Alfred Stieglitz

"A collection of previously unpublished correspondence between American artist Marsden Hartley and avant-garde impresario, editor, and photographer Alfred Stieglitz, My Dear Stieglitz chronicles Hartley's three-year-plus European pilgrimage before - and during the inception of - World War I. Beginning with Hartley's 1912 arrival in Paris, his letters to Stieglitz provide sweeping accounts of Gertrude Stein's salons, gossip from bohemian cafes of Montparnasse, and commentary on paintings by Picasso, Cezanne, and Matisse. He records encounters with Robert Delaunay, Paul Fort, Claude Debussy, Elie Nadelman, Eduard Steichen, and Charles Demuth, as well as other commanding figures as he navigates the thriving capital of modern art and world culture during the rise of Cubism and Futurism. Searching for artistic growth and inspiration, Hartley reports, with opinionated insight, on the European world of art in the age of dealers and gallery owners such as Ambroise Vollard, the Bernheim-Jeunes, and the Durand-Ruels.". "From Germany in early 1913, Hartley writes vibrant letters about the Expressionist artists in Munich, Wassily Kandinsky and Franz Marc, and their group Der Blaue Reiter. Hartley's missives are up-to-the-minute exposes on avant-garde trends in Germany and childlike lamentations on life in the bustling, modern city of Berlin. His glory in Germany turns solemn with the onset of World War I and the death in combat of his close friend, a German officer named Karl von Freyburg - a loss vividly depicted in Hartley's renowned war motif paintings.". "Stieglitz's correspondence from New York gives an American point of view of the European art climate while chronicling the effect of the 1913 Armory Show on modernism in America. Stieglitz sends Hartley money for expenses, summarizes the exhibitions held at 291, his gallery for modern art and photography, and comments upon the war raging in Europe.". "Closing in late 1915 with Hartley's return to an America filled with anti-German sentiment and to a New York City seasoned by the influx of modern art, My Dear Stieglitz provides an intimate perspective on modern art and the human condition during the tempestuous years of the early twentieth century."--BOOK JACKET.

This volume presents seventy-three of American photographer Alfred Stieglitz's finest works. The photographs span Stieglitz's entire career; his early European studies from the 1880s and 1890s; his views of New York City from the turn of the century; the portraits of the many artists and writers he supported; the extended portraiture of Georgia O'Keefe; his photographs of clouds, the Equivalents; and his final studies of New York City and Lake George from the 1920s and 1930s. This book focuses on Stieglitz's central vision of photography ("search for objective truth and pure form") which increasingly was about "antiphotographs" or images that move beyond simple representation. Originally published as a complement to the exhibition at the National Gallery of Art in 1983.

"Starting in the '20s - when Georgia was recognized as one of the most important protagonists of modernism in America - until his death, the artist and his works have attracted a great interest in the arts community and the American public. Despite the great gained recognition in America and Europe, only a few of his works have been exhibited to the European public. Artist and woman, Georgia O 'Keeffe (1887-1986) embodies the American myth of independence, individualism and greatness. His works are unique, as the combination of colors: the study of forms, the choice of tone and color, the curvy and sensual portion of the brush are repeated in games and new combinations, but never quite different. Founded in 1887 by a family of farmers and She went to art since childhood, Georgia O'Keeffe began his studies in Chicago then continued to New York. After working as a graphic design and teacher, from 1918 he devoted himself entirely to painting, with the support of the photographer and gallery owner Alfred Stieglitz, whom she married in 1924 and with whom he lived at 30 th floor of the Shelton Hotel in New York. These were the years when he began to paint the Big City. After many trips to the United States, following the death of her husband in 1946, he settled in New Mexico that had inspired so much. At the age of 66 years began to travel the world and devoted himself to experiments with clay. He died in 1986."--Transliterated from publisher's website.

"Catalogue arranged by Alfred Stieglitz, cover designed by Eduard J. Steichen"--p. .

"Stieglitz on Photography is a compilation of Stieglitz's most significant essays gathered from a variety of sources. They are published together here for the first time in a single, illustrated volume. Many of these writings have been unavailable in print for over fifty years. In addition to Stieglitz's commentary on the development of fine-art photography, pictorialism, and the founding of the Photo-Secession, included are notes and darkroom recipes from his early experimentation with night and color photography, platinum and photogravure printing, and other early processes."--BOOK JACKET.

"Ce catalogue a été édité à l'occasion de l'exposition Alfred Stieglitz et son cercle, 1905 - 1930, New-York et l'art moderne. Cette exposition a été la première manifestation européenne examinant non seulement la contribution de Stieglitz comme photographe et son influence sur la création photographique aux États-Unis mais aussi le rôle important qu'il joua au début du siècle pour faire connaître et comprendre aux artistes et au public américains les dernières tendances artistiques en Europe. Une sélection de quatre-vingts photographies a retracé l'évolution de l'art de Stieglitz du pictorialisme à la straight photography de 1889 à 1937 dix ans avant sa mort lorsqu'il cesse de photographier. Stieglitz aime composer des séries de photographies sur un thème donné : portrait architecture nature. Une dernière section a été consacrée aux oeuvres les plus significatives de photographes proches de Stieglitz".

A book of photographs of Georgia O'Keeffe taken by Alfred Stieglitz. The selection to be printed was selected by O'Keeffe, herself.