George H. Seeley, almost as young as Alvin Langdon Coburn, was a relative latecomer to the Photo-Secession, joining the group in 1907. The next year he had a one-person exhibition at the Photo-Secession galleries. Charles H. Caffin, sensing the rural influence of Seeley’s Stockbridge, Massachusetts, home, wrote in the July 1908 issue of Camera Work’. “[The] ^ast silences of nature may beja trifle eerie at times, not seldom awesome, but for the most part spiritually companionable, inviting converse se with the abstract and universal. Such impulse, artistically interpreted, makes for symbolism. Form and the color of things, the weavings of light and shade, and vistas of distance, become seen as symbols of spiritual expression. It is Some such vein as this, if I mistake not, that Mr. Seeley views the world and seeks subjects for his pictures.” The enigmatic quality of Seeley’s work is evident in the otherworldly figure and auras of light in The Firefly. (Peterson)
Doty, Robert M. Photo-secession: Photography As a Fine Art. N.Y: Eastman, 1960. plate XXII
Peterson, Christian A. Camera Work: Process & Image : [exhibition, Minneapolis, Minneapolis Institute of Arts, August 31-November 3, 1985, Seattle, Seattle Art Museum, November 22, 1985-February 2, 1986]. Minneapolis: Minneapolis Institute of arts, 1985. p. 67.
Witkin, , London, and Shestack. The Photograph Collector’s Guide. London: Secker & Warburg, 1979. p. 215
Philadelphia Museum of Art 1966-205-20(1)
Orsay PHO 1981 26 27