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Alfred Stieglitz HonFRPS (/ ˈ s t iː ɡ l ɪ t s /; January 1, 1864 – July 13, 1946) was an American photographer and modern art promoter who was instrumental over his 50-year career in making photography an accepted art form.
Stieglitz first published The Steerage in the October 1911 issue of Camera Work, which he had devoted to his own photography. It appeared the following year on the cover of the magazine section of the Saturday Evening Mail (20 April 1912), a New York weekly magazine. It was first exhibited in a show of Stieglitz's photographs at "291" in 1913.
At the start of the 20th century Alfred Stieglitz was the single most important figure in American photography. [4] He had been working for many years to raise the status of photography as a fine art by writing numerous articles, creating exhibitions, exhibiting his own work and, especially by trying to influence the artistic direction of the Camera Club of New York.
In founding the Photo-Secession, Stieglitz asserted that it was a “rebellion against the insincere attitude of the unbeliever, of the Philistine, and largely exhibition authorities.” [7] While this was in part true, his actions demonstrated that the creation of the Photo-Secession was also about advancing his own position in the world of ...
Alfred Stieglitz's photograph The Steerage (1907) was an early work of artistic modernism, and considered by many historians to be the most important photograph ever made. [1] Stieglitz was notable for introducing fine art photography into museum collections.
Once popularized by Stieglitz and other notable photographers, such as Paul Strand, it later became a hallmark of Western photographers, such as Edward Weston, Ansel Adams and others. Although taken by some to mean lack of manipulation, straight photographers in fact applied many common darkroom techniques to enhance the appearance of their prints.
The Terminal (1893) by Alfred Stieglitz. The Terminal is a black and white photograph taken by Alfred Stieglitz in 1893. The photograph was taken in New York using the small 4 x 5 camera, which was a more practical instrument to document the city life than the 8 x 10 view camera, who could only work with a tripod.
In September, 1894, Alfred Stieglitz returned to New York after an extended tour in Europe. He found both the quality and quantity of what he considered to be artistic photography, such as that promoted by the Linked Ring in Britain, was much greater in Europe than in the United States, and he was determined to do something to advance fine art photography in America.