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Alfred Stieglitz and Edward Steichen

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Alfred Stieglitz and Edward Steichen HEINRICH KUEHN AND HIS AMERICAN CIRCLE Alfred Stieglitz and Edward Steichen Edited by Monika Faber With preface by Ronald S. Lauder,foreword by Renée Price, and contributions by Monika Faber,Andreas Gruber,and Astrid Mahler NEUE GALERIE MUSEUM FORGERMAN Prestel ANDAUSTRIAN ART MunichLondon New York NEWYORK PARALLELS ANDCONVERGENCES3 CONTENTS 7 RONALD S. LAUDER Preface 9 RENÉE PRICE Foreword 11 Acknowledgements 15 MONIKA FABER Parallels and Divergences: HeinrichKuehn, International Art Photography,and Alfred Stieglitz 117 ASTRID MAHLER HeinrichKuehn, Lifeand Work: ABiographical Sketch 125 ANDREAS GRUBER Glossary of Photographic Terms 130 Selected Bibliography on HeinrichKuehn 131 Photograph and Copyright Credits 6 PREFACE Photography is one of the defining art forms of the twentieth century.Weoften experience the world at large through photographs. But it took tremendous effort on the part of certain individuals to raise photography to the level of an art form. HeinrichKuehn was one who saw the potential of photography and took it to the next level. Although the Pictorialist style in whichKuehn worked lacks the harder edge of Modernist photography,its emphasis on innovative compositions and new ways of seeing prefigured many important later developments. Working alongside his peers Alfred Stieglitz and Edward Steichen, HeinrichKuehn made tremendous advances in the art of photography. Iacquired my first HeinrichKuehn work in 1988. Isaw the piece in Vienna in asmall store that sold prints and photographs. This simple image of ayoung boyfascinated me. Although I knew nothing about Kuehn at the time, Iwas compelled to learn more. Ihave found that there is always something mysterious in his images. Although rooted in the time and place they were made, they also have atimeless aspect that Ifind very compelling. My interest in the artist continued to grow,and Iwas fortunate to acquire more examples of his work. Because of my affinity for Kuehn, Iammore than happy to see this extended examination of his work and that of his contemporaries. This is our second photography show at the Neue Galerie, and both have been organized by the exceptional Monika Faber.Weowe her adebt of gratitude for her keen insights into the work of these artists. We also thank the many lenders to this exhibition for allowing us to share these works with our viewing public. Finally,mythanks to our Director,Renée Price, for supporting the project from its inception. This exhibition takes us backtoabygone world, and casts avery deep spell. Here we see the Austrian countryside in its unspoiled glory.Wesee men and women in the elegant dress of their day.Wesee tender scenes of children at rest and at play.Most of all, we see the exacting vision of atrue artist. It is aprivilege to be able to present the exquisite work of HeinrichKuehn at the Neue Galerie. RONALD S. LAUDER President, Neue Galerie New York HeinrichKuehn, Walther Kuehn,1912, gum bichromate print, 29.8 x25.1 cm 3 7 (11 ⁄4 x9 ⁄16 in.). Private Collection 7 3 Frank Eugene, Steichen, Kuehn, Stieglitz, and Frank Eugene in Tutzing Admiring the Work of Frank Eugene,1907, platinum print, 10.2 x16.2 cm (4 x6 ⁄8in.). The Metropolitan Museum of Art, Rogers Fund, 1972 (1972.633.132) 8 FOREWORD Our museum, Neue Galerie New York, has always had adual allegiance, as suggested by its name: It embraces both the city in whichitislocated and the Germanic culture upon whichits exhibitions and collections are based. In all our programs, there is aconstant interplay between our European roots and our American home. TheHeinrichKuehn exhibition is founded on just suchaduality.Kuehn (1866–1944) spent the majority of his career working in Austria. Ye thedeveloped artistically alongside two major American photographers: Alfred Stieglitz (1864–1946) and Edward Steichen (1879–1973). Though both of them worked primarily in the United States, eachhad roots in Europe. Stieglitz was born and grew up in the United States, but spent nine formative years, from the ages of 17 to 26, attending high school and college in his father’snative Germany.Steichen was born in Luxembourg and did not become an American citizen until the age of 21. Thethree shared apassionate commitment to the burgeoning field of photography,and became close friends. Stieglitz dedicated exhibitions at his influential New York gallery,known as 291, to both Kuehn and Steichen, and reproduced their work frequently in his seminal photography magazine, Camera Work.Under the influence of Stieglitz and Steichen, Kuehn shifted from making large landscapes to creating intimate, open-air studies of members of his family.Although his work is rooted in the late-nineteenth-century Pictorialist style, its increasing use of unusual angles and psychological intimacy—again, showing the influence of both Stieglitz and Steichen—anticipates groundbreaking modernist photography of the 1920s. We are pleased to share the work of all these artists with our audience. This is the first New York museum show to focus on HeinrichKuehn, an often overlooked, but central figure in early twentieth-century photography. Born into awealthy family in Dresden, he was able to follow his passion and became amember of Vienna’sCamera Club. He strove to elevate photography to an art form, and felt an allegiance with members of the Vienna Secession and their common quest for the Gesamtkunstwerk,ortotal work of art. Gustav Klimt and Heinrich Kuehn shared certain commonalities. On atechnical level, eachused aviewfinder to develop their landscape motifs. On abroader level, eachlooked both to the past and to the future in their work, straddling the nineteenth and the twentieth centuries stylistically.Kuehn’sscientific background enabled him to experiment freely with photographic techniques, particularly the gum bichromate process, whichallowed for aliberating choice of pigment and paper.His atmospheric work (described as Stimmungskunst—art of mood) is marked by asuperb sense of composition and richtonal range. Our curator for this exhibition is Monika Faber,anoted expert in this field and former Chief Curator of the Albertina photography collection, who is now in charge of the Photoinstitut Bonartes in Vienna. Dr.Faber also served as the Curator for the initial foray by the Neue Galerie into the 9 field of photography,the 2005 exhibition “Portraits of an Age: Photography in Germany and Austria 1900–1938.” We are again indebted to Dr.Faber for her vast knowledge and network of resources, both of whichwere employed in assembling this marvelous exhibition. We are most grateful to the HeinrichKuehn family for their invaluable support of our exhibition and are pleased to acknowledge all the lenders to the exhibition, who so generously allowed their photographs to be apart of this endeavor.Judy Hudson provided the sensitive design for the exhibition catalogue, and TomZoufaly offered his usual invaluable support on the installation design for the show.Hans P. Kraus, Jr.and his staff graciously made available materials for the installation. Thestaff of the Neue Galerie—especially Scott Gutterman, Deputy Director, Janis Staggs, Associate Curator,Sefa Saglam, Registrar and Director of Exhibitions, Christina Graham, Assistant to the Registrar,Liesbet van Leemput, Graphic Designer,and Michael Voss, Preparator—all contributed to this exhibition, and Iwish to express my most sincere thanks to them for all their valiant efforts. RENÉE PRICE Director,Neue Galerie New York 1 1 HeinrichKuehn, Still-Life with Violets,ca. 1908, autochrome, 13 x18cm(5 ⁄8x7 ⁄8in.). Österreichische Nationalbibliothek, Bildarchiv,Vienna 10 UNVERKÄUFLICHE LESEPROBE Astrid Mahler, Andreas Gruber, Monika Faber Heinrich Kuehn and His American Circle: Alfred Stieglitz and Edward Steichen Gebundenes Buch, Leinen mit Schutzumschlag, 132 Seiten, 23,5 x 28,5 cm 122 farbige Abbildungen, 30 s/w Abbildungen ISBN: 978-3-7913-5196-4 Prestel Erscheinungstermin: Mai 2012 Ein Pionier der Kunstfotografie zu Gast in der Neuen Galerie New York Heinrich Kühns Fotografien waren so groß wie die impressionistischen Gemälde, neben denen sie in der Secession in Wien und München hingen: Gemeinsam mit seinen Freunden gelang es Kühn, aus dem technischen Medium ein künstlerisches Werkzeug zu machen, das auch von den zeitgenössischen Künstlern bewundert wurde. Spektakulär sind seine Autochrome, Bilder im ersten fotografischen Farbverfahren, das er 1907 gemeinsam mit den Amerikanern Alfred Stieglitz und Edward Steichen erprobte. Dieser Band versammelt erstmals Dokumente dieses transatlantischen Ideenaustauschs um 1900. .
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