Alfred
Stieglitz

Modernist Photographer

A photographic figurehead

Throughout the course of his life, Alfred Stieglitz maintained an unwavering connection to the world of art and photography, cultivating relationships with artists and photographers from both Europe and the United States.

He established galleries, published journals, and captured the subtleties of his subjects through his intimately expressive portraiture. At a time when the photographic medium was still in its infancy, Stieglitz emerged as a pivotal figure, helping to elevate it to the exalted sphere of fine art.

So how did this man, whose education lay in mechanical engineering, come to leave such a lasting mark on the landscape of photography?

As we explore his story, we shall uncover the driving forces that fuelled Stieglitz’s passion and the impact he has on the generations of photographers that follow his footsteps.

Self Portrait, 1886 · National Gallery of Art, Washington, D.C., US

"In photography there is a reality so subtle that it becomes more real than reality."

A favoured beginning

Stieglitz was born on January 1, 1864, in Hoboken, New Jersey, to a German-Jewish family. His father, Edward Stieglitz, was a successful businessman who valued the arts, and young Alfred grew up surrounded by the finer things in life. The Stieglitz household was brimming with books, musical instruments, and paintings, nurturing Alfred’s passion for the arts from a young age.

Stieglitz attended the City College of New York, where he studied mechanical engineering. It was during his time in college that he discovered his love for photography. A gift from his father, a Kodak camera (introduced in 1889), opened up a new world of artistic possibilities, and Stieglitz became enthralled with the potential of this emerging medium.

The European influence: A crucible of talent

At the age of 21, Stieglitz moved to Germany to continue his studies at the Technische Hochschule Charlottenburg (Berlin). His time in Europe exposed him to new ideas and artistic movements, as well as the thriving Berlin photographic scene. As he explored the city’s art galleries and photography studios, his passion for the medium grew, and he began experimenting with his own photographic style.

Stieglitz’s European sojourn introduced him to prominent artists and photographers such as Heinrich Kühn and Edward Steichen, both of whom would later collaborate with Stieglitz on various projects. The friendships he formed and the experiences he had during this time would shape his artistic vision and lay the groundwork for his future contributions to the world of photography.

The Camera Club of New York: A community of curiosity

Upon returning to New York, Stieglitz became deeply involved in the city’s photography scene. In 1884, he joined the Camera Club of New York, an organisation dedicated to promoting and cultivating a love for photography among artists. The Camera Club provided a space for photographers to exchange ideas, share their work, and collaborate on projects.

Largely influenced by Stieglitz, the Camera Club of New York became a vital part of the city’s artistic landscape. It’s members included some of the most influential photographers of the time, such as Gertrude Käsebier, Clarence White, and Edward Steichen. Together, they pushed the boundaries of photography as an art form, and their collective efforts laid the foundation for Stieglitz’s future projects.

The Camera Club’s legacy endures to this day, continuing to inspire and support photographers in their artistic pursuits.

Dualities - Dorothy Norman, 1932 · Alfred Stieglitz ・ Gelatin Silver Print · 25 x 15.9 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

Georgia O’Keefe - Hands and Thimble, 1919 · Palladium Print · 24.4 x 19.4 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

Equivalent, 1930 · Gelatin Silver Print · 9.4 x 11.9 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

Equivalent, Spiritual America, 1923 · Gelatin Silver Print · 11.6 x 9.1 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

First Snow and the Little House, 1923 · Gelatin Silver Print · 18.6 x 23.7 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

Equivalent, 1927 · Gelatin Silver Print · 8.9 x 11.6 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

Rainbow, 1920 · Gelatin Silver Print · 11.6 x 9.1 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

Mid Snow and Ice, 1894, Printed 1920/39 · Gelatin Silver Print · 15.9 x 21.5 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

Dorothy True, 1919 · Gelatin Silver Print · 24 x 19.2 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

291 Fifth Avenue: A haven for free-thinkers

In 1905, Stieglitz opened the Little Galleries of the Photo-Secession, the first gallery dedicated solely to photography. Located at 291 Fifth Avenue in New York City, the gallery quickly became a haven for pioneering photographers and artists seeking to challenge the status quo. The Little Galleries showcased the work of both European and American artists, creating a dialogue between different artistic traditions and styles.

Stieglitz organised pivotal exhibitions featuring the work of his contemporaries, such as Edward Steichen and Gertrude Käsebier. Through these exhibitions, Stieglitz elevated photography to the same level as painting and sculpture, showcasing the medium’s potential for artistic expression.

The Little Galleries became a touchstone for the avant-garde movement in photography, drawing in crowds of curious art lovers eager to witness the revolutionary work on display. The gallery’s attendance numbers reached up to 3,500 visitors in 1910, a testament to it’s impact on the New York art scene.

Camera Work: A chronicle of photographic excellence

In 1903, Stieglitz founded Camera Work, a groundbreaking photography journal that aimed to showcase the best of contemporary photography and promote the Pictorialist movement. Camera Work featured the works of prominent photographers and artists from both sides of the Atlantic, including Alvin Langdon Coburn, Edward Steichen, and Heinrich Kühn. The journal solidified Stieglitz’s commitment to advancing photography as an art form, offering readers a curated selection of images that demonstrated the potential for beauty and artistic expression within the medium.

Camera Work challenged the status quo, advocating for the Pictorialism movement and promoting the artistic possibilities of photography. Stieglitz’s editorial vision and keen eye for talent ensured that Camera Work became a touchstone for the photographic community, offering inspiration to an emerging class of photographic artists.

Over its 14-year run, Camera Work published a total of 50 issues, featuring more than 250 photogravures by over 50 different photographers.

Intimate portraiture: A window to the soul

Portraiture played a significant role in Stieglitz’s oeuvre. He was known for his ability to capture the essence of his subjects, reflecting their most basic and unadulterated being through the lens of his camera. Stieglitz’s portraits of notable figures such as painter Georgia O’Keeffe, his future wife, and sculptor Auguste Rodin, showcased his unique talent for intimate and evocative portraiture.

These portraits served as a reflection of Stieglitz’s personal relationships and emotions. In the case of Georgia O’Keeffe, Stieglitz’s portraits of her not only documented their evolving relationship, but also captured her growth as an artist. His touching and numerous images of O’Keeffe are as much a testament to their love as they are a celebration of her artistry.

Long before the advent of social media, Stieglitz’s intimate portraiture invited viewers to engage with the person behind the image. His skill in capturing these moments of vulnerability and strength made him a master of the photographic portrait, leaving a lasting impact on the medium and setting the bar for this creative practice.

Cover of Camera Work, No 2, April 1903

Drops of Rain, 1908 · Camera Work, No 23 1908

As we reflect upon Stieglitz’s life and work, we are left to ponder the power of single individual to change the course of art history.

Stieglitz’s journey was not one of mere artistic exploration, but one of creativity, innovation, and camaraderie. His commitment to nurturing the talents of his peers, rather than merely his own, is a rare trait that sets him apart as an architect of the artistic community we know and love today.

With every click of the shutter, capture of a camera phone, or gaze upon an image, we can be reminded not only of the present pleasures but also of the historical resonance embedded within.

Alfred Stieglitz’s legacy beckons us to reflect on the continuum of innovation and artistic evolution, reminding us that the very act of artistic creation is an ongoing narrative that we all contribute to in our own unique ways.

Image Credits

· Banner : Georgia O’Keefe – Hands and Horse Skull, 1931 · Gelatin Silver Print · 19.3 x 24.4 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

Georgia O’Keefe - Hand, 1918 · Palladium Print · 11.2 x 9.2 (cm) · Alfred Stieglitz Collection, The Art Institute of Chicago, US

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Alfred Stieglitz