Extensive reorganization of the permanent exhibitions at George Eastman House have been in progress for over two years. The first major unit to be installed opened in April of 1961 and presents splendid examples from the Museum’s rich collection of original photographs.
Being Several Reviews of the Year-Old Permanent Picture Show at George Eastman House
Henry Holmes Smith
Many years ago, a little English boy of my acquaintance (now a builder of cathedrals) accompanied his mother on a latter-day "Grand Tour.” Of a Roman afternoon, he visited the Borghese Gallery, and suddenly stood transfixed before the great Titian canvas in all the ecstasy of his six-year-old innocence, shouting with absolute joy: "There’s my dear 'Sacred and Profane Love’!”
Foreseeing gentle protests from photographers who claim that they can not stand words with photographs (and who can not understand photographs without words) we append here a verbalization of the visual editorial in this issue entitled Beyond Art.
I have been looking over the photographs of Negro church-goers in Buffalo taken by Milton Rogovin. They are astonishingly human and appealing and they take my mind back to what I wrote in Chapter Ten of Souls of Black Folk fifty-eight years ago.
Conrad Forbes photographed the cover picture on a class assignment to communicate the most important inner event of a summer vacation. He graduated from Rochester Institute of Technology in 1962. Walter Chappell supplied the Polaroid print used in the editorial.