"In an uncommon show for the National Arts Club [New York] in 1902, Stieglitz united photos by pictorialists… . He titled the display "The Photo-Secession," to show a rebellion from trite style and procedure and also from careless masterful benchmarks." Alan Trachtenberg, notes to "Pictorial Photography" by Alfred Stieglitz Avant-garde Modernist photography Alfred Stieglitz and the Photo-Secession 1902 productionSlide 2
Clarence White (American, 1871-1925) Portrait of Alfred Stieglitz , 1908 gum platinum print Stieglitz , photo of Fountain , by Marcel Duchamp,1917Slide 3
(left) Alfred Stieglitz , 291- - Picasso-Braque Exhibition , 1915, platinum print (right) Stieglitz at the Little Galleries of Photo-Secession (\'291\') 291 Fifth Avenue, New York, opened in 1905 291 exhibition was in the loft emptied by Edward Steichen, who outlined and enhanced the presentation space. Cubist collections displayed with African modelSlide 4
Alfred Stieglitz (American, 1864-1946), Watching for the Return, 1894 , photogravure for Camera Notes, quarterly production of the New York Camera ClubSlide 5
"My picture, Fifth Avenue, Winter , is the aftereffect of a three hours stand amid a furious snow-storm on February 22 nd , 1893, anticipating the correct minute.… I recollect how after having built up the negative of the photo I indicated it to some of my partners. They grinned and prompted me to discard such spoil… . Such were the comments made about what I knew was a bit of work entirely strange, in that it was the main endeavor at picture making with the hand camera in such unfriendly and attempting conditions from a photographic perspective. Stieglitz , "The Hand Camera – Its Present Importance," 1897 Stieglitz , Fifth Avenue , Winter, 1892, gelatin dry plateSlide 6
Alfred Stieglitz , A Bit of Venice , 1894, photogravure for Camera Notes, quarterly distribution of the New York Camera ClubSlide 7
THE PHOTOGRAVURE PROCESS Invented by Karel Klí in 1879, photogravure is a photomechanical procedure (heliogravure in French) utilizing a carving technique to recreate the presence of a ceaseless scope of tones in a photo. Alvin Langdon Coburn (British working in the US and Britain,1882-1966) Self-Portrait , ca. 1908, photgravureSlide 8
Stieglitz , Flatiron Building , 1902, photogravure. Hiroshige Ando , Plum Estate, Kameido, 1857, woodblock printSlide 9
Alfred Stieglitz , The Hand of Man , photogravure From Camera Work No. 1. February 1903 (right) Claude Monet , Saint-Lazare Station, 1877 Pictorialism and Impressionism In 1903 Stieglitz dispatched, altered and distributed Camera Work - a magazine which got to be world well known and proceeded with production until 1917 (50 issues). Spread by Edward Steichen is in the Arts & Crafts stylish of William Morris.Slide 10
Alfred Stieglitz , The Steerage , 1907, photogravure "There were men and ladies and kids on the lower deck of the steerage.... I ached to escape from my environment and join them.... A round straw cap, the channel inclining left, the stairway inclining right.... round states of iron apparatus... I saw a photo of shapes and fundamental that, the inclination I had about life..." StieglitzSlide 11
"As diagnostic cubism rose, Alfred Stieglitz, who was all the while championing pre-innovator Phot-Secession Pictorialism, experienced a change in his stylish considering." Hirsch Picasso , Ma Jolie , 1911 Analytic Cubism Alfred Stieglitz , The Steerage , 1907, photogravureSlide 12
" There were two phases throughout his life: at first he delivered to some degree romanticized photos of an Impressionistic style, then later moving over to authenticity of a high request." Robert Leggett A History of PhotographySlide 13
Edward Steichen (Luxembourgeois-conceived American Photographer, 1879-1973), Flatiron Building , 1907, cyanotype - gum bichromate - platinum print Pictorialism/Photo-Secession "The Pictorialists played on photography\'s capacity to review recollections and affiliations, yet they additionally perceived that such recollections are infrequently strongly characterized yet all the more frequently dreamlike and unclear, made out of just a little occurrence or passing look."Slide 14
Edward Steichen , Self-Portrait with Brush and Palette , 1902, gum bichromate Reinforcing the possibility of a solitary perfect work of art, the pictorialists controlled their pictures so broadly in the darkroom that, regularly, the outcome was a one of a kind picture that couldn\'t be copied.Slide 15
Edward Steichen (1879–1973): Moonrise – Mamaroneck, New York, 1904, New York, Museum of Modern Art, platinum, cyanotype, and ferroprussiate print, 15¼ × 19". Endowment of the picture taker.Slide 16
Edward Steichen , The Pond – Moonlight , 1904, New York, The Metropolitan Museum of Art; various gum bichromate over platinum, 15¼ × 19". This print was unloaded in New York in February 2006 and sold at the most noteworthy cost to date for a craftsmanship photo.Slide 17
Steichen made three prints of this picture of a lake on Long Island. Steichen and Stieglitz were fervent promoters of photography-as-craftsmanship, however it wasn\'t until 1910 that the primary photography gathering was purchased by a regarded American historical center, the Albright-Knox Art Gallery in Buffalo. The New York Museum of Modern Art didn\'t mount a display of photography until 1937.Slide 18
Edward Steichen , Rodin - the Thinker , 1902, gum bichromateSlide 19
Edward Steichen , The Big White Cloud, Lake George , 1903. Carbon print Pictorialism/Photo-Secession "For for all intents and purposes the first run through in photography, the specificity and independence of the items before the camera were of no significance, yet were just a vehicle for the outflow of a thought. By separating photography from its investigative legacy, pictorial picture takers additionally separated it from reality."Slide 20
Gertrude Käsebier (American Photographer, 1852-1934) Blessed Art Thou among Women , 1899. Platinotype Pictorialism/Photo-SecessionSlide 21
Gertrude Käsebier , Widow , ca. 1905, platinotype.Slide 22
Gertrude Käsebier , Manger , ca. 1905, platinotype Pictorialism/Photo-Secession "To name an item is to stifle seventy five percent of the pleasure to be found in the ballad .. . proposal, that is the fantasy." Stéphane Mallarmé French Symbolist artist J.M. Cameron, 1865Slide 23
Clarence H. White (American, 1871-1925), Untitled (Nude Study ), 1906-09 platinotype Pictorialism/Photo-SecessionSlide 24
Clarence H. White , Raindrops , 1902, platinotype.Slide 25
Alfred Stieglitz , Georgia O\'Keeffe , 1918. Platinotype, one of the arrangement of 300 taken somewhere around 1917 and 1933 that involve Stieglitz\'s representation of O\'Keefe Stieglitz\'s "Picture" of Georgia O\'Keeffe (American painter 1887 - 1986) whom he displayed and met in 1917, wedded in 1924. (right) O\'Keefe , Drawing XIII , 1915, charcoal on paper; 24 3/8 x 18 1/2 in. Stieglitz showed this arrangement of drawings and works of art by O\'Keefe at 291 in 1917Slide 26
Alfred Stieglitz, Georgia O\'Keeffe , 1920, Gelatin Silver Print Georgia O\'Keeffe , Large Dark Red Leaf on White, 1925Slide 27
(left) Alfred Stieglitz , Georgia O\'Keeffe - Hands , 1919. Palladiotype (right) Auguste Rodin (French sculptor,1840-1917, Hand , bronze, 1886 Stieglitz\'s stylish of fracture, his composite picture (300 sections) of O\'Keefe is impacted by Rodin, Brancusi, Picasso, and other cutting edge specialists he showed in 291 display.Slide 28
In 1922, Stieglitz swung to nature and back to Symbolist hypothesis, confining the sky as a "surrogate heart." Alfred Stieglitz , Clouds, Music No. 1, Lake George , palladium print. 1922.Slide 29
Alfred Stieglitz, Songs of the Sky , 1924. GSP.Slide 30
Alfred Stieglitz , Equivalent , 1929. GSP Abstract photographySlide 31
Alfred Stieglitz, Equivalent , 1931. Gsp. Stieglitz trusted that his Equivalents were the immaculate articulation of his internal condition of being. He seldom, if at any time, clarified in words what genuine sentiments or feelings were available when specific pictures were made, in any case. He expected that his gathering of people would have a natural view of their implying that was parallel to the impulse that made them be made. - The Getty MuseumSlide 32
AMERICAN SOCIAL DOCUMENTARY PHOTOGRAPHY Jacob RiisSlide 33
Jacob Riis (American, conceived Denmark 1849 – 1914) Five Cents Lodging, Bayard Street , c. 1889 "We can\'t dispose of the apartments that asylum two million souls in New York today, yet we can set about making them at any rate as almost fit to harbor human souls as might be." Jacob Riis, The Making of an AmericanSlide 34
"[Jacob Riis] was one of my most genuine and dearest companions. I have ever prized the way that once, in talking about me, he said, \'since I met him he has been my sibling.\' I have appreciated and regarded him unfathomable, as well as I have cherished him beyond all doubt… and I grieve him as though he were one of my own family." -Theodore Roosevelt Introduction to Making of An American Jacob Riis , Theodore Roosevelt, the Citizen ; 1904Slide 35
Jacob A. Riis , Bandits\' Roost, Mulberry Street , 1888, gelatin silver printSlide 36
Lewis HineSlide 37
Lewis Hine (American 1874-1940), Young Russian Jewess, Ellis Island, New York , 1905. Gsp.Slide 38
Ellis Island Series: Hine needed to set up his 5 x 7 view camera on its tripod, center the camera, pull the slide, clean his blaze dish with powder, and, due to the dialect obstruction, show through his own particular look and motion the sought posture and expression. The glimmer skillet detonated and a presentation was made, creating a blinding billow of smoke. Hine would then pack up a
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