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The Steerage
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz (editor/publisher) after Various Artists Alfred Stieglitz American, 1864 - 1946 The Steerage 1907, printed 1911 photogravure image: 19.3 × 15.1 cm (7 5/8 × 5 15/16 in.) Alfred Stieglitz Collection 1949.3.1278.37 Key Set Number 310 Image courtesy of the Philadelphia Museum of Art KEY SET ENTRY Related Key Set Photographs The Steerage 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz Alfred Stieglitz Alfred Stieglitz The Steerage The Steerage The Steerage 1907, printed in or before 1913 1907, printed 1915 1907, printed 1911 photogravure photogravure photogravure Key Set Number 312 Key Set Number 313 Key Set Number 311 same negative same negative same negative Alfred Stieglitz The Steerage 1907, printed 1929/1932 gelatin silver print Key Set Number 314 same negative Remarks On 14 May 1907 Stieglitz and his family sailed to Europe aboard the fashionable Kaiser Wilhelm II. This photograph was most likely taken several days later while The Steerage 2 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set the ship was moored in Plymouth, England (see Beaumont Newhall, “Alfred Stieglitz: Homeward Bound,” Art News 87:3 [March 1988], 141–142). Lifetime Exhibitions A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime: 1913, New York (no. 21, as The Steerage, 1907) 1916, New York (no. -
Before Zen: the Nothing of American Dada
Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
The Original Copy: Photography of Sculpture, 1839 to Today
The Original Copy: Photography of Sculpture, 1839 to Today The Museum of Modern Art, New York August 01, 2010-November 01, 2010 6th Floor, Special Exhibitions, North Kunsthaus Zürich February 25, 2011-May 15, 2011 Sculpture in the Age of Photography 1. WILLIAM HENRY FOX TALBOT (British, 1800-1877) Bust of Patroclus Before February 7, 1846 Salt print from a calotype negative 7 x 6 5/16" on 8 7/8 x 7 5/16" paper (17.8 x 16 cm on 22.5 x 18.6 cm paper) The J. Paul Getty Museum, Los Angeles, California, 84.XP.921.2 2. ADOLPHE BILORDEAUX (French, 1807-1875) Plaster Hand 1864 Albumen silver print 12 1/16 x 9 3/8" (30.7 x 23.8 cm) Bibliothèque nationale de France, Paris 3. LORRAINE O'GRADY (American, born 1934) Sister IV, L: Devonia's Sister, Lorraine; R: Nefertiti's Sister, Mutnedjmet from Miscegenated Family Album 1980/94 Silver dye bleach print 26 x 37" (66 x 94 cm) Courtesy the artist and Alexander Gray Associates, New York 4. CHARLES NÈGRE (French, 1820-1880) The Mystery of Death, Medallion by Auguste Préault November 1858 Photogravure 10 1/2 x 10 1/2" (26.6 x 26.7 cm) National Gallery of Canada, Ottawa Purchased 1968 The Original Copy: Photography of Sculpture, 1839 to Today - Exhibition Checklist Page 1 of 73 5. KEN DOMON (Japanese, 1909-1990) Right Hand of the Sitting Image of Buddha Shakyamuni in the Hall of Miroku, Muro-Ji, Nara 1942-43 Gelatin silver print 12 7/8 x 9 1/2" (32.7 x 24.2 cm) The Museum of Modern Art, New York. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:May 15, 2007 I, Katie Esther Landrigan, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: The Photographic Vision of John O. Bowman, “The Undisputed Box-Camera Champion of the Universe” This work and its defense approved by: Chair: Theresa Leininger-Miller, Ph.D. Mikiko Hirayama, Ph.D. Jane Alden Stevens The Photographic Vision of John O. Bowman (1884-1977), “The Undisputed Box-Camera Champion of the Universe” A thesis submitted to the Art History Faculty of the School of Art/College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Master of Arts in Art History Katie Esther Landrigan B.A., Ohio State University April 2006 Thesis Chair: Dr. Theresa Leininger-Miller Abstract In 1936, John Oliver Bowman (1884-1977) purchased his first box camera with seventy- five cents and six coffee coupons. In his hometown of Jamestown, New York, located in the Chautauqua Lake Region, Bowman spent his free time photographing a wide range of subjects, including farmers plowing the fields or the sun setting over Chautauqua Lake from the 1930s until the end of his life. He displayed a Pictorialist sensibility in his photographs of small town living and received worldwide recognition with a solo exhibition of ninety-nine prints at the New York World’s Fair of 1939-1940, as well as nationwide praise in the popular press. Within forty years, Bowman produced an estimated 8,000 gelatin silver prints. This thesis marks the first in- depth, scholarly study of Bowman’s life and work. -
Die Kunst in Der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908
Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908 A thesis submitted to the faculty of the University of Cincinnati College of Design, Architecture, Art, and Planning in partial fulfillment of the requirements for the degree of Master of Arts in Art History Emily Bauman March 2016 M.A., University of Cincinnati, 2008 B.A., University of Cincinnati, 2002 Committee members: Chair: Dr. Morgan Thomas Dr. Mikiko Hirayama Dr. Valerie Weinstein Abstract Die Kunst in der Photographie was an early art photography journal published in Berlin from 1897 to 1908. The photographs in its pages are predominantly nostalgic, with landscape and genre scenes that offer sentimentalized or ruralized depictions of contemporary life. This tendency to turn away from industrialization and to embrace a certain rusticity resonates with the Romantic ideals that saw their peak in the early half of the nineteenth century, seeming to imply that Die Kunst in der Photographie fixed a stubborn eye on the past. Yet portrait photographs in the journal reveal a focus on intersubjectivity—an attempt to put the viewer into contact with the distinct personality of the subject—which demonstrates a break from what had become the traditional conventions of photographic portraiture. Rather than emphasizing what the sitter looked like, these portraits display an inwardness of composition, depicting the sitter in shadows and with down-turned eyes. This inwardness cuts against the theatricality, and perhaps pompousness, of contemporaneous photographs that depicted the sitter surrounded by lavish objects, staring back at the viewer. These portraits provide a modern counterpart to the journal’s nostalgic landscape and genre scenes. -
Edward Steichen and Hollywood Glamour
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2014 Edward Steichen and Hollywood Glamour Alisa Reynolds University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Reynolds, Alisa, "Edward Steichen and Hollywood Glamour" (2014). Theses and Dissertations--Art & Visual Studies. 9. https://uknowledge.uky.edu/art_etds/9 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
"Equivalents": Spirituality in the 1920S Work of Stieglitz
The Intimate Gallery and the Equivalents: Spirituality in the 1920s Work of Stieglitz Kristina Wilson With a mixture of bitterness and yearning, Alfred Stieglitz Galleries of the Photo-Secession, where he had shown work wrote to Sherwood Anderson in December 1925 describing by both American and European modernists), the Intimate the gallery he had just opened in a small room in New York Gallery was Stieglitz's first venture dedicated solely to the City. The Intimate Gallery, as he called it, was to be devoted promotion of a national art.3 It operated in room 303 of the to the work of a select group of contemporary American Anderson Galleries Building on Park Avenue for four sea- artists. And although it was a mere 20 by 26 feet, he discussed sons, from when Stieglitz was sixty-one years of age until he the space as if it were enormous-perhaps limitless: was sixty-five; after the Intimate Gallery closed, he opened An American Place on Madison Avenue, which he ran until his There is no artiness-Just a throbbing pulsating.... I told death in 1946. It is at the Intimate Gallery, where he primarily a dealer who seemed surprised that I should be making showed the work of Arthur Dove, John Marin, Georgia this new "experiment"-[that] I had no choice-that O'Keeffe, Marsden Hartley, and Paul Strand, that the ideals there were things called fish and things called birds. That and aspirations motivating his late-life quest for a unique, fish seemed happiest in water-&8 birds seemed happy in homegrown school of art can be found in their clearest and the air. -
INNOVATION and EXPERIMENTATION: NINETEENTH-CENTURY PHOTOGRAPHY (The Emergence of Photographic Techniques) EARLY PHOTOGRPAHY
INNOVATION and EXPERIMENTATION: NINETEENTH-CENTURY PHOTOGRAPHY (The Emergence of Photographic Techniques) EARLY PHOTOGRPAHY Online Links: Early Photography - Smarthistory (no video) Daguerre's Paris Boulevard - Smarthistory (No Video) Making Daguerreotypes - Video on Smarthistory The Wet Collodion Process - Video on Smarthistory Julia Margaret Cameron's Mrs. Herbert Duckworth - Smarthistory (No Video) Clementina Hawarden's Photographs – Smarthistory Timothy O'Sullivan's Ancient Ruins in the Canon de Chelle - Smarthistory (No Video) Emerson's Naturalistic Photography - Video on Smarthistory TWENTIETH-CENTURY PHOTOGRAPHY Online Links: Early Modern Photography – Smarthistory August Sander's Portraits - Smarthistory Cartier-Bresson Behind the Gare St. Lazare – Smarthistory Stieglitiz's The Steerage - Smarthistory (no video) The “first” photograph, or more specifically, the world's first permanent photograph from nature, was taken by Joseph Nicéphore Niépce in 1826 or 1827. The image depicts the view from an upstairs window at Niépce's estate, Le Gras, in the Burgundy region of France. Niépce's invention represents the origin of today's photography, film, and other media arts. Niépce developed an interest in science when he began working with his brother, Claude, on various experiments and inventions. This photograph was only discovered in 2002 and is now known to be the very first permanent photograph ever taken by Nicéphore Niépce – the father of photography. It is an image of an engraving of a man walking a horse and it was made using a technique known as heliogravure. The method involves a piece of copper covered with light sensitive bitumen. This metal plate is exposed to light and creates an image which is then transferred to paper. -
Alfred Stieglitz and the 19Th Century at the Art Institute of Chicago
Alfred Stieglitz and the 19th Century at The Art Institute of Chicago Alfred Stieglitz (American, 1864–1946) tirelessly promoted photography as a fine art. Through his own photographic work over the course of a half-century, the photographic journals he edited and published, and the New York galleries at which he organized exhibitions of photographs, paintings, and sculpture, Stieglitz showed photography to be an integral part of modern art in America. In a search for artistic ancestors, he looked intently at photography of the 19th century, most notably that of Julia Margaret Cameron and the Scottish duo David Octavius Hill and Robert Adamson. Their work resonated for Pictorialism, a movement that valued painterly, handcrafted images, and these earlier photographs were exhibited and reprinted for new audiences. Stieglitz’s fledgling interest to create a history of photography as an art form was also evidenced in his decision, later in his career, to revisit his own prior output, reprinting earlier images in a high modernist style. The Stieglitz collection at the Art Institute includes several later Cameron and Hill and Adamson prints along with important works by Stieglitz himself, Edward Steichen, and other Pictorialist artists. Drawn entirely from the permanent collection, this exhibition examines how 19th-century photographs influenced Pictorialist practice. Fostering close looking at different photographic processes—from salt and albumen prints of the 19th century, to carbon prints and photogravures of turn-of-the-century reproduction, to crisp gelatin silver prints of the modernist period—it shows Stieglitz and his circle in the context of a changing photographic history. Alfred Stieglitz. -
Gertrude Kasebier: Her Photographic Career, 1894-1929
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1985 Gertrude Kasebier: Her Photographic Career, 1894-1929 Barbara L. Michaels Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1848 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
American Modern Hopper to O'keeffe
American Modern Modern American Cover: Georgia O’Keeffe. Evening Star, No. III (detail). American Modern presents a fresh look at The Museum 1917. Watercolor on paper mounted on board, of Modern Art’s holdings of American art of the first half of American 8 7/8 x 11 7/8" (22.7 x 30.4 cm). Mr. and Mrs. Donald B. the twentieth century. Arranging paintings, drawings, Straus Fund, 1958. See p. 29 prints, photographs, and sculpture in loose thematic groups, Modern Back cover: Edward Hopper. House by the Railroad (detail). the book sets celebrated masterworks of the Museum’s 1925. Oil on canvas, 24 x 29" (61 x 73.7 cm). Given collection alongside works that have rarely been exhibited anonymously, 1930. See p. 17 in concentration and are relatively little known. In doing Hopper to so it not only throws light on the cultural preoccu pations of the rapidly changing American society of the day but O’Keeffe Published by The Museum of Modern Art explores an unsung chapter in the Museum’s own story. 11 West 53 Street MoMA is famous for its prescient focus on the New York, New York 10019-5497 Kathy Curry and Esther Adler are avant-garde art of Europe—for exhibiting and collecting Assistant Curators in the Department Information about the Museum is available on its website, the work of such artists as Picasso and Matisse, whose of Drawings, The Museum of Modern at www.moma.org. reputations the Museum helped to cement not just in the Art, New York. United States but globally.