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Home , Alfred Stieglitz, Armory Show, Camera Work, Edward Steichen, Equivalents, The Hand of Man

Undergraduate Review

Volume 2 Issue 1 Article 8

1988

Alfred Stieglitz & the : Its Impact on His Life and His Work

Bill Wetzel '89 Illinois Wesleyan University

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Recommended Citation Wetzel '89, Bill (1988) " & the Armory Show: Its Impact on His Life and His Work," Undergraduate Review: Vol. 2 : Iss. 1 , Article 8. Available at: https://digitalcommons.iwu.edu/rev/vol2/iss1/8

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Alfred Stieglitz & the Armory Show: Its Impact on His Life and His Work

Bill Wetzel

Published by Digital Commons @ IWU, 1988 27 1 Undergraduate Review, Vol. 2, Iss. 1 [1988], . 8 The transformation of Alfre( promoter in 1907 to a self,refle to changes occurring in society personal dimensions to his met I Armory Show marked a clinwc public. The results of the Anne towards his personal goal to est The decade encompassing \1t . The alterations American culture. The ninetec replaced by new input. The pr( between a new generation of "i of the more traditional "custod The "custodians" were a nun to oppose change from ninetee describes the values of these cc Howells, stating that Howells ' civilization was treading a sure toward moral and material imp decisions about this forward mt people."2 However, in his vie" of inherited tradition had some standards."3 The "custodians" I the future would only result frc a continuation of American ni: an allegiance to three central c expresses, "these were first, th. values; second, the inevitabilit and third, the importance of b maintenance of past tradition· "custodians" were concerned. The "iconoclasts" were encc values under modem conditio. work was accomplished by mal pushing for change in society. life in modem times were a sui was no longer a need to folloW' from tradition had been gainir points out that "Well before 1~ been partly rejected by some p grounds. "6 The goals of these • radical; however, their questio ideas originating in Europe.

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• W"j'2tP' 'rif 'n" ~'? t Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H The transformation of Alfred Stieglitz from a pioneer modem art promoter in 1907 to a self-reflective photographer by 1920 can be linked to changes occurring in society at the time. However, there are also personal di.mensions to his metamorphosis that are unique to him. The Armory Show marked a climax of his support of modem art for the public. The results of the Armory Show began his return movement towards his personal goal to establish as art. The decade encompassing World War I was a period of change in the United States. The alterations involved nearly all segments of American culture. The nineteenth-century ideals and goals were replaced by new input. The process of change involved a struggle between a new generation of "iconoclasts" who challenged the authority of the more traditional "custodians" of culture. The "custodians" were a number of conservatives, organized loosely, to oppose change from nineteenth-century traditions. Henry May describes the values of these conservatives represented by William Dean Howells, stating that Howells "had always believed that American civilization was treading a sure path, whatever the momentary failures, toward moral and material improvement."1 He also believed that "basic decisions about this forward movement could be best made by the whole people."2 However, in his view, "men of education and ability and even of inherited tradition had some special responsibility for maintaining standards."3 The "custodians" promoted an optimism that success in the future would only result from preservation of the past. They desired a continuation of American nineteenth-century civilization, through an allegiance to three central doctrines of that era. Henry May expresses, "these were first, the certainty and universality of moral values; second, the inevitability, particularly in America, of progress; and third, the importance of traditional literary culture."4 The maintenance of past tradition was the key to success as far as the "custodians" were concerned. The "iconoclasts" were encouraging re-examination of traditional values under modem conditions. They were not an organization: their work was accomplished by many indirectly related movements that were pushing for change in society. They believed that "the events of daily life in modem times were a sufficient source of moral value."s There was no longer a need to follow precedents set by the past. This break from tradition had been gaining strength for several years. Henry May points out that "Well before 1912 the dominant American credo had been partly rejected by some people on simple, instinctive, emotional grounds."6 The goals of these early opponents of tradition were not radical; however, their questions paved the way for more devastating ideas originating in Europe.

29 Published by Digital Commons @ IWU, 1988 3 Undergraduate Review, Vol. 2, Iss. 1 [1988], Art. 8 Henry May, in The End of American Innocence, emphasizes that the frenzy of bitterness towards tha biggest single shock to tradition came from European art. "Not gloat over every tale of brutaU~ literature but the graphic ," he argues, "gave American taste its circles. 11 sharpest jolt during the prewar years. "7 The Armory Show of 1913 was an invasion of modem art and thought from Europe that exposed the The Allies won the war, but the gap between American and European ideas. Americans, who had concerned pessimism among th4 accepted the Ash Can school as the for progressive art, were not The war's effect pushed the p prepared for the European innovations displayed at the International "iconoclasts." The three central Exhibition of Modem Art. According to Henry May, "Only a handful were shown to be false during tl of Americans, Alfred Stieglitz in his gallery, in , destined to a certain and bright had seen this new storm on the horizon. "8 clearly in the aftermath of the \l Stieglitz did not playa direct role in the organization of the Armory by both sides in the struggle. TI Show, but his studio was frequented by Arthur Davies and some of for the optimistic beliefs in unh the others who shaped the exhibition. Judith Zilczer noted that while The importance of American lit "most of the members of the Association [AAPS] belong to the realistic some time. The popularity of eJl tradition of , the exhibition which they sponsored had and events such as the Armory: greater affinities with the modem art promoted at Alfred Stieglitz's to America. Photo Gallery. "9 Stieglitz played a vital role in educating a Stieglitz was a part of this cm few artists and promoters in America about current European art. "modem" beliefs. Stieglitz, the 1 His work promoting modem art in helped make the Armory many who helped provide back~ Show possible. He was comfortable in his small gallery that allowed but the changes of the time mm intimate contact between visitors, artists, and himself. Stieglitz him. His work characterized his was not attempting to overthrow traditional cultural values: he was its ability to react positively to r carrying out, in his own style, an attempt to bring into Armory Show, which freed muc: American art. to by traditionalists, that caused Stieglitz did not fit either of Henry May's characteristics of the the American public. extreme radical; those being "sweeping irrationalism" and "unmoral Stieglitz's attempt to expose t materialism".l0 He was acting on carefully thought out goals that he on his longer struggle to establis applied to "291" and . Money was not a primary concern photography lasted his lifetime, of Stieglitz either; he supported artists out of his own pocket and was varied. During the 1890's he en_ always near the financial ruin that eventually caught up with him. The America to experiment with the; success of the "iconoclasts" in shedding the traditions of the variety of different subjects as tl: nineteenth-century took time. is no reason why the American There was no single event that marked the end of the period of pictures by photographic means change, however, the war in Europe brought home a new image of remains that he does not do so. : humanity-inhumanity. The war destroyed the optimism of the how to catch up with Europe in. "custodians" and their movement towards a brighter future. They had tried to create an image of the war that presented the British as the In what respects are our phol morally superior society and the Germans as barbarians. Paul More and compared with those of our En, Irving Babitt, two conservatives who defended traditional values, our technique, fully equal to th admitted, sense for composition and for photograph of artistic value-ir There is nevertheless a touch of the irrational and the indecent in our

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~"', ___ ..,+.""· t$t' 8 Iiili'liiiIfflOilifililitMlIiI:.Tcillll' ----- Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H ·nocence, emphasizes that the frenzy of bitterness towards that country [Germany], and in readiness to 1m European art. "Not gloat over every tale of brutality. This is particularly the case in academic I, "gave American taste its circles. 1l be Armory Show of 1913 was rom Europe that exposed the The Allies won the war, but the "brutality" exposed created a mood of ~as. Americans, who had concerned pessimism among the public about the future. leI for progressive art, were not The war's effect pushed the public towards the position of the isplayed at the International "iconoclasts." The three central doctrines of the "custodian" position ,Henry May, "Only a handful were shown to be false during this decade. America was no longer ery, Gertrude Stein in Paris, destined to a certain and bright future. Choices and costs were viewed 118 clearly in the aftermath of the war in Europe. Injustices were committed le organization of the Armory by both sides in the struggle. The reality of the decade left less room I.rthur Davies and some of for the optimistic beliefs in universal moral values of the conservatives. ,dith Zilczer noted that while The importance of American literature had been on the decline for .(AAPS] belong to the realistic some time. The popularity of experimental literature had been rising, 1 which they sponsored had and events such as the Armory Show brought more European influence Imoted at Alfred Stieglitz's to America. :xi a vital role in educating a Stieglitz was a part of this change from "traditional" values to )ut current European art. "modem" beliefs. Stieglitz, the modem art promoter, was only one of York helped make the Armory many who helped provide background support for the shift in values, .s small gallery that allowed but the changes of the time must be remembered when considering i, and himself. Stieglitz him. His work characterized his optimism in the American public and lnal cultural values: he was its ability to react positively to new experiences. Ironically it was the It to bring modernism into Armory Show, which freed much of society from the old values clung to by traditionalists, that caused Stieglitz to reconsider his optimism in ay's characteristics of the the American public. rrationalism" and "unmoral Stieglitz's attempt to expose the public to modem art is a variation ly thought out goals that he on his longer struggle to establish photography as art. His interest in .ey was not a primary concern photography lasted his lifetime, but his personal involvement in it It of his own pocket and was varied. During the 1890's he encouraged amateur photographers in ually caught up with him. The America to experiment with the new hand camera and to explore a the traditions of the variety of different subjects as the British were doing. He wrote, "There is no reason why the American amateur should not tum out as beautiful :l the end of the period of pictures by photographic means as his English brethren ... the fact Light home a new image of remains that he does not do SO.,,12 Stieglitz offered the public advice on red the optimism of the how to catch up with Europe in various publications in the 1890's: Is a brighter future. They had :>resented the British as the In what respects are our photographs deficient, more especially when ~ as barbarians. Paul More and compared with those of our English colleagues? Granting that we are, in ~nded traditional values, our technique, fully equal to the English, what we lack is that taste and sense for composition and for tone, which is essential in producing a photograph of artistic value-in other words, a picture. 13 :xtional and the indecent in our

31 Published by Digital Commons @ IWU, 1988 5 Undergraduate Review, Vol. 2, Iss. 1 [1988], Art. 8 Stieglitz's push for the growth of amateur photography in America contributions were also to be it declined as the failure of the public to follow his lead convinced him of literary combination was "not i the creative limitations of the majority of American photographers. primer, but rather a magazine t By 1897 the new hand camera had changed the course of By 1903 Stieglitz had abandont photography. Stieglitz recognized the freedom the new camera provided could produce successful photOJ its operator to move around, however, he also realized the impact of Work was designed to offer info: the new camera on the public. He wrote, photographers. Along with Cal movement, based in New York, Photography as a fad is well-nigh on its last legs, thanks primarily to to offer support and exposure t( the bicycle craze. Those seriously interested in its advancement do not In 1906 the Photo Secession look upon this state of affairs as a misfortune, but as a disguised blessing, followi~ inasmuch as photography had been classed as a sport by nearly all of hold an exhibition the had been made in pictorial pho those who deserted its ranks and fled to the present idol, the bicycle. 14 for a large show, the group dedi Stieglitz took the loss of interest in photography as a rejection of his Avenue, New York. Here they ( personal attempts to promote the new medium. He began a withdrawal American and foreign art never into a smaller public who were not a part of what he considered the United States. Along with a foe philistine masses. He criticized the camera manufacturers who show works in other art mediun encouraged "photography-by-the--yard" with their slogan "You be worthwhile. The studio at 2~ press the button, and we do the rest. "15 As Stieglitz refined the selection of exhibitions there, c audience he was writing to, he began to explore and explain more of 1906. technical matters for his public. By 1908 the focus of Camera' Stieglitz offered technical advice and compositional suggestions to direction of Stieglitz. Edward SI readers in various photographic journals, although he did not always Stieglitz to what was occurring i follow his own advice. He had dismissed "express trains" and "racehorse photographic exhibit at "291" p: scenes" as "rarely wanted in pictures," yet these were the subjects of painter, , two of his most well~known photographs from the tum of the century: year Stieglitz presented his first , 1902, and Going to the Post, Morris Park, 1904. 16 modernism with a show featurir: Although at times he did not express it, Stieglitz had an open mind to guided Stieglitz towards modem untried areas for the photographer to explore. His own photography is the value of the new style he WE proof of the many subjects he experimented With. Movements to new early reactions of Stieglitz in hi~ subject areas, and new methods of presenting old subjects, were methods of expression employee consistent throughout Stieglitz's life. Though he ignored some of his Under Steichen's guidance, Stl own advice, Stieglitz was an encouragement and a source of instruction modern painting decided to those who read him before the formation of Camera Work. and tha which eliminated for tr The changes in Stieglitz can be demonstrated in Camera Work the need Steichen took Stieglitz to an ex:. between its founding in 1903 and its closing in 1917. In the first issue, Stieglitz stated the purposes he felt the magazine would fulfill. He Stieglitz could not believe that "Why there's nothing there but wrote, only a work that displays "individuality and artistic worth, here and there. "19 regardless of school, or contains some exceptional feature of technical merit, or such as exemplifies some treatment worthy of consideration, Unfortunately, one of Stieglitz's will find recognition in these pages. "17 According to Stieglitz, he with those who were puzzled by intended the pictorial to dominate the magazine; however, literary 1908, nearly all the shows at "2~

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'7 Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H r photography in America contributions were also to be included. For Stieglitz the pictorial and .llow his lead convinced him of literary combination was "not intended to make this a photographic )f American photographers. primer, but rather a magazine for the more advanced photographer. "18 anged the course of By 1903 Stieglitz had abandoned completely his optimism that everyone edom the new camera provided could produce successful photographs if properly instructed. Camera ,e also realized the impact of Work was designed to offer infonnation to a small number of ., photographers. Along with Camera Work, the Photo Secessionist movement, based in New York, was fonned under Stieglitz's guidance its last legs, thanks primarily to to offer support and exposure to photography. ~ted in its advancement do not In 1906 the Photo Secession, under Stieglitz direction, decided to tune, but as a disguised blessing, hold an exhibition the following Spring of the accomplishments that ssed as a sport by nearly all of had been made in pictorial photography. Unable to find adequate space the present idol, the bicycle. 14 for a large show, the group decided they would lease rooms at 291 Fifth Avenue, New York. Here they could present small exhibitions of lotography as a rejection of his American and foreign art never publically displayed before in the ledium. He began a withdrawal United States. Along with a focus on photography, they planned to rt of what he considered the show works in other art mediums from time to time which they felt to era manufacturers who be worthwhile. The studio at 291 Fifth Avenue, and the brilliant mi" with their slogan "You selection of exhibitions there, opened with its first show in November As Stieglitz refined the of 1906. I explore and explain more By 1908 the focus of Camera Work and "291" had shifted, under the direction of Stieglitz. , a close personal friend, exposed compositional suggestions to Stieglitz to what was occurring in European art. In 1907 the first non, ;, although he did not always photographic exhibit at "291" presented the work of an American :I "express trains" and "racehorse painter, Pamela Colman Smith, who was living in England. Within a et these were the subjects of year Stieglitz presented his first of many exhibitions of European is from the tum of the century: 16 modernism with a show featuring drawings by . Steichen Ie Post, Morris Park, 1904. guided Stieglitz towards modernism. It took Stieglitz time to appreciate , Stieglitz had an open mind to the value of the new style he was viewing. George Roeder describes the q>lore. His own photography is early reactions of Stieglitz in his attempt to understand the new nted with. Movements to new methods of expression employed by modem artists: ~nting old subjects, were lough he ignored some of his Under Steichen's guidance, Stieglitz became increasingly intrigued with lIlent and a source of instruction modem painting and decided that it served as a complement to photography, ltion of Camera Work. which eliminated the need for traditional painting. As late as 1907, when >nstrated in Camera Work Steichen took Stieglitz to an exhibition of Cezanne watercolors in Paris, :>sing in 1917. In the first issue, Stieglitz could not believe that they cost 1000 francs each, exclaiming, magazine would fulfill. He "Why there's nothing there but empty paper with a few splashes of color duality and artistic worth, here and there. "19 . :xceptional feature of technical ment worthy of consideration, Unfortunately, one of Stieglitz's later weaknesses was his impatience According to Stieglitz, he with those who were puzzled by their first glance at modernism. After magazine; however, literary 1908, nearly all the shows at "291" were non,photographic.

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Paralleling the changes overcoming the Photo Secession's gallery photography and art in Americ~ were changes in Camera Work which Arthur Wertheim points out: dividends. Stieglitz's belief that he was n "291", to Around the time of the first art shows at Camera Work began in some of his other correspondl devote more space to European painting. The magazine often printed place. His mission was clear to 1 reproductions ofthe work ofleading European modernist artists, including Pratt, a member of the Photo S Matisse, Rodin, Picasso, Van Gogh, and Cezanne. Also published were letter was a response to Pratt's p on "291" essays the group and reprinted newspaper and magazine reviews Work was publishing too many a of the gallery's shows. Camera Work also included literary material, including poetry, the selected letters ofVincent Van Go?lt, and the writings Don't worry that I am not loa 20 of Shaw, Maeterlinck, and Bergson. graphy quite as much as ever. j greater. But as I once told yOt< The link between "291" and Camera Work was evident from the opening that matter the artists themsel4 of the new gallery. The changes Stieglitz brought to them reflected a means, as I understand that tl new purpose he believed he was moving toward. the real meaning of art. That Stieglitz's new ambitions involved his optimism in the public. He at "291" but through Camera' believed they would come around to his position on modernism if they such a conclusive manner that were exposed to it. He felt his promotion of modernism was more me it is not a question of pers important, but related to his work to advance photography as art. In a theory; I approach the subject I December 1911 letter to , shortly after returning aUy.23 from Europe, Stieglitz indicates the purpose for which he was working at the time: Stieglitz's attempts to be impers placed his complete faith in the There is certainly no art in America today, what is more, there is, as the world of art and his own fie] yet, no genuine love for it. Possibly Americans have no genuine love for three weeks before the Armory anything, but I am not hopeless. In fact I am quite the contrary . .. The modernists 'revitalizers.' 'That's trouble with most photographers and for that matter also with painters, They're breathing the breath of and other people, is, that they are always trying to do something which dead. ",24 is outside of themselves. consequence they produce nothing that means In The Armory Show was a turr anything to those who have the gift of intuition for truth: all else is really other "iconoclasts." Ironically, : not worth a tinker's damn. 2/ photographs at "291" for the fir: Exhibition of Modem Art. Stie Stieglitz continued, of the big show, and his presenl I am glad that my pictures gave you some pleasure. The number [Camera foreshadows events to come. In Work 36} seems to have come as a breath of fresh air to a great many 1913, he wrote, people. It's a pity I can't afford more time for this branch of the work; During the show of Post ImpreSi but daily I realize more and more, that in sacrificing my own photography I have gained something I could never have possessed, and that is certainly at "291". It will be the logical a bigger thing; a bigger thing than merely expressing oneself in making forgetting photography and I • test. I wonder whether it wiU : photographs, no matter hOw marvelous they mi?ltt be. 22 vital. 25 During this period between the formation of "291" and the Armory At this time, Stieglitz still beli. Show, Stieglitz was convinced that he was doing a service for both best way to measure its value. I 34 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 8

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j t Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H he Photo Secession's gallery photography and art in America that would eventually return thur Wertheim points out: dividends. Stieglitz's belief that he was moving modem art forward was apparent t "291 ", Camera Work began to in some of his other correspondence before the Armory Show took ng. The magazine often printed place. His mission was clear to himself when he wrote to George D. )pean modernist artists, including Pratt, a member of the Photo Secession, on December 7, 1912. The d Cezanne. Also published were letter was a response to Pratt's protest in a previous letter that Camera newspaper and magazine reviews Work was publishing too many articles on modem art. Stieglitz wrote: also included literary material, ncent Van Gogh, and the writings Don't worry that I am not looking dfter the interests of pictorial photo, graphy quite as much as ever. As a matter of fact my interest was never greater. But as I once told you that before the people at large, and for n'k was evident from the opening that matter the artists themselves, understand what photography really z brought to them reflected a means, as I understand that term, it is essential for them to be taught : toward. the real meaning of art. That is what I am attempting to do, not only ; optimism in the public. He at "291" but through Camera Work and this work I am trying to do in i position on modernism if they such a conclusive manner that it will have been done for all time. With ,n of modernism was more me it is not a question of personal likes and dislikes; not a question of ,vance photography as art. In a theory; I approach the subject in a scientific way, objectively, imperson, mann, shortly after returning ally. 23 pose for which he was working Stieglitz's attempts to be impersonal about art were unsuccessful. He placed his complete faith in the belief that the new images would free wy, what is more, there is, as the world of art and his own field of photography. In January 1913, only ericans have no genuine love for three weeks before the Armory Show began, "Stieglitz called the I am quite the contrary . . . The modernists 'revitalizers.' 'That's what they are, the whole bunch. r that matter also with painters, They're breathing the breath of life into an art that is long since tys trying to do something which dead. ",24 they produce nothing that means The Armory Show was a turning point for Stieglitz as well as many ttuition for truth: all else is really other "iconoclasts." Ironically, Stieglitz's showing of his own photographs at "291" for the first time coincided with the International Exhibition of Modem Art. Stieglitz's return to photography is a result of the big show, and his presentation of his own work at the same time epleasure. The number [Camera foreshadows events to come. In a letter to Ward Muir, January 30, ~th of fresh air to a great many 1913, he wrote, ime for this branch of the work; During the show of Post I shall exhibit my own photographs rl sacrificing my own photography at "291". It will be the logical thing for me to do. So you see I am not ve possessed, and that is certainly forgetting photography and I am putting my own work to a diabolical ely expressing oneself in making test. I wonder whether it will stand it. If it does not, it contains nothing they might be. 22 vital. 25 )n of "291" and the Armory At this time, Stieglitz still believed a public test of his work was the vas doing a service for both best way to measure its value. In this letter, he also expressed, 35 Published by Digital Commons @ IWU, 1988 9 Undergraduate Review, Vol. 2, Iss. 1 [1988], Art. 8 photo~ Outside of BaTOn De Mayer, who is here in New York very busy The things you don't seem to graphing society and doing it in a masterful fashion, I see none of the are things which, I assure you, photographers. They seem to steer clear of "291" as well as myself It is great I mean living for aU tin very amusing but fortunately I don't miss them. Not because they are taught how to see. And possib~ not nice fellows but because they have not developed mentally but have my life is teaching the value OJ stood still during the past six or seven years. 26 Stieglitz remained convinced h The photographers mentioned in this letter are not the only ones who in modernism, but he was also stayed away from "291" and Stieglitz. He makes no mention of it in this from the public. In this same l~ letter, but Stieglitz's personality had an abrasive streak. This caused the breakoff of at least two of his close friendships before 1913. Stieglitz's The American has a vote,.the relationship with both Max Weber and Edward Steichen ended in Unfortunately he has an opiru heated arguments with neither party speaking to the other afterward. he has a vote. The American This aspect of Stieglitz's personality did not reappear in the small circle I as an American have a righJ of associates he kept in contact with after the Armory Show. He no has given me the opportunity I longer remained as concerned with encouraging change in the public after rejected his contributions. Stieglitz's establishment of h: Stieglitz was well aware of the link between the International Show the negative reaction of the pul and his several years of promoting modernism in New York. Peter Conn give himself authOrity over the states: art. He did not want to admit 1 public did not understand what Stieglitz was consulted by the organizers of the Armory Show, but he elevated himself to be among "1 played little direct part in it. He nonetheless felt within his rights to truth. "30 He began to downpla~ appropriate it symbolically, to see it as vindicating five years of his own Stieglitz was not alone in this 11 activities. He wrote to a friend that "the Big International Exhibi~ Quinn, a close supporter of Art tion ... was really the outcome of the work going on at "291" for many Exhibition, stated in 1918 that· years. "27 the ordinary person thinks of III bored stiff so often by their rem Stieglitz was certain the International Exhibition would be a success what this means ... '''31 Many and he felt that he had played a crucial role in its formation. value of public opinion after th Stieglitz's reaction to the Armory Show can be seen in his decreased a loss of interest in his endeav concern for Camera Work and "291." His lack of interest in the By May 1917, Stieglitz had d promotion of modernism after the Armory Show is reflected in his Work. Between 1915 and 1917 private writing as well. After the Armory Show only seven more issues ventures had fallen off almost of Camera Work were released. The issue of July 1914 was devoted last issue in June 1917; long be entirely to the question, "What does '291' mean to you?" It was posed Stieglitz's associates without m to a variety of those associated with Stieglitz and his work at "291." also decided to close "291" in The complete issue revolved around this theme and the responses it O'Keeffe between October 191 generated: it contained no photography. Stieglitz was aware he was his feelings at the time. On 0 losing subscribers due to the reduction of material in the magazine which related directly to photography, but he was not concerned. He I wonder how I'll be when I wrote, in April 1914, in reply to a cancelled subscription: N. Y. as I am now. -Hartley no soul. "-It fascinated me

36 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 10 Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H re in New York very busy photo~ The things you don't seem to like, and I know you don't understand, terful fashion, I see none of the are things which, I assure you, will live and be considered great~nd by of "291" as well as myself It is great I mean living for all time-by future generations that have been Uss them. Not because they are taught how to see. And possibly the greatest work that I have done during rwt developed mentally but have my life is teaching the value of seeing. 28 'ears. 26 Stieglitz remained convinced he had discovered something important tter are not the only ones who in modernism, but he was also aware of the lack of positive reaction ~ makes no mention of it in this from the public. In this same letter he continued: abrasive streak. This caused the dships before 1913. Stieglitz's The American has a vote, .therefore he thinks he must have an opinion. Edward Steichen ended in Unfortunately he has an opinion and unfortunately I sometimes think, ~aking to the other afterward. he has a vote. The American is superficial and he lacks deeper feeling. not reappear in the small circle I as an American have a right to say this, for I have lived a life which er the Armory Show. He no has given me the opportunity to test and Judge. 29 >Uraging change in the public ns. Stieglitz's establishment of himself as a "Judge" was necessary due to tween the International Show the negative reaction of the public to the Armory Show. He had to mism in New York. Peter Conn give himself authority over the opinion of the masses about . He did not want to admit he had misjudged the trend-he said the public did not understand what they were being shown. Stieglitz rs of the Armory Show, but he elevated himself to be among "those who have the gift of intuition for etheless felt within his rights to truth. "30 He began to downplay the importance of public opinion. vindicating five years of his own Stieglitz was not alone in this response to the Armory Show. John "the Big International Exhibi~ Quinn, a close supporter of Arthur Davies and the International IIO'I'k going on at "291" for many Exhibition, stated in 1918 that he had "long since ceased to care what the ordinary person thinks of my [collected] paintings. I have been bored stiff so often by their remarks to the effect, 'Well, I don't see xhibition would be a success what this means ... '''31 Many others shared this need to downplay the role in its formation. value of public opinion after the Armory Show. For Stieglitz it involved >w can be seen in his decreased a loss of interest in his endeavors to educate the public. s lack of interest in the By May 1917, Stieglitz had determined the fate of "291" and Camera >ry Show is reflected in his Work. Between 1915 and 1917 Stieglitz's personal interest in these "Y Show only seven more issues ventures had fallen off almost completely. Camera Work published its ~ ofJuly 1914 was devoted last issue in June 1917; long before, it had become an effort put out by >1' mean to you?" It was posed Stieglitz's associates without much interest and input from him. Stieglitz ~glitz and his work at "291." also decided to close "291" in 1917. In letters he wrote to Georgia I theme and the responses it O'Keeffe between October 1916, and June 1917, he expresses some of . Stieglitz was aware he was his feelings at the time. On October 7, 1916, he wrote: If material in the magazine lUt he was not concerned. He I wonder how I'll be when I get back-I never was so little a part of :lled subscription: N. Y. as I am now.-Hartley hates the place because the "people have no soul."-It fascinated me for years because of that lack-I thought

37 Published by Digital Commons @ IWU, 1988 11 Undergraduate Review, Vol. 2, Iss. 1 [1988], Art. 8 that the huge machine would eventually discover its soul----will it? ­ Between 1911 and 1915 Stieglit Machines have great souls. -I know it. -Have always known it. -But he did occassionally make par they must be given a chance to show them-People interfere too much with 291, his attention and his and have no faith. 32 Camera Work and directing 2S

Stieglitz had long been fascinated with New York and its large George Roeder points out, '~s, architectural structures; however, he saw in them a danger of the Hartley, '''Modem Art" is beinl individual becoming lost. over here, that it is disgusting a The next two letters in this group of three to a'Keeffe offer Stieglitz's continues that after Stieglitz fol thoughts as "291" moved nearer to destruction. On May 31, 1917, he he wrote: continued to receive encour£l8 I have decided to rip 291 to pieces after aU-I can't bear to think that loyal supporters, but grew 71lO1i its walls which held your drawings. . . should be in charge of anyone hope that modem painting coo else . .. No the walls must come down-and very soon-in a few days.­ small group. 38 So that I am sure they're down. -Others should move in and build anew. 33 As Stieglitz's interest in moderr He wrote again to a'Keeffe June 24: photography increased. By 1919, a'Keeffe was in Ne" ... I didn't tell you that this afternoon I set Zoler ripping down more directions in photography. His I burla~. shelving in the old little room-and ripping down the remaining personal nature he saw in his WI I made a photograph of him---he enjoyed the job-and I enjoyed the promoting modem art back to 1 destruction. 34 art. In April 1919, he wrote to ~

Tearing down "291" and the closing of Camera Work were not easy for ... I am virtually alone-I ref Stieglitz. "291" had become only one of many galleries in New York again-just to satisfy somethin, displaying modem art, and Camera Work had only thirty-seven work say that it is a revelation. ­ subscribers for its last issue. Stieglitz felt he was a failure. He had humbug.-No sentimentalism.­ attempted to educate the American public without success. To you can see the [pores} in a fe. compound his problems his marriage was unhappy and his financial [they} don't feel they are consc assets were nearly depleted. The spell of this period was not broken until Georgia a'Keeffe moved to New York in June 1918. Her company In August of 1919, he wrote to I was a key to the rebirth of Stieglitz's interest in photography. The resurgence of Stieglitz's activity in photography had been slowly . . . I have been printing agair building from the time of the Armory Show. In June 1915, he wrote to mind frequently. -I am malaTi H. C. Reiner: and more amused how few re. standard was even when I tho­ ... I am in the midst of experimenting along many lines. The first real lished. There was too much thou. chance I have had in years to do what I want to in photography . .. my photography experimenting had to be side-tracked for years, for the bigger By August 1923, Stieglitz had CI work I was doing in fighting for an idea, fighting practically single handed. 35 Seligmann, that if the

The photography of Stieglitz contains a large gap. Sarah Greenough photographer is synthetical in hi explains: which the painter cannot do as

38 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 12 ....

Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H 1911 1915 not y discover its soul-will it? ­ Between and Stieglitz did make many photographs. While -Have always known it. -But he did occassionally make portraits of the artists and critics associated 291, time to tern-People interfere too much with his attention and his were primarily devoted publishing Camera Work and directing 291. 36

Jew York and its large George Roeder points out, '~s early as 1915, Stieglitz had written to .in them a danger of the Hartley, '''Modem Art" is being exploited in so many impure forms over here, that it is disgusting and even disheartening.' "37 Roeder hree to O'Keeffe offer Stieglitz's continues that after Stieglitz folded his ventures in New York in 1917, lction. On May 31, 1917, he he

continued to receive encouragement and intellectual stimulation from , all-I can't bear to think that loyal supporters, but grew more bitter, and less inclined to keep alive the should be in charge of anyone hope that modem painting could become vital to the lives of any but a and very soon-in a few days.­ small group. 38 hould move in and build anew. 33 As Stieglitz's interest in modem art declined, his involvement in photography increased. By 1919, O'Keeffe was in New York and Stieglitz was trying new ~ I set Zoler ripping down more directions in photography. His letters from this period reflect the 19 down the remaining burla~. personal nature he saw in his work, and the return of his concern from ,ed the job--and I enjoyed the promoting modem art back to his struggle to establish photography as art. In April 1919, he wrote to Sadakichi Hartmann,

:amera Work were not easy for ... I am virtually alone-I refuse to budge-I am at last photographing many galleries in New York again-just to satisfy something within me-and all who have seen the , had only thirty-seven work say that it is arevelation. -It is straight. No tricks ofany kind. -No he was a failure. He had humbug.-No sentimentalism.-Not old nor new.-It is so sharp that lic without success. To you can see the [pores] in a face-and yet it is abstract. -All say that s unhappy and his financial [they] don't feel they are conscious of any medium. 39 .this period was not broken Drk in June 1918. Her company In August of 1919, he wrote to , ~rest in photography. . .. I I to n photography had been slowly have been printing again-and naturally as print you come mind frequently. -I am making aU sorts of experiments . .. I'm more ~ow. In June 1915, he wrote to and more amused how few real photographers exist-and how lax the standard was even when I thought a standard had been partially estab­ along many lines. The first real lished. There was too much thought of"art;" too little ofphotography. 40 .want to in photography . .. my By August 1923, Stieglitz had concluded, evident in a letter to Herbert ~-tracked for years, for the bigger Seligmann, that if the :htingpractically single handed. 35 photographer is synthetical in his choice of the moment he does something large gap. Sarah Greenough which the painter cannot do as weU. -He achieves a sense of reality, an

39 Published by Digital Commons @ IWU, 1988 13 Undergraduate Review, Vol. 2, Iss. 1 [1988], Art. 8 exactness of reality, a different kind of reality than the painter can put down when he synthesizes. What the photographer can achieve is not This letter expresses a common greater. I t is different in kind. 41 Stieglitz. It involved his person; photography as an art on his 0\\ Stieglitz was convinced photography and painting, especially than that of others: he believed modern painting, shared some similar characteristics, but that as a what was true art. The final irrn whole they were different mediums creating different types of art. of the public to appreciate art e Georgia Q'Keeffe was Stieglitz's favorite photographic subject from the years. the time of her arrival in New York, through their marriage, until his Before the Photo Secession S death in 1946. He did over three hundred finished portraits of her as could become a successful photc well as hundreds more that were never completed. He wanted to bicycles replaced the camera as produce a pictorial journal of her entire life, but he had to settle for group. Through the Photo Sece the nearly thirty years he knew her. Q'Keeffe worked well in front of attempted to reach a smaller au. his camera. She enjoyed the poses and moods she imitated for his photography. As Stieglitz's unde studies. Stieglitz was aware of the enjoyment she expressed before the became aware of its similarities camera as well as the fulfillment she received from the finished works. not respond positively to model Sarah Greenough described, "She was an actress who, as Stieglitz once retreated into a smaller circle 01 wrote to Paul Strand, 'Whenever she looks at the proofs falls in love Following the Armory Show, with herself.-Ot rather her selves--There are very many.'"42 pessimistic about the public ane The relationship of Stieglitz and Q'Keeffe provided him with a resentment worked into his phc vitality he had not had since before "291." She made it possible for him depicted a castrated horse. 44 n to forget his bitterness and failures and produce some of his best work in one of his photographs. How in the 1920's. This was the most productive decade of his life. Q'Keeffe thirties is a noticeable focus on and others, such as Paul Strand and , remained close to human elements. This is a breal Stieglitz and provided him with whatever financial support they could. Stieglitz had concluded that thE They also helped him open a new gallery, '~n American Place," in and that the people, "had no sa 1929. However, Stieglitz's optimism of the twenties was replaced by The changes Stieglitz went d­ pessimism in the thirties brought on by his failing health and bleak in this period of upheaval. HO\\i financial position. He was unable to take photographs after 1937. Stieglitz that demonstrate he w: Stieglitz wrote to Dudley Johnston April 3, 1925: cultural values. He was not the disillusioned as a result of the cI ... My photographs ever born ofan inner need-an Experience of Spirit. Stieglitz resulted from internal c I do not make "pictures," that is I never was a snap,shotter in the sense observations. Though the Arme I feel Coburn is. I have a vision of life and try to find for it in art, for Stieglitz it was the pI.: sometimes in the form of photographs. It's because of the lack of inner convinced him the masses of A: vision amon~t those who photograph that there are really but few true the show, he lost his desire to eo photographers. The spirit of my "early" work is the same spirit of my photography; he felt his time sp "later" work. Of course I have grown, have developed, "know" much he was a failure. Indirectly he c more, am more "conscious" perhaps of what I am trying to do. So what maintaining his active productio I have gained in form-in maturity---I may have lost in another direction. had on the public and artists wi There is no such thing as Progress or improvement in art. There is art Stieglitz's successes--the establi or no art. There is nothing in between. 43 growth of modern art-remain:

40 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 14 • Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H reality than the painter can put photographer can achieve is not This letter expresses a common thread that ran throughout the life of Stieglitz. It involved his personal attempts to help establish photography as an art on his own terms. He felt his work was different , and painting, especially than that of others: he believed he possessed the knowledge to judge :haracteristics, but that as a what was true art. The final image he accepted of the hopeless inability :J.ting different types of art. of the public to appreciate art evolved from events that occurred over te photographic subject from the years. >ugh their marriage, until his Before the Photo Secession Stieglitz had an optimism that anybody ~ finished portraits of her as could become a successful photographer if properly instructed. When ompleted. He wanted to bicycles replaced the camera as the latest fad he withdrew into a smaller life, but he had to settle for group. Through the Photo Secession, Camera Work, and "291," he :eeffe worked well in front of attempted to reach a smaller audience who were dedicated to [loads she imitated for his photography. As Stieglitz's understanding of modem art grew, he nent she expressed before the became aware of its similarities to photography. When the public did ~ived from the finished works. not respond positively to modernism at the Armory Show, Stieglitz !l actress who, as Stieglitz once retreated into a smaller circle of friends. >ks at the proofs falls in love Following the Armory Show, Stieglitz gradually became more ere are very many. '''42 pessimistic about the public and his personal failures. Some of the :effe provided him with a resentment worked into his photography. In 1923 his Spiritual America l." She made it possible for him depicted a castrated horse. 44 This was his last blatant jab at the public lroduce some of his best work in one of his photographs. However, in his photographs from the :ive decade of his life. Q'Keeffe thirties is a noticeable focus on New York and its structural rather than !l Marin, remained close to human elements. This is a break from his earlier shots of.. :r financial support they could. Stieglitz had concluded that the life of the city was in its'architecture, f, '~American Place," in and that the people, "had no soul. "41 ne twenties was replaced by The changes Stieglitz went through between 1907 and 1920 occurred !lis failing health and bleak in this period of upheaval. However, there are personal aspects to e photographs after 1937. Stieglitz that demonstrate he was more than just a part of a shift in Iril3, 1925: cultural values. He was not the only "iconoclast" who became disillusioned as a result of the changes that took place: the changes in r need-an Experience ofSpirit. Stieglitz resulted from internal conclusions drawn from external was a snap,shotter in the sense observations. Though the Armory Show caused a great deal of change tnd try to find equivalents for it in art, for Stieglitz it was the public reaction to modernism that t's because of the ku:k of inner convinced him the masses of America were hopeless philistines. After at there are really but few true the show, he lost his desire to educate America about modem art and work is the same spirit of my photography; he felt his time spent on the public was wasted and that have developed, "know" much he was a failure. Indirectly he continued to pursu'e these goals by ,hat I am trying to do. So what maintaining his active production of art and through the effect "291" ly have lost in another direction. had on the public and artists who had visited it. Despite his denials, lprooement in art. There is art Stieglitz's successes-the establishment of photography as art and the 3 growth of modem art-remain as evidence of his achievements.

41 Published by Digital Commons @ IWU, 1988 15

",r; ... ~ Undergraduate Review, Vol. 2, Iss. 1 [1988], Art. 8 Endnotes 32 Greenough, Stieglitz, 201: letter 23 33 Greenough, Stieglitz, 202: letter 26 1 Henry May, The End of American Innocence (Oxford: Oxford University Press, 1959), 7. 34 Greenough, StiegUtZ, 202: letter 27 35 Greenough, Stieglitz, 201-2: letter; 2 May, Innocence, 7. 36 Greenough, StiegUtz, 228. 3 May, Innocence, 7. 37 Roeder, FOTUm, 64. 4 May, Innocence, 6. 38 Roeder, FOTUm, 64. 5 May, Innocence, 141. 39 Greenough, Stieglitz, 205: letter 30 6 May, Innocence, 140. 40 Greenough, Stieglitz, 204-5: letter; 7 May, Innocence, 244. 41 Greenough, Stieglitz, 206: letter 34. 8 May, Innocence, 245. 42 Greenough, StiegUtz, 231. 9 Judith Zilczer, "The Armory Show and the American Avant-Garde: A Re­ evaluation," Arts 53 (September 1978), 128. 43 Greenough, Stieglitz, 209: letter 38

10 May, Innocence, 142. 44 Greenough, Stieglitz, 139: plate 54.

11 May, Innocence, 354. 45 Greenough, Stieglitz, 201: letter 23.

12 Sarah Greenough, Alfred Stieglitz (Washington D.C.: Callaway Editions, 1983), 181: letter 2. n Greenough, Stieglitz, 181: letter 2. Bil 14 Greenough, Stieglitz, 182: letter 3.

15 Greenough, Stieglitz, 183: letter 3. Brown, Milton. The Story of the Al'II1OI)

16 Greenough, Stieglitz, 221. Conn, Peter. The Divided Mind. Cambr N~ 17 Jonathan Green, Camera Work: A Critical Anthology (New York: Aperture Inc., Cortissoz, Royal. Personalities in Art. 1973), 26. Green, Jonathan. Camera Work: A erit 18 Green, Camera Work, 26. Greenough, Sarah. Alfred Stieglitz. Was 19 George Roeder, FOTUm of Uncertainty (Ann Arbor: UMI Research Press, 1978), 28. May, Henry. The End ofAmerican Innoc 20 Arthur Wertheim, The New York Little Renaissance (New York: New York University Norman, Dorothy. Alfred Stieglitz: An r Press, 1976), 127. Olson, Arlene. Art Critics and the A"an 21 Greenough, Stieglitz, 193-4: letter 9. Research Press, 1975. 22 Greenough, Stieglitz. 194: letter 9. Roeder, George. FOTUm of Uncertainty. 23 Greenough, Stieglitz, 195: letter 11. Tashjian, Dickran. Skyscraper Primitive! 24 Roeder, FOTUm, 11. Press, 1975.

25 Greenough, Stieglitz, 196: letter 12. Wertheim, Arthur. The New York Little Press, 1976. 26 Greenough, Stieglitz, 196: letter 12. Zilczer, Judith. "The Armory Show an. 27 Peter Conn, The Divided Mind (Cambridge: Cambridge University Press, 1983), 281. Arts 53 (September 1978), 126-30. 28 Greenough, Stieglitz, 197: letter 15. ---. " and Modem An 29 Greenough, Stieglitz, 198: letter 15. Art}oumal14 (Winter, 1982),56-7

30 Greenough, Stieglitz, 194: letter 9.

31 Judith Zilczer, "John Quinn and Modem Art Collectors in America 1913-1924," The American Art }oumal14 (Winter 1982), 60.

42 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 16 Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H tes 32 Greenough, Stieglitz, 201: letter 23. 33 Greenough, Stieglitz, 202: letter 26. Mord: Oxford University Press, 1959), 34 Greenough, Stieglitz, 202: letter 27.

35 Greenough, Stieglitz, 201-2: letter 20.

36 Greenough, Stieglitz, 228.

37 Roeder, Forum, 64.

38 Roeder, Forum, 64.

39 Greenough, Stieglitz, 205: letter 30.

40 Greenough, Stieglitz, 204-5: letter 29. 41 Greenough, Stieglitz, 206: letter 34.

42 Greenough, Stieglitz, 231. merican Avant-Garde: A Re­ 43 Greenough, Stieglitz, 209: letter 38.

44 Greenough, Stieglitz, 139: plate 54.

45 Greenough, Stieglitz, 201: letter 23.

ifi D.C.: Callaway Editions, 1983), 181:

Bibliography

Brown, Milton. The Story of the Armory Show. New York: Hirshorn Foundation, 1963. Conn, Peter. The Divided Mind. Cambridge: Cambridge University Press, 1983. lthology (New York: Aperture Inc., Cortissoz, Royal. Personalities in Art. New York: Charles Scribner's Sons, 1924. Green, Jonathan. Camera Work: A Critical Anthology. New York: Aperture Inc., 1973. Greenough, Sarah. Alfred Stieglitz. Washington D.C.: Callaway Editions, 1983. '-rhor: UMI Research Press, 1978), 28. May, Henry. The End of American Innocence. Oxford: Oxford University Press, 1959. ~ (New York: New York University Nonnan, Dorothy. Alfred Stieglitz: An American Seer. New York: Random House, 1960. Olson, Arlene. Art Critics and the Avant-Garde: New York, 1900- 1913. Ann Arbor: UMI Research Press, 1975. Roeder, George. Forum of Uncertainty. Ann Arbor: UMI Research Press, 1978. Tashjian, Dickran. Skyscraper Primitives. Middletown, Connecticut: Wesleyan University Press, 1975. Wertheim, Arthur. The New York Little Renaissance. New York: New York University Press, 1976. Zilczer, Judith. "The Annory Show and the American Avant-Garde: aRe-evaluation." ::::ambridge University Press, 1983), 281. Arts 53 (September 1978), 126-30. ---. "John Quinn and Modern Art Collectors in America 1913-1924." The American Art]oumal14 (Winter, 1982),56-71. .

t Collectors in America 1913-1924," The

43 Published by Digital Commons @ IWU, 1988 17