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P-H-Dizzel Kopie 2 Progressive Nostalgia: Alfred Stieglitz, his Circle and the Romantic Anti-Capitalist Critique of Modernity Catherine Berger Thesis Submitted for the Degree of Doctor of Philosophy June 2014 Department of History of Art, University College London Declaration I, Catherine Berger, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Abstract This thesis examines the involvement of Alfred Stieglitz – photographer, editor, art collector, impresario, talker – and his circle in the development of American modernism in the first three decades of the twentieth century. Through the analysis of photographs and artworks in other media by the Stieglitz group, the journal Camera Work, the gallery 291, a vast correspondence and art theory, criticism and social thought of the period, Stieglitz and his circle are situated in the context of an international debate about modernism. Notably, the Stieglitz strand of American modernism is considered in terms of a dialogue with German culture and philosophy, constellations that, it is claimed, proved formative for Stieglitz. The thesis argues that underlying all of his various endeavours is a specific unifying structure of thought: the romantic critique of capitalism. Romantic anti-capitalism was particularly current at the time in Central Europe as an emotional response to modernity that drew its values from the past. Most poignantly, Georg Lukács expressed it in his early, pre-Marxist writings, such as the essay collection, Soul and Form (first published in German in 1911). It is equally the aim of this thesis to theorise the interpretive category of romantic anti-capitalism, to investigate it as a Weltanschauung, an ideology and a type of discourse. As a period term itself, the category of worldview, poses a problem in its overlap with the topic of the study. It is hence treated both as a method and as an object of enquiry. Romantic anti- capitalism as a whole, neither clearly progressive nor reactionary in political terms and inherently ambiguous, allows us to disentangle the myths that have been reiterated in many previous studies of Stieglitz and his circle and define his outlook with new precision. 3 Acknowledgements Firstly, I want to extend my thanks to my supervisors, Andrew Hemingway and Fred Schwartz. It was a pleasure and an immense privilege to work closely for an extended period with two such outstanding scholars. They provided me with inspiration and encouragement in discussions and, not tired of reading countless drafts and replying in detail to many emails, showed a level of critical engagement with my research that I could not take for granted. The research community at the Department of History of Art at UCL provided an extraordinarily productive atmosphere for scholarly debate across methodological borders – and for friendship, particularly that of Carla Benzan and Meghan Gilbride. I would like to further extend my gratitude to the University of London Central Research Fund and to the UCL Graduate School for funding my research travels and to the staff at the Beinecke Rare Book and Manuscript Library at Yale University and at the Department of Photographs at the Metropolitan Museum, New York. Finally, this thesis would not have been possible without the exceptionally generous support in every sense of this word of my family, especially my mother, my partner, Richard, and our baby. Thank you. 4 Table of Contents Abstract 3 Acknowledgements 4 Table of Contents 5 List of Illustrations 6 Introduction 17 Chapter 1: Secessionism 43 Chapter 2: Aestheticism 80 Chapter 3: Anarchism 125 Chapter 4: Escapism 173 Conclusion 219 Bibliography 238 Illustrations 273 5 List of Illustrations 1 Alfred Stieglitz, The City of Ambitions, 1910, printed 1910-1923, photogravure, 33.8 x 26cm. Metropolitan Museum of Art, New York. Published in Camera Work, No. 36 (October 1911), original negative, photogravure, 22.1 x 16.7cm. 2 Walter Leistikow, Grunewaldsee (Lake Grunewald), 1895, oil on canvas, 167 x 252cm. Alte Nationalgalerie, Berlin. 3 Leopold von Kalckreuth, Sommer (Summer), 1890, colour on canvas, 356 x 294cm. Kunsthalle, Bremen. 4 Franz von Stuck, Sin, 1893, oil on canvas, 95 x 60cm. Neue Pinakothek, Munich. 5 Max Liebermann, Badende Jungen (Bathing Boys), 1909, oil on canvas, 51 x 73cm. Kunstmuseum Solothurn, Solothurn, Switzerland. 6 Max Liebermann, Gänserupferinnen (Women Plucking Geese), 1872, oil on canvas, 1195 x 1705cm. Alte Nationalgalerie, Berlin. 7 Max Liebermann, Konservenmacherinnen (Canning Factory), 1879, oil on mahogany wood, 49 x 65.3cm. Museum der bildenden Künste, Leipzig. 8 Max Liebermann, Flachsscheuer in Laren (Flax Barn in Laren), 1887, oil on canvas, 135 x 232cm. Alte Nationalgalerie, Berlin. 9 Adolph von Menzel, Eisenwalzwerk (The Iron Rolling Mill, Modern Cyclopes), 1875, oil on canvas, 158 x 254cm. Alte Nationalgalerie, Berlin. 10 Alfred Stieglitz, The Net Mender, 1894, 41.9 x 54.4cm. The Art Institute of Chicago, Chicago. 11 Max Liebermann, Netzflickerinnen (Net Mending Grooves), 1887-1889, oil on canvas, 180 x 226cm. Kunsthalle, Hamburg. 12 Alfred Stieglitz, The Aphalt Paver: New York, 1892-1893, photogravure, 14.0 x 17.8cm. Museum of Modern Art, New York. Published in Camera Work, No. 41 (January 1913), original negative, photogravure, 14 x 17.6cm. 13 Alfred Stieglitz, The Rag Picker, 1892-1893, printed 1920s/1930s, gelatin silver print, 8.7 x 7.7cm. The National Gallery of Art, Washington, D.C. 14 Alfred Stieglitz, The Terminal, 1893, printed 1911, photogravure, 12.1 x 16.0cm. The Metropolitan Museum of Art, New York. Published in Camera Work, No. 36 (October 1911), original negative, photogravure, 12 x 15.8cm. 6 15 Alfred Stieglitz, Winter – Fifth Avenue, 1893, printed 1905, photogravure, 21.8 x 15.4cm. The Metropolitan Museum of Art, New York. Published in Camera Work, No. 12 (October 1905), original negative, photogravure, 21.7 x 15.2cm. 16 Alfred Stieglitz, The Hand of Man, 1902, printed 1910, photogravure, 24 x 31.9cm. Metropolitan Museum, New York. Published in Camera Work, No. 1 (January 1903), original negative, photogravure, 15.6 x 21.3cm. 17 Alfred Stieglitz, The Steerage, 1907, printed in or before 1913, photogravure, 32.3 x 25.8cm. The Metropolitan Museum of Art, New York. Published in Camera Work, No. 36 (October 1911), original negative, photogravure, 19.6 x 15.7cm. 18 Clarence H. White, Spring, 1898, platinum print, 41 x 33.7cm. Museum of Modern Art, New York. Published in Camera Notes, Vol. 3, No. 2 (October 1899). 19 Edward Steichen, The Pond – Moonrise (also known as The Pond – Moonlight), 1904, platinum print with applied colour, 39.7 x 48.2cm. The Metropolitan Museum of Art, New York. Published as Moonlight: The Pond in Camera Work, No. 14 (April 1906), original negative, photogravure, 16.1 x 20.3cm. 20 Alfred Stieglitz, The Flatiron, 1903, printed in or before 1910, photogravure, 32.8 x 16.7cm. The Metropolitan Museum of Art, New York. Published as The “Flat-iron” in Camera Work, No. 4 (October 1903), original negative, photogravure, 16.8 x 8.2cm. 21 Edward Steichen, The Flatiron, 1904, printed 1909, gum bichromate over platinum print, 47.8 x 38.4cm. The Metropolitan Museum of Art, New York. Published as The Flatiron – Evening in Camera Work, No. 14 (April 1906), three- colour halftone, 21.1 x 16.5cm. 22 Heinrich Kühn, Landscape, published in Camera Work, No. 33 (January 1911), gum, mezzotint photogravure, 12.2 x 15.6cm. 23 Heinrich Kühn, Winter Landscape, published in Camera Work, No. 33 (January 1911), gum, mezzotint photogravure, 11.8 x 16.4cm. 24 Heinrich Kühn, On the Dunes, published in Camera Work, No. 33 (January 1911), gum, mezzotint photogravure, 11.5 x 15.7cm. 25 Heinrich Kühn, Harbour of Hamburg, published in Camera Work, No. 33 (January 1911), gum, photogravure, 21.7 x 12.0cm. 26 Alfred Stieglitz, The City Across the River, 1910, printed 1911, photogravure, 20 x 16cm. SFMOMA, San Francisco. Published in Camera Work, No. 36 (October 1911), original negative, photogravure, 19.9 x 15.8cm. 7 27 Alfred Stieglitz, Lower Manhattan, 1910, published in Camera Work, No. 36 (October 1911), original negative, photogravure, 15.9 x 19.7cm. 28 Camera Work, cover design by Edward Steichen, No. 2 (April 1903). 29 Eva Watson-Schütze, Head of a Young Girl, 1904, published in Camera Work, No. 9 (January 1905), original negative, photogravure, 19.8 x 13.6cm. 30 Eva Watson-Schütze, Storm, published in Camera Work, No. 9 (January 1905), glycerine, halftone print, 18.5 x 13.9cm. 31 Gertrude Käsebier, Dorothy, c. 1900, gum print, 24.3 x 19.3cm. Museum of Modern Art, New York. Published in Camera Work, No. 1 (January 1903), original negative, photogravure, 19.9 x 16.1cm. 32 Gertrude Käsebier, Portrait (Miss N.), published in Camera Work, No. 1 (January 1903), original negative, photogravure, 19.5 x 14.7cm. 33 Clarence H. White, Illustration to “Eben Holden,” published in Camera Work, No. 3 (July 1903), original negative, photogravure, 19.5 x 14.9cm. 34 Clarence H. White, Winter Landscape, published in Camera Work, No. 3 (July 1903), platinum print, halftone, 17.7 x 13.6cm. 35 Edward Steichen, Rodin, 1901, direct carbon print, 26.9 x 20.3cm. The Metropolitan Museum of Art, New York. Published in Camera Work, No. 2 (April 1903), gum, photogravure, 21.1 x 16cm. 36 Edward Steichen, Lenbach, 1901, printed 1902, direct carbon print, 51.5 x 37.1cm. The Metropolitan Museum of Art, New York. Published in Camera Work, No. 2 (April 1903), gum, photogravure, 20.3 x 15.8cm. 37 Edward Steichen, Portrait of Clarence H. White, 1903, platinum print, 32.9 x 25cm. The Metropolitan Museum of Art, New York. Published in Camera Work, No. 9 (January 1905), original negative, photogravure, 21.3 x 16.1cm.
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