Clarence White (recto); Unidentified Figure (verso)

Marius de Zayas Mexican

Not on view

White's photographic work came to Stieglitz's attention in 1898, and their artistic affiliation, first at the Camera Club of New York and later as part of the Photo-Secession movement and 291 gallery (where they collaborated on a series of experimental portraits in 1907), lasted until about 1912. De Zayas's humorous portrayals of White, including this full-length charcoal and a watercolor and ink bust also in the show, play up the elasticity of his sad-sack face. Here, the photographer's illuminated head and hands lead our eye through the darkness to the camera, tripod, and long black cloth that he is about to pull over his head.

Clarence White (recto); Unidentified Figure (verso), Marius de Zayas (Mexican, Veracruz 1880–1961 Stamford, Connecticut), Charcoal on paper (recto); Graphite on paper (verso)

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Recto

Clarence White (recto); Unidentified Figure (verso), Marius de Zayas (Mexican, Veracruz 1880–1961 Stamford, Connecticut), Charcoal on paper (recto); Graphite on paper (verso)
Clarence White (recto); Unidentified Figure (verso), Marius de Zayas (Mexican, Veracruz 1880–1961 Stamford, Connecticut), Charcoal on paper (recto); Graphite on paper (verso)

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