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Examines the cultural legacy of Alfred Stieglitz by presenting and discussing pieces from his galleries by artists including Rodin, Matisse, Picasso, Duchamp, O'Keefe, and Hartley.
Collects the private correspondence between Georgia O'Keeffe and Alfred Stieglitz, revealing the ups and downs of their marriage, their thoughts on their work, and their friendships with other artists.
In this book [the author] draws upon her close association with Stieglitz and upon his own words to create a warm portrait of the focal figure of the modern art movement in America. The many direct quotations preserve in written form the bold, subtle nature of Stieglitz's speech and the brilliance of his parables and anecdotes. The 80 reproductions of Stieglitz's photographs constitute the largest selection ever published. Many are reproduced here for the first time. They powerfully attest to the purity of his vision. Ninety illustrations of a documentary nature, including additional Stieglitz photographs and work by artists he showed, are also reproduced--Jacket.
A fascinating biography of a revolutionary American artist ripe for rediscovery as a photographer and champion of other artists Alfred Stieglitz (1864–1946) was an enormously influential artist and nurturer of artists even though his accomplishments are often overshadowed by his role as Georgia O’Keeffe’s husband. This new book from celebrated biographer Phyllis Rose reconsiders Stieglitz as a revolutionary force in the history of American art. Born in New Jersey, Stieglitz at age eighteen went to study in Germany, where his father, a wool merchant and painter, insisted he would get a proper education. After returning to America, he became one of the first American photographers to achieve international fame. By the time he was sixty, he gave up photography and devoted himself to selling and promoting art. His first gallery, 291, was the first American gallery to show works by Picasso, Rodin, Matisse, and other great European modernists. His galleries were not dealerships so much as open universities, where he introduced European modern art to Americans and nurtured an appreciation of American art among American artists.
Essay by John Szarkowski.
A captivating, spirited account of the intense relationship among four artists whose strong personalities and aesthetic ideals drew them together, pulled them apart, and profoundly influenced the very shape of twentieth-century art. New York, 1921: acclaimed photographer Alfred Stieglitz celebrates the success of his latest exhibition—the centerpiece, a series of nude portraits of his soon-to-be wife, the young Georgia O'Keeffe. The exhibit acts as a turning point for the painter poised to make her entrance into the art scene. There she meets Rebecca Salsbury, the fiancé of Stieglitz’s protégé, Paul Strand, marking the start of a bond between the couples that will last more than a decade and reverberate throughout their lives. In the years that followed, O'Keeffe and Stieglitz become the preeminent couple in American modern art, spurring on each other's creativity. Observing their relationship leads Salsbury to encourage new artistic possibilities for Strand and to rethink her own potential as an artist.
A close reading of photography yields a groundbreaking cultural biography; reveals photography's impresario, Alfred Stieglitz, as he has never been revealed before and looks at his photographs as they have never been looked at before.
"This volume is published in conjunction with the exhibition "Stieglitz, Steichen, Strand," held at The Metropolitan Museum of Art, New York, from November 10, 2010, to April 10, 2011."
Mia Spiro's Anti-Nazi Modernism marks a major step forward in the critical debates over the relationship between modernist art and politics. Spiro analyzes the antifascist, and particularly anti-Nazi, narrative methods used by key British and American fiction writers in the 1930s. Focusing on works by Djuna Barnes, Christopher Isherwood, and Virginia Woolf, Spiro illustrates how these writers use an "anti-Nazi aesthetic" to target and expose Nazism’s murderous discourse of exclusion. The three writers challenge the illusion of harmony and unity promoted by the Nazi spectacle in parades, film, rallies, and propaganda. Spiro illustrates how their writings, seldom read in this way, resonate with the psychological and social theories of the period and warn against Nazism’s suppression of individuality. Her approach also demonstrates how historical and cultural contexts complicate the works, often reinforcing the oppressive discourses they aim to attack. This book explores the textual ambivalences toward the "Others" in society—most prominently the Modern Woman, the homosexual, and the Jew. By doing so, Spiro uncovers important clues to the sexual and racial politics that were widespread in Europe and the United States in the years leading up to World War II.
This striking volume details the history of Camera Notes, the most significant and influential American photographic periodical of its time.