![]() In 1910, he organized a show for Albright Art Gallery, covering more than six hundred stunning prints by various artists. The National Art Club organized Special Exhibition of Contemporary Art that displayed Stieglitz’s prints along with the work of other major photographers and painters. The Steerage a depiction of bow ship loaded with passengers, is among the most significant photographs of 20 th century.įinancial problems caused a temporary closure Little Galleries restored in 1908 entitled 291. In December, Camera Work, a new magazine by Stieglitz started its publication that purely focused on photography.įollowed by a mental and physical exhaustion caused by the extreme devotion to Camera Work, on 25 November 1905, Stieglitz organized Little Galleries of the Photo-Secession, exhibiting prints by 39 artists. In 1902, Stieglitz organized a show at Arts Club that displayed the artworks by his friends. Later, he resigned from the post of Camera Notes’ editor. In 1899, Stieglitz had his first one-man show at the Camera Club. Its first issue entitled Camera Notes, was published in July, 1897. To promote the artists’ works and writings, he proposed the idea of substituting the Club’s newsletter by a magazine. The two clubs united in 1896 and Alfred Stieglitz became the vice president of the new organization. After being elected as one of the first two American member of the Linked Ring, Stieglitz resigned as editor of The American Amateur Photographer and the Photochrome Company to pursue his mission of amalgamating the only two photographer societies of New York, the Society of Amateur Photographers and the New York Camera Club. In 1983, Stieglitz accepted a job as a co-editor of The American Amateur Photographer Magazine.Ī Venetian Canal, The Net Mender and A Wet Day on the Boulevard, Paris, are some of his famous work from 1894. In 1892, he captured The Terminal and the Winter, Fifth Avenue, two of his exceptional images that further heightened his fame. 15.Stieglitz father helped him purchase a photography related business, Photochrome Engraving Company though the business didn’t make much profit. Alfred Stieglitz et al., “An Apology,” Camera Work 1 (January 1903), p. Alfred Stieglitz, “ Camera Work Prospectus,” August 25, 1902, reprinted in Richard Whelan, ed., Stieglitz on Photography: His Selected Essays and Notes (Aperture, 2000), pp. The last issue of Camera Work (49–50, June 1917) featured early work by Paul Strand, presaging Stieglitz’s own new direction toward straight photography. With these changes, and the advent of World War I, subscribers dwindled and the publication schedule became increasingly irregular. As 291’s exhibition program moved beyond photography to embrace painting and sculpture, the magazine began to cover modern art, taking on a more international focus. In the journal’s early years, Stieglitz prominently featured artists of the Photo-Secession, including James Craig Annan, Frank Eugene, Gertrude Käsebier, Edward Steichen, Frederick Evans, Alvin Langdon Coburn, Clarence White, and others. This was seen as a major improvement over the typical halftone reproductions employed in other publications. ![]() ![]() Most importantly for Stieglitz, Camera Work boasted high-quality photogravures-printed under Stieglitz’s supervision and tipped in by hand-in order to better represent subtle gradations of tone and value. Its Art Nouveau cover was designed by Edward Steichen, and the quarterly printed some of the best of American art criticism, often reproducing reviews of 291 shows from other publications. In the prospectus for Camera Work, he argued that the journal would be independent, “owing allegiance only to the interests of photography.” The first issue was published in January 1903, and Stieglitz declared therein his standards of inclusion: “Only examples of such work as gives evidence of individuality and artistic worth, regardless of school, or contains some exceptional feature of technical merit, will find recognition in these pages.” Ĭamera Work was a sumptuous, erudite publication. Stieglitz had edited two previous publications- The American Amateur Photographer and Camera Notes -before deciding in 1902 that he wanted to put his energies toward an autonomous, high-quality magazine intended to elevate and promote the art of photography. ![]()
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