As I have said, there exists documentary evidence which proves the deliberate unfairness of this article. It is therefore not necessary to accept my judgment on the importance of Stieglitz and the work done in America. A. Horsley Hinton, who is responsible for the prejudiced article in the Encyclopædia, was the editor of The Amateur Photographer, a London publication; and in that magazine, as long ago as 1904, we have, in Mr. Hinton’s own words, a refutation of what he wrote for the Britannica. In the May 19 (1904) issue he writes: “We believe every one who is interested in the advance of photography generally, will learn with pleasure that Mr. Alfred Stieglitz, whose life-long and wholly disinterested devotion to pictorial photography should secure him a unique position, will be present at the opening of the next Exhibition of the Photographic Salon in London. Mr. Stieglitz was zealous in all good photographic causes long before the Salon, and indeed long before pictorial photography was discussed—with Dr. Vogel in Germany, for instance, twenty-five years ago.”
Elsewhere in this same magazine we read: “American photography is going to be the ruling note throughout the world unless others bestir themselves; indeed, the Photo-Secession (American) pictures have already captured the highest places in the esteem of the civilized world. Hardly an exhibition of first importance is anywhere held without a striking collection of American work, brought together and sent by Mr. Alfred Stieglitz. For the last two or three years in the European exhibitions these collections have secured the premier awards, or distinctions.” And again we find high praise of Steichen, “than whom America possesses no more brilliant genius among her sons who have taken up photography.”
These quotations—and many similar ones appeared over a decade ago in Mr. Hinton’s magazine—give evidence that Mr. Hinton was not unaware of the extreme importance of American photographic work or of the eminent men who took part in it; and yet in writing his article for the Britannica he has apparently carefully forgotten what he himself had previously written.
But this is not the only evidence we have of deliberate injustice in the Encyclopædia’s disgraceful neglect of our efforts in this line. In 1913, in the same English magazine, we find not only an indirect confession of the Britannica’s bias, but also the personal reason for that bias. Speaking of Stieglitz’s connection with that phase of photographic history to which Mr. Hinton was most intimately connected, this publication says: “At that era, and for long afterwards, Stieglitz was, in fact, a thorn in our sides. ‘Who’s Boss of the Show?’ inquires a poster, now placarded in London. Had that question been asked of the (London) Salon, an irritated whisper of honesty would have replied ‘Stieglitz.’ And ... we didn’t like it. We couldn’t do without him; but these torrential doctrines of his were, to be candid, a nuisance.... He is an influence; an influence for which, even if photography were not concerned, we should be grateful, but which, as it is, we photographers can never perhaps justly estimate.” After this frank admission the magazine adds: “Stieglitz—too big a man to need any ‘defense’—has been considerably misunderstood and misrepresented, and, in so far as this is so, photographers and photography itself are the losers.”
What better direct evidence could one desire than this naïf confession? Yes, Stieglitz, who, according to Mr. Hinton’s own former publication, was a thorn in that critic’s side, has indeed been “misrepresented”; but nowhere has he been neglected with so little excuse as in Mr. Hinton’s own article in the Britannica. And though—again according to this magazine—Stieglitz is “too big a man to need any ‘defense,’” I cannot resist defending him here; for the whole, petty, personal and degrading affair is characteristic of the Encyclopædia Britannica’s contemptible treatment of America and Americans.
Such flagrant political intriguing, such an obvious attempt to use the Encyclopædia to destroy America’s high place in the world of modern achievement, can only arouse disgust in the unprejudiced reader. The great light-bearer in the photographic field, Camera Work, if generally known and appreciated, would have put Mr. Hinton’s own inferior magazine out of existence as a power; and his omitting to mention it in his article and even in his bibliography, is a flagrant example of the Britannica’s refusal to tell the whole truth whenever that truth would harm England or benefit America.
In view of the wide and growing interest in æsthetics and of the immense progress which has been made recently in æsthetic research, one would expect to find an adequate and comprehensive treatment of that subject in a work like the Britannica. But here again one will be disappointed. The article on æsthetics reveals a parti pris which illy becomes a work which should be, as it claims to be, objective and purely informative. The author of the article is critical and not seldom argumentative; and, as a result, full justice is not done the theories and research of many eminent modern æstheticians. Twenty-two lines are all that are occupied in setting forth the æsthetic writers in Germany since Goethe and Schiller, and in this brief paragraph, many of the most significant contributors to the subject are not even given passing mention. And, incredible as it may seem, that division of the article which deals with the German writers is shorter than the division dealing with English writers!
One might forgive scantiness of material in this general article if it were possible to find the leading modern æsthetic theories set forth in the biographies of the men who conceived them. But—what is even more astonishing in the Encyclopædia’s treatment of æsthetics—there are no biographies of many of the scientists whose names and discoveries are familiar to any one even superficially interested in the subject. Several of these men, whose contributions have marked a new epoch in psychological and æsthetic research, are not even mentioned in the text of the Encyclopædia; and the only indication we have that they lived and worked is in an occasional foot-note. Their names do not so much as appear in the Index!
Külpe, one of the foremost psychologists and æstheticians, has no biography, and he is merely mentioned in a foot-note as being an advocate of the principle of association. Lipps, who laid the foundation of the new philosophy of æsthetics and formulated the hypothesis of Einfühlung, has no biography. His name appears once—under Æsthetics—and his theory is actually disputed by the critic who wrote the article. Groos, another important æsthetic leader, is also without a biography; and his name is not in the Britannica’s Index. Nor is Hildebrand, whose solutions to the problem of form are of grave importance, thought worthy of mention.