literature"; Excerpts from the letters of Vincent van Gogh ; Miscellaneous.

Number 41, January 1913

  • Photographs: Five calotypes by Julia Margaret Cameron ; four photographs by Alfred Stieglitz, A Snapshot, Paris (two pictures, 1911), The Asphalt Paver, New York (1892), Portrait SR (1904).
  • Texts: Marius de Zayas, “Photography” and “The Evolution of Form Introduction”; Reprints of New York reviews; Miscellaneous.

Special edition, June 1913

  • Paintings: three paintings by Paul Cézanne; one by Vincent Van Gogh; two by Pablo Picasso; one by Francis Picabia .
  • Drawings: A photo reproduction by Pablo Picasso.
  • Texts: Gertrude Stein, "Portrait of Mabel Dodge at the Villa Curonia"; Mabel Dodge, "Speculations"; Gabrielle Buffet-Picabia , "Modern Art and the Public"; Francis Picabia, "Vers L'Amorphisme"; Benjamin de Casseres, "The Renaissance of the Irrational"; Miscellaneous; "Are You Interested in the Deeper Meaning of Photography?"

Numbers 42/43, April – July 1913 (published November)

  • Photographs: Fourteen works by Edward Steichen (with some duotone prints).
  • Paintings: three by Edward Steichen (reproduced as a three-color halftone print).
  • Texts: Marius de Zayas, “Photography and Artistic Photography”; Poem by Mary Steichen; New York reviews of Gallery 291 ; John Marin, "Explanation of His Exhibition"; Francis Picabia, “Forewords to the Exhibition”; Marius de Zayas, “Forewords to the Exhibition”; John Weichsel, "Cosmism or Amorphism?"

Number 44, October 1913 (published March 1914)

  • Photographs: one by Edward Steichen; one by Alfred Stieglitz, Two Towers , New York; one by Annie W. Brigman.

Number 45, January 1914 (published June)

  • Photographs: Eight works by J. Craig Annan.
  • Texts: Mina Loy , “Aphorisms on Futurism”; Marsden Hartley , foreword to the exhibition; Mabel Dodge on Marsden Hartley; Gertrude Stein, "From a Play by Gertrude Stein on Marsden Hartley"; Reprints of New York reviews; Reference to the planned photo exhibition at 291 ; Miscellaneous.

Number 46, April 1914 (published October)

  • Photographs: two works by Paul Burty Haviland; one by Frederick H. Pratt.
  • Caricatures: Ten Works by Marius de Zayas.
  • Texts: John Weichsel, "Artists and Others"; Poems by Katharine Rhoades and Mina Loy; Marius de Zayas on caricatures; Paul Burty Haviland on Marius de Zayas; Poem by "SSS" (Alfred Stieglitz 'sister Selma); planned exhibitions.

Number 47, July 1914 (published January 1915)

  • No pictures
  • Texts: Alfred Stieglitz: “What is 291?” Answers from: Mabel Dodge, Hutchins Hapgood, Charles ES Rasay, Adolf Wolff, Hodge Kirnan, Annie W. Brigman, Clara Steichen, Ward Muir, Abby Hedge Coryell, Frank Pease, Stephen Hawes , Rex Stovel, Alfred Kreymborg , Francis Bruguiére, Ethel Montgomery Andrews, Frances Simpson Stevens, Djuna Barnes , Paul Burty Haviland, Charles Demuth , Konrad Cramer, Charles Daniel, Anna C. Pellew, Helen R. Gibbs, H. Mortimer Lamb, Marsden Hartley, Arthur B. Davies , Arthur G. Dove , John W. Breyfogle, William Zorach, Velida, Max Merz, Eugene Meyer , Arthur B. Carles , Emil Zoler, J. Nilsen Laurvik, SSS, Christian Brinton, NE Montross, Hugh H. Breckenridge, Helen W. Henderson, Ernest Haskell, Frank Fleming, Lee Simonson, Arthur Hoeber, William F. Gable, A. Walkowitz, FW Hunter, Oscar Bluemner , C. Duncan, Katharine Rhoades, Agnes E. Meyer, Marion H. Beckett, Clifford Williams, Samuel Halpert, Man Ray , Marie J. Rapp, Charles Caffin, Dallett Fuguet, Belle Greene , Edward Steichen, Hippolyte Havel , Henry McBride, Torres Palomar, John Weichsel, John Barrett Kerfoot, Francis Picabia, Marius de Zayas, John Marin.

Number 48, October 1916

  • Photographs: one by Frank Eugene; six by Paul Strand ; one by Arthur Allen Lewis; one by Francis Bruguiére; six by Alfred Stieglitz from exhibitions in the 291 : African Art (November 1914), German and Austrian Photographers (March 1906), details of the shows by Picasso, Braque (January 1915), Elie Nadelmann (December 1915).
  • Texts: Exhibitions in the 291 from 1914 to 1916; Marius de Zayas, "Modern Art in Connection with Negro Art"; Agnes E. Meyer on Marion H. Becker and Katharine Rhoades; Elie Nadelman on his exhibition; Abraham Walkowitz about his exhibitions; Marsden Hartley on his exhibitions; C. Duncan and Evelyn Sayer on " Georgia O'Keeffe , C. Duncan and René Lafferty"; Reprints of reviews; Advertisement "291, a new publication"; Reprints from magazine 291 , July – August 1915 work by Marius de Zayas; unsigned contribution, "291 and the Modern Gallery"; Marsden Hartley, "Epitaph for AS"

Numbers 49-50, June 1917 (last edition)

  • Photographs: Eleven works by Paul Strand, including The White Fence , Abstraction Porch Shadows and Abstraction Bowls .
  • Texts: Paul Strand, “Photography”; W. Murrell Fisher of Georgia O'Keeffe's drawings and paintings; Charles Caffin on the 1916-17 exhibition season of the 291 ; Stanton MacDonald Wright , foreword to his exhibition; Excerpts from a letter from Frank Eugene; Miscellaneous.

literature

  • Sarah Greenough: The Alfred Stieglitz Collection of Photographs at the National Gallery of Art, Washington, Volume I & II . Harry N. Abrams, 2002, ISBN 0-89468-290-3 . (English)
  • Marianne Fulton Margolis (ed.), Alfred Stieglitz: Camera Work . Courier Dover Publications, New York 1978, ISBN 0-486-23591-2 (English, excerpts from Google Books )
  • Beaumont Newhall : History of Photography ; American original edition History of Photography: From 1839 to the Present . New York 1937; German translation as a new edition by Schirmer / Mosel, Munich 2005, ISBN 3-88814-319-5 .
  • Alfred Stieglitz, Richard Whelan (Ed.), Sarah Greenough (Ed.): Stieglitz on Photography - His Selected Essays and Notes . Aperture, New York 1999, ISBN 0-89381-804-6 (English)
  • Simone Philippi, (Ed.), Ute Kieseyer (Ed.), Julia Krumhauer et al .: Alfred Stieglitz Camera Work - The Complete Photographs 1903–1917 . Taschen, 2008, ISBN 978-3-8228-3784-9 (multilingual; texts by Pam Roberts, German translation by Gabriele-Sabine Gugetzer)

Reprint

  • Camera work. A Photographic Quarterly . Nendeln: Kraus Reprint, 1969.

Web links

Commons : Camera Work  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b Beaumont Newhall: History of Photography , 1984, p. 174
  2. ^ After Stieglitz left, three more issues of Camera Notes appeared , edited by members of the Camera Club . The last edition appeared in December 1903.
  3. ↑ a b c Pam Roberts: Alfred Stieglitz Camera Work , pp. 190f.
  4. ↑ a b Roberts, pp. 196-198
  5. ^ Roberts, p. 192
  6. ↑ a b Roberts, pp. 194-195
  7. ^ Anne Hammond: Photographic Art in Gravure and Letterpress: A Comparative Study of Paul Strand and Ansel Adams. At: Center for Fine Print Research , October 18, 2007 (accessed April 6, 2018)
  8. ↑ Roberts, pp. 191, 197
  9. ↑ a b c Michel Frizot: The magazine Camera Work 1903-1917 ; in: New History of Photography . Könemann, Cologne 1998, ISBN 3-8290-1327-2 , p. 327
  10. ↑ Roberts, p. 200; see. Newhall, p. 166
  11. ↑ Roberts, p. 200
  12. ^ Newhall, p. 166
  13. ↑ Roberts, p. 203
  14. ↑ a b Roberts, pp. 206-207
  15. ^ Roberts, p. 206
  16. ↑ a b Roberts, pp. 209-211
  17. ↑ Kristina Lowis: An Aesthetics of Art Photography in an International Context (1891–1914). (PDF) pp. 222–223 , accessed on October 11, 2009 (disputation July 28, 2003).
  18. ^ A b Ted Eversole: Alfred Stieglitz's Camera Work , and the Early Cultivation of American Modernism. (PDF; 157 kB) Journal of American Studies of Turkey, accessed on June 11, 2010 (No. 22/2005).
  19. ↑ Ulrike Bergermann: The picture of Gertrude Stein by Pablo Picasso. Picasso's portrait and Stein's question of authorship . University of Paderborn, 1997
  20. ^ Roberts, p. 210
  21. ↑ a b c Roberts, pp. 210-211
  22. ^ Roberts, p. 213
  23. ^ Roberts, p. 215
  24. ^ Roberts, p. 198
  25. ^ Newhall, p. 168
  26. ↑ In: The Amateur Photographer , vol. XXXVII, No. 953, Jan 1903, p. 4; see. Roberts, p. 199
  27. ↑ In: The Photographic Journal , vol LVI, No. 1829, November 28, 1923, pp. 465-466; see. Roberts, pp. 214-215
  28. ^ Michael North: Camera Works - Photography and the Twentieth-Century Word . New York 2005, pp. 35ff. Excerpts from Google Books . (English)
  29. ^ Roberts, p. 216
  30. ↑ An index of all titles, authors and images can be found in Camera Work - A Pictorial Guide, with reproductions of all 559 illustrations and plates, fully indexed by Marianne Fulton Margolis, published by Courier Dover Publications, New York 1978, ISBN 0-486- 23591-2 .
  31. ↑ Brown University & The University of Tulsa online project
!For copyright reasons , not all photographs can be shown. There are currently no suitable images available that are sufficiently licensed for further free use . See also the FAQ on pictures .
This article was added to the list of excellent articles on December 4, 2009 in this version .