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Equivalent (1926), one of many photographs of the sky taken by Stieglitz.. Equivalents is a series of photographs of clouds taken by Alfred Stieglitz from 1925 to 1934. They are generally recognized as the first photographs intended to free the subject matter from literal interpretation, and, as such, are some of the first completely abstract photographic works of art.
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.
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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.
Minor White was inspired by Alfred Stieglitz's theory (Equivalents) from the 1920s. [5] [6] It was under Minor's influence that Doren began to photograph what he called Americana Faces which was a documentation of the land and its people from 1960 to 2003. [7] A "face" was not just a human face but included everything in the land and sky.
Photograph by Alfred Stieglitz (Note: Some art historians consider only the un-altered manufactured objects to be readymades. This list includes the pieces he altered or constructed.) Bottle Rack (also called Bottle Dryer or Hedgehog) (Egouttoir or Porte-bouteilles or Hérisson), 1914. A galvanized iron bottle drying rack that Duchamp bought in ...
Georgia O'Keeffe – Hands (1919) by Alfred Stieglitz Georgia O'Keeffe – Hands , also known as Georgia O'Keeffe (Hands) , is a black and white photograph taken by Alfred Stieglitz in 1919. It is part of a large group of more than 300 photographs that he took of the painter Georgia O'Keeffe , from 1917 prior to their 1924 marriage, through 1937.
Dove's works were based on natural forms and he referred to his type of abstraction as “extraction” where, in essence, he extracted the essential forms of a scene from nature. Dove exhibited his works at Stieglitz's 291 gallery in 1910 as part of the show "Younger American Painters", which also included Dove's old friend Maurer. [6]