98 Facts About Alfred Stieglitz


Alfred Stieglitz was an American photographer and modern art promoter who was instrumental over his 50-year career in making photography an accepted art form.

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Alfred Stieglitz's father was a lieutenant in the Union Army and worked as a wool merchant.

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Alfred Stieglitz, seeing the close relationship of the twins, wished he had a soul mate of his own during his childhood.

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Alfred Stieglitz attended Charlier Institute, a Christian school in New York, in 1871.

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In 1881, Edward Alfred Stieglitz sold his company for US$40, 000 and moved his family to Europe for the next several years so that his children would receive a better education.

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The next year, Alfred Stieglitz studied mechanical engineering at the Technische Hochschule in Berlin.

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In Vogel, Alfred Stieglitz found both the academic challenge he needed and an outlet for his growing artistic and cultural interests.

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In 1884, his parents returned to America, but 20-year-old Stieglitz remained in Germany and collected books on photography and photographers in Europe and the U S He bought his first camera, an 8 × 10 plate film camera, and traveled through the Netherlands, Italy and Germany.

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Alfred Stieglitz took photographs of landscapes and workers in the countryside.

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Alfred Stieglitz then wrote articles on the technical and aesthetic aspects of photography for magazines in England and Germany.

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Alfred Stieglitz won first place for his photography, The Last Joke, Bellagio, in 1887 from Amateur Photographer.

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Alfred Stieglitz considered himself an artist, but he refused to sell his photographs.

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Alfred Stieglitz's father purchased a small photography business for him so that he could earn a living in his chosen profession.

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Alfred Stieglitz regularly wrote for The American Amateur Photographer magazine.

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Alfred Stieglitz won awards for his photographs at exhibitions, including the joint exhibition of the Boston Camera Club, Photographic Society of Philadelphia and the Society of Amateur Photographers of New York.

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In late 1892, Alfred Stieglitz bought his first hand-held camera, a Folmer and Schwing 4×5 plate film camera, which he used to take two of his best known images, Winter, Fifth Avenue and The Terminal.

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Alfred Stieglitz gained a reputation for his photography and his magazine articles about how photography is a form of art.

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Alfred Stieglitz wrote most of the articles and reviews in the magazine, and was known for both his technical and his critical content.

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On November 16, 1893, the 29-year-old Alfred Stieglitz married 20-year-old Emmeline Obermeyer, the sister of his close friend and business associate Joe Obermeyer and granddaughter of brewer Samuel Liebmann.

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Alfred Stieglitz later wrote that he did not love Emmy, as she was commonly known, when they were married and that their marriage was not consummated for at least a year.

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Alfred Stieglitz came to regret his decision to marry Emmy, as she did not share his artistic and cultural interests.

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Alfred Stieglitz photographed extensively on the trip, producing some of his early famous images such as A Venetian Canal, The Net Mender and A Wet Day on the Boulevard, Paris.

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Later in the year, after his return, Alfred Stieglitz was unanimously elected as one of the first two American members of The Linked Ring.

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Alfred Stieglitz saw this recognition as the impetus he needed to step up his cause of promoting artistic photography in the United States.

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Alfred Stieglitz resigned from his position at the Photochrome Company and as editor of American Amateur Photographer and spent most of 1895 negotiating a merger of the two clubs.

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Alfred Stieglitz developed programs for the club and was involved in all aspects of the organization.

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Alfred Stieglitz turned the Camera Club's current newsletter into a magazine, Camera Notes, and was given full control over the new publication.

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Alfred Stieglitz continued to exhibit in shows in Europe and the U S, and by 1898 he had gained a solid reputation as a photographer.

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Alfred Stieglitz was paid $75 for his favorite print, Winter – Fifth Avenue.

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Alfred Stieglitz worked at the same pace as before the birth of his daughter, and as a result, the couple predominantly lived separate lives under the same roof.

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In May 1899, Alfred Stieglitz was given a one-man exhibition, consisting of eighty-seven prints, at the Camera Club.

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Alfred Stieglitz spent most of 1900 finding ways to outmaneuver these efforts, embroiling him in protracted administrative battles.

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Alfred Stieglitz spent much of the summer at the family's Lake George home, Oaklawn, recuperating.

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In December 1901, he was invited by Charles DeKay of the National Arts Club to put together an exhibition in which Alfred Stieglitz would have "full power to follow his own inclinations.

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Alfred Stieglitz was not only declaring a secession from the general artistic restrictions of the era, but specifically from the official oversight of the Camera Club.

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Alfred Stieglitz began formulating a plan to publish a completely independent magazine of pictorial photography to carry forth the artistic standards of the Photo-Secessionist.

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Alfred Stieglitz was determined it would be "the best and most sumptuous of photographic publications".

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Alfred Stieglitz was a perfectionist, and it showed in every aspect of Camera Work.

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Alfred Stieglitz spent much of the rest of 1904 photographing Germany while his family visited their relations there.

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On his way back to the U S Stieglitz stopped in London and met with leaders of the Linked Ring but was unable to convince them to set up a chapter of their organization in America.

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Alfred Stieglitz continued to focus his efforts on photography, at the expense of his family.

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Emmy, who hoped she would one day earn Alfred Stieglitz's love, continued giving him an allowance from her inheritance.

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Two months later the 42 year-old Alfred Stieglitz met 28 year-old artist Pamela Colman Smith, who wished to have her drawings and watercolors shown at his gallery.

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Alfred Stieglitz decided to show her work because he thought it would be "highly instructive to compare drawings and photographs in order to judge photography's possibilities and limitations".

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Alfred Stieglitz, hoping to capitalize on the popularity of the show, took photographs of her art work and issued a separate portfolio of his platinum prints of her work.

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Alfred Stieglitz made less than $400 for the year due to declining Camera Work subscriptions and the gallery's low profit margin.

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Alfred Stieglitz took three of Steichen's Autochromes with him to Munich in order to have four-color reproductions made for insertion into a future issue of Camera Work.

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Alfred Stieglitz was asked to resign from the Camera Club, but due to protests by other members he was reinstated as a life member.

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Alfred Stieglitz used this new infusion of cash to keep his gallery and Camera Work in business for the next several years.

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In 1910, Alfred Stieglitz was invited by the director of the Albright Art Gallery to organize a major show of the best of contemporary photography.

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Alfred Stieglitz wrote to fellow photographer George Seeley "The reputation, not only of the Photo-Secession, but of photography is at stake, and I intend to muster all the forces available to win out for us.

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However, his critics found that the vast majority of the prints in the show were from the same photographers Alfred Stieglitz had known for years and whose works he had exhibited at 291.

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Alfred Stieglitz started his own school of photography, and Kasebier and White co-founded the "Pictorial Photographers of America".

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Alfred Stieglitz agreed to be listed as an honorary vice-president of the exhibition along with Claude Monet, Odilon Redon, Mabel Dodge and Isabella Stewart Gardner.

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Alfred Stieglitz saw the popularity of the show as a vindication of the work that he had been sponsoring at 291 for the past five years.

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Alfred Stieglitz mounted an exhibition of his own photographs at 291 to run at the same time as the Armory Show.

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Alfred Stieglitz later wrote that allowing people to see both photographs and modern paintings at the same time "afforded the best opportunity to the student and public for a clearer understanding of the place and purpose of the two media.

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Alfred Stieglitz was troubled by the outbreak of World War I for several reasons.

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Alfred Stieglitz was concerned about the safety of family and friends in Germany.

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Alfred Stieglitz needed to find a new printer for the photogravures for Camera Work, which had been printed in Germany for many years.

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Alfred Stieglitz published a new journal, called 291 after his gallery, that intended to be the epitome of avant-garde culture.

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Alfred Stieglitz became aware of what was going on in avant-garde painting and sculpture and found that pictorialism no longer represented the future – it was the past.

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Alfred Stieglitz was influenced in part by painter Charles Sheeler and by photographer Paul Strand.

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Alfred Stieglitz was one of the first to see the beauty and grace of Strand's style, and he gave Strand a major exhibit at 291.

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Alfred Stieglitz devoted almost the entire last issue of Camera Work to his photographs.

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In January 1916, Alfred Stieglitz was shown a portfolio of charcoal drawings by a young artist named Georgia O'Keeffe.

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Alfred Stieglitz was so taken by her art that without meeting O'Keeffe or even getting her permission to show her works he made plans to exhibit her work at 291.

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Alfred Stieglitz's finally met Stieglitz after going to 291 and chastising him for showing her work without her permission.

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Alfred Stieglitz had finally found "his twin", and nothing would stand in his way of the relationship he had wanted all of his life.

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In early June 1918, O'Keeffe moved to New York from Texas after Alfred Stieglitz promised he would provide her with a quiet studio where she could paint.

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Alfred Stieglitz's had suspected something was going on between the two for a while, and told him to stop seeing her or get out.

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Alfred Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together.

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Alfred Stieglitz used their times apart to concentrate on his photography and promotion of modern art.

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Alfred Stieglitz photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life.

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Alfred Stieglitz shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair.

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In 1920, Alfred Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs.

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In 1922, Alfred Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe.

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Alfred Stieglitz would come refer to these photographs as Equivalents.

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Alfred Stieglitz spent time with Paul Strand and his new wife Rebecca, reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work.

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Alfred Stieglitz took a series of nude photos of her, and soon he became infatuated with her.

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In 1924, Alfred Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house.

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O'Keeffe later said "Alfred Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor.

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In 1927, Alfred Stieglitz became infatuated with the 22 year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love.

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Alfred Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well.

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In early 1929, Alfred Stieglitz was told that the building that housed the Room would be torn down later in the year.

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The Strands raised nearly sixteen thousand dollars for a new gallery for Alfred Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years.

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Alfred Stieglitz continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years.

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Alfred Stieglitz fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews.

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In 1932, Alfred Stieglitz mounted a forty-year retrospective of 127 of his works at The Place.

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Alfred Stieglitz included all of his most famous photographs, but he purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman.

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Alfred Stieglitz did not publish a catalog of the show, which the Strands took as an insult.

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Alfred Stieglitz said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good.

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In 1936, Alfred Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City.

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Alfred Stieglitz put on one of the first shows of Eliot Porter's work two years later.

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Alfred Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium.

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In early 1938, Alfred Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened.

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Alfred Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water.

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Alfred Stieglitz produced more than 2, 500 mounted photographs over his career.

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