Alfred Stieglitz Alfred Stieglitz Was Born in January 1St, 1864 in Hoboken, New Jersey

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Yang, M Art 4900 Alfred Stieglitz Alfred Stieglitz was born in January 1st, 1864 in Hoboken, New Jersey. He was an American photographer and modern art promoter who worked from early 1880s to late 1940s over fifty years. He was also known for the New York art galleries in the early 20th century. In 1881, Edward Stieglitz, Alfred’s father sold his company and moved his family to Europe. Alfred Stieglitz studied to be a mechanical engineer, he taught himself how to use camera, self-taught artist practiced, he saw photography as an art form. His first place for his photography, The Last Joke, Bellagio in 1877. In 1890, he moved back to the United States. He quickly became a leader of photography’s fine-art movement in the United States. As an editor of the Camera Notes, the Camera Club of New York Amateur Photographers Association, Stieglitz supports his belief in the aesthetic potential of the media and the work of the photographers who share his faith. His two well known images Winter,Fifth Avenue and The Terminal, were took by his fisrt hand-held camera. At the end of 1905, with his young protégé Steichen, Stieglitz opened Little Galleries of the Photo-Secession, the name quickly shortened to 291, the gallery's address on Fifth Avenue in New York City. Most commonly used as photographed division of the photographer's exhibition space. However, in the 1909 season, the galleries promoted the work of various advances in the arts, painters, sculptors and printmakers in almost all the usurpation of gallery space. By 1917, the 291 gallery was closed. Stiglitz's idea of photography has begun to change. However, at the turn of the century, the best way to prove the legitimacy of photography as a creative medium suggests that the appearance of photographic images of paintings, drawings or watercolors in prints by the end of the World War I. Finally, he recognized that the truth in the modern world is relative, and that the photograph is the expression of the photographer's sense of the subject, as they are the reflection of the subject. In his early 50s, he was the most primitive and richer period of life as an artist. Over the next 20 years, his works have defined his stature as a modern artist. He opened two additional galleries: the Intimate Gallery and An American Place. When he took photos, he often did out of the window of his gallery. These final photographs, Looking Northwest from the Shelton, were achieved impressive achievements, and they have synthesized all stages of his photography development and have consolidated his position as the most important figure in American photography. The Last Joke, Bellagio Winter, Fifth Avenue The Terminal Venetian Canal The Steerage Georgia O'Keeffe Georgia O'Keeffe, Hands Looking Northwest from the Shelton .

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The Street—Design for a Poster
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 Street—Design for a Poster 1900/1901, printed 1903 photogravure image: 17.6 × 13.2 cm (6 15/16 × 5 3/16 in.) Alfred Stieglitz Collection 1949.3.1270.34 Key Set Number 266 Image courtesy of the Philadelphia Museum of Art KEY SET ENTRY Related Key Set Photographs The Street—Design for a Poster 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz Alfred Stieglitz The Street, Fifth Avenue Fifth Avenue—30th Street 1900/1901, printed 1903/1904 1900/1901, printed 1929/1937 photogravure gelatin silver print Key Set Number 267 Key Set Number 268 same negative same negative Remarks The date is based on stylistic similarities to Spring Showers—The Street Cleaner (Key Set number 269) and Spring Showers—The Coach (Camera Notes 5:3 [January 1902], pl. A). This photograph was made at Fifth Avenue and 30th Street with a Bausch & Lomb Extra Rapid Universal lens, and won a grand prize of $300 in the 1903 “Bausch & Lomb Quarter-Century Competition”(see Camera Work 5 [January 1904], 53; and The American Amateur Photographer 16 [February 1904], 92). 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: 1903, Hamburg (no. 424, as The Street, photogravure) 1903, San Francisco (no. 34a, as The Street—Winter) 1904, Washington (no.
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Family photographs by gertrude käsebier LEE GALLERY Winchester, Massachusetts PAUL M. HERTZMANN, INC. San Francisco, California 2 1 Attributed to Hermine KäsebierTurner Gertrude Käsebier and her Grandson Charles. Platinum print, ca. 1903. Acknowledgments We wish to thank Barbara L. Michaels, Ph. D., for her insightful catalogue essay, and her recent research on the photographer. The capable assistance of Michael Lee, Erica Lee and Erin McGrath and the useful information provided by Verna Curtis and William Homer are also appreciated. Conditions of Sale The photographs in this catalogue are offered subject to prior sale. Customers will be billed for shipping and insurance at cost. Applicable sales tax will be charged. All photographs are copyrighted. No images may be reproduced without written permission from the photographer’s estate. Lee Gallery Paul M. Hertzmann, Inc. 9 Mount Vernon Street, 2nd Floor Post Office Box 40447 Winchester, Massachusetts 01890 San Francisco, California 94140 Tel. 781 729-7445 Fax 781 729-4592 Tel. 415 626-2677 Fax 415 552-4160 Email [email protected] Email [email protected] www.leegallery.com 3 HEN Gertrude Käsebier began her photography career in the 1890s, the western Wworld had been ﬁghting through the great upheaval of the industrial revolution for nearly a century. Forced from their farms and small towns to ﬁnd work in the growing mines, mills, and factories, millions of people landed in polluted, disease-ridden, over- crowded cities. Widespread political corruption, gaping disparities of wealth and power, along with social, moral and religious turmoil, characterized the epoch. In reaction to this radical disruption of society, many social and artistic movements in Europe and the United States sought to recapture the values of the pre-industrial era, before unspoiled nature, rural life, independence, handcrafts, community, and spirituality were lost to industrialization.
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