After serving as the editor of the publication Camera Notes, he published his own journal, Camera Work, which evolved from a showcase for the Photo-Secession to a forum for international modern art of all media. Stieglitz’s formidable activity as a publisher and a gallerist paralleled that of his work as an artist. His later work, too, contained multiple meanings, whether a photograph of dying poplars at his family estate in Lake George that doubled as a meditation on human mortality or of New York City skyscrapers that embodied progress and modernity. He saw these as music in pictures, asserting that visual art could be as emotional and nonrepresentational as music. This approach is especially apparent in the dozens of views he made of his wife, Georgia O’Keeffe, which Stieglitz called a single “composite portrait.” Starting in 1922, Stieglitz also made nearly abstract photographs with studies of clouds he called Equivalents. In his portraits of fellow artists he sought to represent their psychology and not merely their likeness. This directness was echoed in his use of photographic papers such as platinum, palladium, and later, gelatin silver prints. During this early part of his career, Stieglitz also favored carbon printing, which produced deep tones and a soft, drawing-like quality.īeginning around 1910, Stieglitz embraced more direct and straightforward images, moving away from a painterly, impressionistic approach. He printed these images initially as photogravures to emphasize atmospheric effects later, when he published his fine art journal Camera Work, he insisted on lush, tipped-in photogravures for the images. After studying photography in Europe in the 1890s, Stieglitz came home to New York and turned his camera to the streets and buildings of a rapidly changing city. He even served as a juror for the very first photography exhibition at the Art Institute of Chicago, held in 1900. A trailblazing photographer, Alfred Stieglitz vigorously championed photography as a fine art and established its value as modern art in America through his own work, the journals he published, and the shows he held at his influential New York galleries.
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