Primary

Alfred H. Barr, Jr. Papers, Beaumont Newhall Papers, and Department of Circulating
Exhibitions Records.

This collection at the Museum of Modern Art Archives showcased several newspaper
articles from the early 1900s discussing the various accomplishments of the pictorialists
during the twentieth century, including Alfred Stieglitz. It showed how photography was
finally being accepted by parts of society as an art form.
Artistic Camera Work: A Fine Collection of Photographs by Alfred Stieglitz. New York
Tribune 14 May 1899: 39. Print.
The main idea of this newspaper article is how the photographical work of Alfred
Stieglitz not only was a form of art but brought art to a new level. The author discusses
Stieglitzs collections composed of photographs taken in European countries and in NYC.
The article also provides insight to the defining characteristics present in Stieglitzs
pieces and pictorial photography in general. There is also an explanation to various
methods about creating prints, which were all used by Stieglitz. It is mentioned that these
processes broke through old barriers in photography. This article is useful because it
provides information on the processes Stieglitz used to create prints and explains how
these methods were innovative and vital in photography. The article prompts me to
conduct further research on other articles from this this time period (1890s) because
during this time Stieglitzs career was just beginning.
Barberie, Peter. Telephone interview. Feb. 2015.

In this telephone interview, Peter Barberie, who works at the Alfred Stieglitz Center at the
Philadelphia Museum of Art, discussed the Alfred Stieglitzs leadership and legacy in art.
Barberie provided insight to Stieglitzs role in the Pictorialist movement. This interview
was a helpful source because Barberie provided his personal opinions on Stieglitzs work,
for instance, by answering our questions about which of Stieglitzs jobs was most vital to
the success of the movement and the importance of the Pictorialist movement in general.

Carl Van Vechten papers, Manuscripts and Archives Division, The New York Public Library.
Boxes 2, 19, 21, 22.
This this collection at the New York City Public Library consisted of letters written by
Georgia OKeeffe and Alfred Stieglitz. The letters discussed the growth of the pictorialist
movement and some of Stieglitzs accomplishments. There were also advertisements for
the American Place Gallery sent to Van Vechten and praise from Stieglitz regarding his
book titled Nigger Heaven.

De Zayas, Marius. Untitled. 291 7/8 (1915): 1-2. Print.

Zayas provides a laudatory journal article, in reference to Alfred Stieglitz, expressing the
goals of photography in this time period and to what extent Stieglitz succeeded in
meeting these goals. Zayas reveals that photography was aimed at revealing truth and
objectivity of ones surroundings. He also praises Stieglitz, calling him a creator, for
seeking to express truth through his photographs. Zayas renders unique insight and theory

to what photography had done to art; freeing it from having to abide to common notions
of beauty. Zayas, being an art critic, apart of the art scene in New York City, and
working alongside Stieglitz under 291 makes this article biased and explains why
Stieglitzs is spoken of so highly. This article is useful because it explains how
photography influences art, which hasnt come up in any other secondary sources.

Greenough, Sarah. Personal telephone interview. Feb. 2015.

During this telephone interview, Sarah Greenough, who is the most well known expert on
Stieglitz and works at the National Gallery of Art, answered our questions which focused
on the Photo-Secession and how Stieglitz was able to unify the members and establish
himself as the leader of the society of photographers. Greenough also discussed how
external factors, such as the opening of the MoMA and the Great Depression affected
Stieglitz and his movement.

Grundberg, Andy. Stieglitz Felt the Pull of Two Cultures. New York Times 13 Feb. 1983. Print.

In this article, Grundberg provides an analysis of Alfred Stieglitzs legacy in terms of

establishing the main characteristics of Modern art, in a time when this new type of art
was being challenged. He claims that Stieglitzs photographs were influential because of
how they reflected what Modern art was, a mix of traditional and new art concepts.
Grundberg also explains how Stieglitz's photography evolved from adhering to
Pictorialist belief, followed by purist beliefs, and later to modern esthetic. This article is
also valuable because it discusses the historical social context of the period that explains

why Stieglitz was such an influential figure. Grundberg was a writer who focused
primarily on photography and art. Therefore, he expresses admiration towards Stieglitz
and his accomplishments, which accounts for the bias that is present. Nevertheless, he
notes discrepancies in Stieglitzs claims versus his actual actions and photographs.

Hartmann, Sadakitchi. "The Photo-Secession: A New Pictorial Movement." The Craftsman VI:
No. 1 (1904): 30-37. Digital Library for the Decorative Arts and Material Culture.
The thesis of this journal article is that the work of the Photo-Secessionist should be
regarded as a form of artistic expression. Hartmann begins by explaining what the PhotoSecession was by definition and what the group was attempting to do during this time
period-- to hold together Americans devoted to pictorial photography by attaining
recognition for photography as a distinctive medium of expression. Hartmann then
focuses in on one exhibition held by the Photo-Secession in Pittsburgh, noting that
although the society should be seen as a whole, each component should be analyzed
separately. He provides insight to the different styles used by the most well-known PhotoSecessionists; whether it be purism, extremism, pieces lacking versatility-- but still
displaying skill, or more versatile pieces. Hartmann, although praising the societys work,
does not fail to mention the comments by viewers that prove that some at the time did not
understand what the photo-Secession or the photographs truly meant.

Haskin, Frederic J. Growth of the Art of Photography. The Salt Lake Tribune 29 March
1907:3. Print.

This article of the newspaper showcases Alfred Stieglitz as the forefather of photography.
It explains the forever-lasting achievements that Stieglitz contributed to the movement of
Pictorialism and to the formation of photography in the world of modern art. He made
and used the camera in a way to create effects with light, shadows, and facial language.
Facial expressions beforehand were only believed to be of importance to the work of
painters, but Alfred Stieglitz proved this to be wrong. Alfred Stieglitzs techniques that he
established are still used by modern day photographers. This article is reliable because
The Salt Lake Tribune is a well-known and dependable newspaper for accurate
information, even though this article is biased because it depicts Alfred Stieglitz as
nothing but a major and important force in the movement of Pictorialism.

MacKenzie, Allan C. American Pictorial Photography at Glasgow. Brush and Pencil 8.3
(1901): 169-176. JSTOR. Print.
MacKenzie provides a journal article describing the photography present at an exhibition
in Glasgow. He describes the exquisite nature of all the pictorial pieces and describes the
exhibition as a major milestone for artistic photography. He claims that the exhibition
helped the cause gain much respect and thanks to it, photography received much more
attention. MacKenzie even went to the point of saying the Americans were ahead of the
Europeans in this cause. He then went on to mention some of the main photographers and
figures that led to the success of the exhibition, many of the members being apart of the
Photo-Secession. He also mentions various photographs, some of the most popular, and
praises them for their artistic quality.
Miller, Angela. Telephone interview. Feb. 2015.

During this interview, Professor Angela Miller, who teaches a class on art history of the
19th and 20th centuries, discussed the role Stieglitz played in transforming photography
into a form of art and creating this entire new aesthetic to photography as well as being a
prominent figure in the arrival of modern art in America. Miller also provided insight to
claims that focus on Stieglitz being an elitist and dictator-like in his businesses, which
have rarely been discussed in books or articles.

Mitchell Kennerley papers, Manuscripts and Archives Division, The New York Public Library.
Boxes: 1, 6, 7, 9, 10.
This collection at the New York City Public Library showcases letters on microfilm
between Mitchell Kennerley and Alfred Stieglitz. The letters discuss the artwork in
Stieglitzs galleries and the way the movement of transforming photography into a form
of art is going. There is correspondence between Stieglitz and Kennerly that provide
insight to their relationship, which was fundamental to the establishment of the Intimate
Gallery that was located within Kennerleys Anderson Galleries.

Naumann, Francis M. "Modern Art and America: Alfred Stieglitz and His New York Galleries.
Artforum International 39.9 (2001): 173. Print.
The main idea of this journal article is the legacy of Alfred Stieglitz that was achieved
through the various art galleries that he founded and directed. Naumann states that his
galleries led him into becoming the main promoter of American and modern European
artists, as well as an art dealer for these artists. However, a main belief that Stieglitz
enforced was for art to not be considered a profit-oriented item. Naumann also explains

the acceptance that Stieglitz had for all forms of art and how he opened his gallery to
these other art forms. Furthermore, he discusses an indirect legacy Stieglitz left. He
claims that Stieglitz did not want for European art to overpower or control the way that
American art would. In spite of this, the European artists he introduced would have
lasting effects on the art of up-and-coming American modernists. Bias is present in article
since Naumann commends the work of Stieglitz and agrees with the assertion that
Stieglitz was the most vital factor in introducing modern art in America. The bias can also
be accredited to Naumann being an art dealer himself and possibly esteeming Stieglitz.

Pearcy, Glen J. Alfred Stieglitz. The Harvard Crimson 13 Oct. 1965. Print.

This newspaper article claims that Stieglitz was the greatest photographer of all, elevating
photography until it was considered a form of art. In 1924, the Boston Museum of Fine
Arts requested photographs from Stieglitz to exhibit. Stieglitzs struggle, hard-work, and
dedication was finally propelling the movement of photography becoming recognized as
modern art.

Pictorial Photography. The New York Times 16 March 1902: 6. Print.

This articles main idea is that the claim of pictorial photography as a form of art can be
justified. The author provides a definition of art, by saying it is created when the
personality of the maker is reflected through the work of art and pictorial photography
fulfills this qualification. Although the article does not bring up Stieglitzs role in pictorial
photography or the Photo-Secession, it does address how pictorial photography was

viewed by contemporary and ordinary photographers at the time. The article explains
why and how the Pictorialists were rejected by these ordinary photographers. There is
also an explanation of how the photographing methods differed. The article provides
insight to true art was considered during this time period.

Ralph, Flint. What Is 291? 291 12 (1916): 5. Print.

In this journal article, Flint examines what Gallery 291 truly was. He comes to the
conclusion that there cannot be one single and concrete answer to what it was but rather
to its significance in terms of the modernist art movement. Flint gives insight to how
Stieglitz was the first to showcase works by the main figures of the new art movement in
Europe and America. He also mentions that not only photography was displayed in
Stieglitzs galleries, but all forms of art. This article is useful in answering my research
question because it analyzes what Stieglitz was trying to achieve in the art world and by
what means. Flint also prompts me to conduct further research on a special volume of
Stieglitzs Camera Work that discusses what Gallery 291 was and a book called,
America and Alfred Stieglitz.

Rice, Shelley. Personal interview. 19 Dec. 2014. Conducted at the Silver Center in NYU.
In this interview, Professor Shelley Rice from New York University answered several of
our questions concerning Alfred Stieglitzs major impact on the world of art. Rice began
by speaking about Stieglitzs initial interest in photography and went on to discuss how
he was a leader throughout his lifetime and how his legacy is still prominent in our world,
today. Rice also explained how revolutionary the art Stieglitz created was but also how

his role allowed modern art to rise and as well as different branches of photography, such
as urban photography through the photographs he took of New York City. This source
allowed us to understand our topic on a level that was different from reading the
information off a secondary source or archival documents because Rice cleared up any
information we were unsure about and we were allowed to ask questions that weren't
addressed in depth, in the sources we viewed.

Stieglitz, Alfred. Correspondence between Ezra Pound and Alfred Stieglitz. Digital image.
Beinecke Rare Book & Manuscript Library. <http://brbldl.library.yale.edu/vufind/Record/3870126?image_id=11236991>
This letter sent from Ezra Pound to Alfred Stieglitz on December 20th, 1934 discusses
Stieglitzs photographs being displayed. Pound was an American poet and critic. He was a
vital figure in the Modernist movement. He explains to Stieglitz about his joy of learning
that his photographs will be exhibited and that he hoped to write a review on his works. He
also mentions how he knows of Stieglitz and mentions another artist- Picabia. This letter is
useful because it directly describes Stieglitzs popularity at the time and implies his
influence over artists and people involved in modernist movements.

Stieglitz, Alfred. Letter : Alfred Stieglitz to Ansel Adams. Digital image. Beinecke Rare Book &
Manuscript Library. <http://brbl-dl.library.yale.edu/vufind/Record/3567688?
image_id=1311929>
In this letter, written by Alfred Stieglitz to Ansel Adams on December 21st, 1938,
Stieglitz discusses a book he received from Adams. During the time when this letter was
written, Stieglitz was working in An American Place gallery, meaning it was towards the
end of his career. Stieglitz expresses delight at receiving the book and especially at the

high quality and overall greatness of Adams's photographs in the book. Adams was an
American photographer who focused on creating black and white landscape photographs.
This letter is useful because it shows how Stieglitz had connections with other
photographers and interacted with other artists during his career.

Stieglitz, Alfred. Letter : Alfred Stieglitz to Marie Rapp Boursault. Digital image. Beinecke Rare
Book & Manuscript Library.
Alfred Stieglitz wrote this letter to Marie Rapp Boursault to tell her how he misses her
and finds his work to be much more time consuming without her. She was an assistant for
gallery 291. This letter is evidence for Alfred Stieglitzs leadership in Pictorialism, as
he admits he is very busy running his gallery alone.

Stieglitz, Alfred. [Tribute to Stieglitz], Holograph. Digital image. Beinecke Rare

Book & Manuscript Library.
This letter is a tribute to Stieglitz for his work as the editor of Camera Notes. Written in
1902, the letter explains how some members of the Pictorial Photography Movement did
not want Stieglitz to end his work on the journal. They explain their need for Stieglitz as
leader of the movement because of his character traits. This letter was written as a
method of impeding Stieglitzs retirement, and was signed by 104 photographers and
writers.

Strand, Paul. Letter: Paul Strand to Alfred Stieglitz. Digital image. Beinecke Rare Book &
Manuscript Library.

This letter is written by Paul Strand, who was a photographer, to Stieglitz talking about
the business within Stieglitzs art galleries. The letter shows proof of the Stieglitz circle
and the various ties Stieglitz held with artists and relates to the thesis because it shows
how Stieglitz worked with others to spread the new movement of Pictorialism.

Strand, Paul. Letter: Paul Strand to Alfred Stieglitz. Digital image. Beinecke Rare Book &
Manuscript Library.
This letter is written by Paul Strand to Stieglitz talking about his own works. Paul Strand
was an artist during the Pictorialist movement and was part of Stieglitzs circle. This
shows Stieglitzs influence on other artists (legacy) and proof of his circle. This relates to
the thesis because it shows how Stieglitz influenced the new art movement and how his
creativity inspired others.

The Cameras Work: Pictorial Photography as a Distinct Art. Evening Star [Washington,
D.C.] 23 Jan. 1904: 11. Print.
The main idea of this article is the ability of the Photo-Secession group, in particular
Alfred Stieglitz, to elevate photography to a form of art. The author describes how
Stieglitz and his efforts in leading the Photo-Secession transformed the way the camera
itself was viewed by other artists. They also provide insight into how the camera was
originally viewed as a simple machine but became a medium for individual expression
for photographers. There is also information on specific arguments made and their
justification as to why photography could be considered a form of art. There is bias
present in this article, as can be seen when the author states the claims against
photography being art are completely wrong. Furthermore, the author provides his own

reasons in support of this claim. This is a valuable resource for answering my research
question, since it explains Stieglitzs legacy by comparing society's views prior to and
after his efforts.

Tisa, Benedict. "Pictorialists' Movement Brought New 'Reality' To Their Art." Editorial.
Darkroom Photography 27 June 1986: n. pag. Chicago Tribune. Chicago Tribune. Web.
20 Sept. 2014.
Tisas article provides information on the Pictorialist movement in terms of important
figures and people who led the movement. The article also provides insight into what the
main goal of the Pictorialists was and to what extent that goal was met. He then moves
on to note the other esthetics that rivaled that of Pictorialism in early 20th century, such
as the purists and modern straight esthetic. Tisa then explains the impact of pictorialists
principles on modern day portrait and illustrative photography, as well as societies
founded to continue the use of these principles in photography today.
Tisas article offers valuable information regarding the principles of the Pictorialist
movement, the main artists of this movement, and the processes used to create Pictorial
photographs. The models and inspiration of this movement are also mentioned. Although
there is focus on the rise of popularity and peak of this movement, Tisa provides
information on the decline of the movement, in addition to subsequent photography ideas
and principles.

Women as Baby Photographers New-York Tribune 27 Aug. 1900: 7. Print. Chronicling

America: Historic American Newspapers. Lib. of Congress.

This newspaper article focuses on one of the effects that modern photography was having
on society at the turn of the 20th century. The article is found on the Only Womans Page
because it describes the new job that women were taking on during this time, which was
to photograph babies and young children over the trajectory of their lives, in order to
complete photo-albums. The author explains that modern photography made this job a
possibility. Although the thought of creating photo-albums filled with childhood pictures
isnt uncommon now, this article proves how the beginning of this practice marks another
shift in society, in respect to the use of photography and the camera.

291 The Mecca and the Mystery of Art in a Fifth Avenue Attic. The Sun 24 October 1915:
6. Print.
The main idea of this article is the legacy left by Alfred Stieglitz in setting the foundation
for modern art and being the most prominent advocate for this new movement. The
author provides insight into how Stieglitz was able to arouse initial interest in modern art
through his gallery in New York City. There is also mentioning of other artists, critics,
and writers who were apart of Stieglitzs circle. The author also provides information on
an assertion made by Stieglitz himself, claiming photographs to be forms of art. Although
the author is not accredited, there is bias present in the article. This is apparent because of
how the author expresses admiration towards Stieglitzs work as well as his character.
The title itself indicates the bias of the article because of its comparison between Mecca
and the art gallery, called 291, which was founded and directed by Stieglitz.

Secondary

Aiello, Ralph. Pictorialism Isnt All Greased Nudes. The Evening News, Newburgh, N.Y. 15
Nov. 1969: 3. Print.
The main idea of this newspaper article is what the photographic aesthetic of Pictorialism
meant to modernist photographers. Aiello begins by mentioning the increase in interest in
photography during this time period, and also acknowledges that there were really two
groups, those who were somewhat interested and would flip through the pages of art
journals and those who were devoted and would read all articles written by masters and
mentors of photography. He then focuses on one writer, Ralph Hattersley, for the
journal called Popular Photography. Aiello describes Hattersleys views on Pictorialism
and compares his views with those of young modernist photographers, who he claims
work more fearlessly. He discusses Hattersleys experiences with photography and
reveals that when Hattersley began working in the field of photography, he would try to
imitate other photographers, in search of a beautiful image. Instead, he distinguishes
the young photographers by explaining that they seek something to create through an

image, by using subjects which are new. Since Ralph Aiello was a photographer, this
article is biased.

Alfred Stieglitz Spotlighted as a Modern Art Visionary. Reading Eagle 16 March 2001: 104.
Print.
In this newspaper article, it is stated that America owes most of its artistic development to
Alfred Stieglitz. It explains how Stieglitz linked European modern art to American art in
the twentieth century. The article is also advertising an exhibit that will have 200 works
that were featured in Stieglitzs Camera Work and galleries. Stieglitzs work, as expressed
in the article, was unique at the time.

Ansel Adams. Gainesville Sun. 29 April 1984: 64. Print.

This Newspaper article discusses Ansel Adamss career as an amateur photographer. It is

mentioned that one of Adamss achievements was being able to display his artwork at an
American Place Gallery that was owned by Alfred Stieglitz. Ansel Adams stated himself
that art is a vision, which photography is just as capable of showing an artists vision like
any other art form.

Auer, James. Looking at Life With a Camera. The Milwaukee Journal. 4 Mar. 1978: 51. Print.

In this newspaper article, Auer focuses on the rise of photographys popularity during the
late 1970s. He discusses why photography was becoming more popular by saying it was
the newest art form. Auer also mentions those who were doing considerable work in the

field of photography, in both New York and Wisconsin, despite not having well-known
names. The article is centered around the pieces displayed at a recent exhibition
organized by the New York Photographers Forum, which Auer describes as straight
photographs, which depict social consciousness, irony, whimsy, human interest,
pictorialism, and documentation. Auer then focuses in on specific pieces, which all have
one common feature: their ability to draw a response from the audience and views of the
image. Despite praising the pieces, he also mentions where improvements can be made.
This article is biased because Auer was a journal art editor.

Balken, Debra B. Stieglitz. Art Journal 55.2 (1996): 105-6. Print.

Debra Balken discusses the impact of Alfred Stieglitz in the history of art and his beliefs
by critiquing other works dedicated to him. She mentions that Alfred Stieglitz believed
there was a link between life and art. Therefore, his work of art and galleries he opened
up were influenced by and dedicated to people in his life, such as his wife, Georgia
OKeeffe. This journal is useful because it analyzes different texts critically that will help
me in my response to my research question. In depth, it explains the role Alfred Stieglitz
played in changing societys previous perception of photography.

Balz, Douglas. A Man in Focus. Chicago Tribune 13 Dec. 1992. Print.

Balz mentions in this newspaper article that art would not be the same without Alfred
Stieglitz. In his gallery 291 on fifth avenue, Stieglitz displayed the best artwork at the
time. He elevated photography to a form of modern art until it was recognized as the

equivalent to that of paintings and sculptures. Stieglitz also used unique methods at the
time for developing his prints. He use darkroom techniques ,such as, the use of
solarization and toning distracting elements.

Burchard, Hank. Powerful Pictorialists. Washington Post 5 August 1994. Print.

Burchard discusses the history of pictorialism in this article. It is stated that before the
movement of Pictorialism in the early 20th century, photography was only considered
useful for documenting historical events. However, through this movement, photography
had become accepted in the fine arts. Photographers are now considered artists due to the
efforts of pictorialists during the 1900s.
Burchard was a writer for years of the Washington Post. The Washington Post is
considered to be one of the most reliable and reputable sources. Burchards work in his
many articles on a variety of topics is always completed with research.

Carbone, Teresa A, et al. Youth and Beauty : Art of the American Twenties. Brooklyn Museum,
2011. 11, 55, 155. Print.

Carbone states in that Alfred Stieglitz supported symbolism with nature. Precisionism
was embraced by Stieglitz and other fellow artists. This is shown in Stieglitzs portrait of
Georgia OKeeffe. Within the Stieglitz circle, the word clean was often used to express
artwork as pure when depicting the physicality of the human body. Stieglitzs works of
Rebecca Strand promoted the creativity and sexuality that Stieglitz wanted to display in
his art.

Carbone, Teresa A, et al. Youth and Beauty: Art of the American Twenties. Brooklyn Museum,
2011. 15, 29, 222. Print.
Artists of the twenties began emphasizing the beauty of the human body. Alfred Stieglitz
embraced this with his nude photographs of Georgia OKeeffe. This reapproaching style
of art from classical times was a way to admire the human body rather than to be
ashamed of it. Stieglitz believed in this and therefore supported it through his artwork.
Sherwood Anderson in 1923 wrote a letter to Alfred Stieglitz, commending him for being
not only an artist but a leader in art. Anderson recognized Stieglitzs originality and
admirations of the human body in his work and praised him for that. Stieglitz displayed
many of his pictures of Georgia OKeeffe in galleries to express his love for her and her
involvement in his life. Alfred Stieglitz had a very positive attitude towards the human
body and expressed this through his work.

Carbone, Teresa A, et al. Youth and Beauty : Art of the American Twenties. Brooklyn Museum,
2011. 43, 220-21. Print.
Carbone displays the significance of Camera Work that was established by Alfred
Stieglitz. Camera Work was a journal that influenced many artists, especially
photographers. It is stated in this book that Alfred Stieglitzs production of Camera Work
influenced modern art greatly. Stieglitz became well known across the United States
through not only associations with other artists of the Pictorialist movement but with his
journal Camera Work as well. Lowe states one instance of Cunninghams work being
impacted by Frank Eugene, a photographer of the Pictorialist movement. Eugenes work
was shown in Camera Work, which was the only nude to have been shown in that

particular journal. Camera Work helped showcase new styles, techniques and ideas of art
to the public to influence others. Stieglitzs goal was to spread the beauty of photography
in order to to help revolutionize modern art into accepting photography as a form of art.
Overall, Camera Work was to rid the idea of realism in art and to promote each artists
individuality and creativity.

Carbone, Teresa A, et al. Youth and Beauty: Art of the American Twenties. Brooklyn Museum,
2011. 245, 247-48, 270. Print.
Randall R. Griffey states that Alfred Stieglitz and his circle took a new approach to art by
supporting abstract art, which was believed by them to be the best way to depict
American art. Stieglitz began holding exhibitions in the Anderson Galleries through
professional relationships. Stieglitz and his circle opposed the new movement of
Regionalism, where followers of it enforced the expression of rural areas in their artwork.
Abstractism was the complete opposite, which explains the several works by Stieglitz
displaying the city of New York. However, both Regionalists and Stieglitz and his circle
believed that art grows on its own. In other words, art cannot be forced but will grow
naturally over time. Between the two opposing art movements, there was one common
belief.

DeFord D. H., & Stout H. S. Father of Modern Photography. Cobblestone Apr. 2011: 18.
Print.
This article depicts Alfred Stieglitz as the founder of modern photography. Stieglitz
changed societys perception of photography by displaying the work of art a camera has
the ability of producing. He familiarized the people with the art of photography by

showing works in three magazines, The American Amateur Photographer, Camera Notes
and Camera Work. With the opening of his own art gallery, Stieglitz made New York the
capital of photography. Alfred Stieglitz changed the perception of photography in society,
in a way that it is now, and will continue to be considered as an art form. This article is
biased because it only shows the accomplishments of Alfred Stieglitz that contributed to
his legacy, but is also credible because Cobblestone is a reliable magazine.

Erickson, L., & Wieser, J.B. Stieglitz Revisited. Afterimage 29.1 (2001): 3. Print.

This journal article depicts Alfred Stieglitz as the champion of photography. It

discusses the work of Stieglitz that still influences modern day photographers. Three
photographers were asked if Stieglitz influenced any of their work. Although at first the
three denied any immediate influence, each later mentioned a work of Stieglitz that
impacted her work. Therefore, the techniques created and used by Alfred Stieglitz still
carry on and are copied by many artists today. This article is not biased, as it provides and
supports the legacy of Stieglitz with evidence from modern day photographers. It is a
reliable source because Afterimage is a journal that criticizes and displays opinions in
subjects related to art, including photography and film.

Greenough, Sarah. Modern Art and America: Alfred Stieglitz and His New York Galleries.
Washington: National Gallery of Art, 2000. Print: 316-320.
Greenough explores the differences and distinct characteristics that Stieglitzs Intimate
Gallery had between the years 1925 and 1930; as opposed to the gallery 291. She
describes the atmosphere of the new gallery as intense and explains the role Stieglitz

had as a teacher and lecturer in this gallery. She explains that by this time period Stieglitz
was admired by some artists and his orations would captivate those who would come to
the gallery. She also discusses the claim made by Stieglitz that art could even replace
religion, since it was a form of spiritual nourishment. The main differences Greenough
mentions is the smaller group of artists that Stieglitz promoted and the stress that Stieglitz
placed on this new gallery becoming a community for aspiring artists. Greenough also
examines Stieglitzs transformed view of monetary incentive in the art world. She
concludes by explaining why the gallerys operation came to an end. Greenough is an
expert on Stieglitz and has written several books on him and all the stages of his life,
which makes this book bias. Nevertheless, she doesnt fail to mention that flaws and
fickleness of Stieglitzs character.

Greenough, Sarah. Modern Art and America: Alfred Stieglitz and His New York Galleries.
Washington: National Gallery of Art, 2000. Print: 320-322, 370, 353.
Greenough discusses An American Place gallery as a continuation of the work Stieglitz
had done in the Intimate Gallery. She also explains the political and social history of this
time period and how this shaped Stieglitzs actions, for instance the Great Depression and
the emergence of the Museum of Modern Art. Greenough explains how during this time
Stieglitz was suffering from health problems and how this decreased the amount of work
he was doing. Nevertheless, during this time period he reminisced about 291 and its
accomplishments. She provides insight as to the main artists promoted by An American

Place, focusing in on Charles Demuth, John Marin, and OKeeffe. Since Greenough is a
leading expert on Alfred Stieglitz, this book source is biased.

Guthrie, Marisa. Plugged In. The Boston Herald 15 Apr. 2001: 4. Print.

This newspaper article depicts Alfred Stieglitz as the one who brought the art of
photography to America. His innovations in photography have contributed to his legacy,
as modern day photographers continue to use his style and techniques. Alfred is still
famous for his unique approach to photography and is influencing others in various art
fields. This author is not biased, as Marisa Guthrie points out the flaws of Stieglitz and
not just his accomplishments and legacy. The Boston Herald is a reliable newspaper that
spreads local and international news in generally everything, including the arts.

Hagen, Charles. "Review/Photography; A Movement Idealizing Times Of Contentment Finds

New Favor." The New York Times. The New York Times, 26 Oct. 1992. Web.
<http://www.nytimes.com/1992/10/27/news/review-photography-a-movement-idealizingtimes-of-contentment-finds-new-favor.html>.
This article, published in the New York Times, focuses on the main goal of artists during
the movement of Pictorialism. It also discusses Stieglitzs vital role in this movement, as
he was the leader of the Photo-Secession Society and gallery 291 and published his own
art journal, Camera Work.

Haines, Robert E. Alfred Stieglitz and the New Order of Consciousness in American
Literature. Pacific Coast Philology 6 (1971): 26-34. Print.

This journal by Robert Haines, a graduate and major in journalism, explains Alfred
Stieglitzs effect on modern art and American literature. Many started to look up to
Stieglitz as a major force and pursuer in the arts that pushed for his beliefs, such as his
valuing of creativity more than anything when completing a work. Money was not his
main focus at all, as he opened up non-profit organizations and galleries to simply display
his and others photography with one motive-to make photography an accepted art form.
This source is useful because it describes the legacy of Alfred Stieglitz in art. It explains
his role in changing the perception of photography in society and shows the many
followers he obtained that joined him with this movement.

Haviland, Paul B. "We Are Living in the Age of the Machine." 291 7/8 (1915): 1,4. JSTOR.
Web.
This journal article, written by Haviland and published in the 291, serves as an
introduction to the issue. The piece sounds like poetry and is an attempt by Haviland to
connect the ideas of the machine, the camera, the artist, photography, and art. Haviland
describes the time period, the early 20th century, as the age of the machine. He then
continues to speak about the camera in specific and the union between man and camera,
which in an interdependent manner, are able to produce photographs. He concludes by
noting photography as a fine fruit and summarizing the relationship as a trinity, with the
creator, the machine, and the accomplished work. The piece is biased because Haviland
worked as an art critic and writer, alongside Stieglitz and the Photo-Secession society.

Leggat, Robert. "Photo-Secession Movement." A History of Photography. N.p., 08 Apr. 1997.

Web. 01 Apr. 2015.

In this website article, Leggat discusses the formation and development of the PhotoSecessionists during the early 20th century. Leggat begins by explaining the rise of the
Photo-Secession in comparison to the similar movement in Europe, led by the Linked
Ring. He then goes on to explain the mains belief of the Photo-Secessionists and what
their main goal was. He includes excerpts from issues of the British Amateur
Photographer journal to further define the Photo-Secession and their main principles.
Specifically, he focuses on the idea of pictorial photographs beings art, and how the
photo-Secessionists themselves spoke about this topic. Leggat concludes by providing
insight to the criticism that the movement received, noting Sadakihi Hartmanns reaction
to the use of manipulation on prints. Leggat also mentions some notable members of the
society.

Lewis, Jo Anne. National Gallery Art Show Demonstrates Stieglitzs Evolution. The Daily
Gazette. 20 June 2002: 21. Print.
This newspaper article discusses the several changes Alfred Stieglitz underwent
throughout his career. His style of art changed throughout the year, as he expanded on
new techniques and styles. By the 1920s, Stieglitz broke away from the original ideas of
the Pictorialist movement and began to photograph differently. In the 1930s, his artwork
became more personal to his own life.

McNatt, Glenn. Rare Snapshots of Photography. The Baltimore Sun 1 May 2003. Print.

This newspaper article explains that Alfred Stieglitz made photography an art form. It
mentions how Stieglitz was not only a photographer but a writer, publisher, and gallery

owner. He critiqued other works of art in Camera Work, his own public art journal. The
article also emphasizes that Stieglitz focused on presenting high quality works of art at
exhibitions in his galleries.

Meyers, William. Jews and Photography. Commentary Jan. 2003: 45. Print.

This article depicts Alfred Stieglitzs ideas and his legacy in the world of modern art. It
displays Alfred Stieglitz as the first American Jew to help change societys perception of
photography in the Pictorialist movement. It mentions the fact that Stieglitz transformed
the idea of a camera, so that it was not only considered a tool to keep historical record but
to produce works of art, as well. As a result of Stieglitzs persistence, photography is now
and forever will be an accepted art form. Although this source is biased because it depicts
Alfred Stieglitz as the most perfect and important Pictorialist, it is reliable because
Commentary is a scholarly magazine that gives opinions on many subjects, including
matters related to that of the arts.

Michaels, Barbara L. "Pattern vs. Passion: The Legacy of the Clarence H. White School of
Photography." Afterimage Nov.-Dec. 1996: 7. General OneFile. Web.
This journal article focuses on Stieglitzs interactions with other photographers during the
time period. Michaels specifically focuses on the influence that Stieglitz had on Karl
Struss and the way Stieglitz was as a photographer and teacher compared to Clarence
White. She also discusses how Stieglitzs view on photography shifted late in his life, and
how this transformation came about as a result of the time he spent in Lake George.
Michaels then goes on to evaluate claims made by authors of books on Stieglitz,

mentioning John Szarkowski, Sarah Greenough, and Richard Whelan. Furthermore, she
analyzes the style and objects in two photographs that Stieglitz took. This journal article
is biased since Michaels is series editor for Cambridge Universitys Perspectives on
Photography as well as the author of a book on Gertrude Kasebier, a photographer who
was apart of Stieglitzs circle.

Munson, Steven C. The Eye of Alfred Stieglitz. Commentary 108.4 (1999) : 52. Print.

In this journal articles, Steven Munson discusses the reason for Alfred Stieglitzs
involvement with photography and his leadership in art during the Pictorialist movement.
Stieglitz was first scientifically interested in the camera by its function and products it
could produce. Stieglitz began writing about photography and editing Camera Notes,
soon to establish his own journal Camera Work in 1903. He also began exhibiting his and
others work and created the Photo-Secession group to promote the use of the camera for
art. Stieglitz also supported new styles of art, like depicting urban life in his photography.
Stieglitz was a major leader in the movement of Pictorialism and enforced many of his
unique beliefs, like embracing creativity and the human body in art.

Naef, Weston J. The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography. New
York: Metropolitan Museum of Art, 1978: 118-121. Print.

This section of this book focuses on the founding of Camera Work and its relationship
with the Photo-Secession. Naef attempts to clear up ambiguities of this relationship. He
provides insight to the period between Camera Notes and Camera Work and explains

Camera Works founding. He then discusses the differences between the forms of writing
included in Camera Work and Camera Notes, noting the extensive use on prose in the
latter and the use of poetry, satire, and criticism in the former. He focuses on the elitist
views that the Photo-Secession had and how they attempted to rid themselves of that
reputation. This book is biased since Naef worked as a photography curator in the J. Paul
Getty museum.

Norman, Dorothy and William McNaught. "Oral History Interview with Dorothy Norman."
Archives of American Art. N.p., n.d. Web.
<http://www.aaa.si.edu/collections/interviews/oral-history-interview-dorothy-norman13154>.
This is an interview conducted by William McNaught of Dorothy Norman, who had
worked with Alfred Stieglitz and documented many of their experiences. In this
interview, Dorothy Norman discusses how she became involved in the movement that
Stieglitz had already begun and the different artists he worked with. She also discusses
authors who were involved, focusing on the period when the Intimate Gallery was open.

Peterson, Christian A. Alfred Stieglitz's "Camera Notes" New York: Norton, 1996. Print.

In this book, Peterson focuses on Stieglitzs role as editor of the most influential
photographic art journal of the time period, Camera Notes. He begins by explaining the
importance of the journal and what its ultimate goal was-- laying the foundation for the
movement of artistic photography in America. He provides insight to as to when the
journal began its publication and why this period was fundamental for the success of the
journal and the movement, as well. He also discusses Stieglitzs early photographic

activity, noting his return to NYC from Germany and explaining why Stieglitz believed a
movement for artistic photography was necessary in America. Peterson also mentions
The American Amateur Photographer as a major component in Stieglitzs early career.
He then focuses on The Camera Clubs significance in advancing photography, especially
by combining two photographic societies in NYC in 1896. Peterson discusses the
establishment of Camera Notes in 1897, which was made possible through Stieglitzs
suggestion and efforts. He also explains its affiliation with the Camera Club of New York,
which was formed earlier in 1896. He provides insight to the mission of the journal, by
stating it goals of becoming a regular publication, displaying the best of pictorial
photography and possibly arousing interest in classes besides those already apart of the
club, and including writings of interest that show the progress of photography. Peterson
also accounts for the journals success through its high quality photogravure plates and
theoretical content of its articles. He also follows the first two issues of Camera Notes
and how they appealed to amateur photographer and emphasize the need for photographic
exhibitions and artistic work in America during this time period. Peterson then goes on to
discuss pictorial photography, which was considered artistic photography and revealed
truth. He explains the main characteristics of the pictorial aesthetic, which focus
primarily on simplicity, truth, and expression of the creators personal feelings. Peterson
discusses the emergence of the paint-photographers, which were the pictorial
photographers who first trained in the established arts. He explains that Stieglitz
encouraged this method because it would help support the claim that photography is art.
In addition to the American photographs displayed in Camera Notes, Peterson mentions
the large quantity of photographs featured that were European. Nevertheless, he provides

insight as to why Stieglitz did this; to encourage the Americans to create their own unique
approach at learning and teaching photography. He also mentions how Stieglitz used the
journal as a medium to exhibit his own photographs taken both in America and Europe.
Peterson provides a list of Pictorialists in Europe and America that were imperative to the
success of the movement and journal. He further examines the role Stieglitz had in the
Camera Club of New York as chair of the publications committee and vice president of
the club. He also notes 1989 to be the beginning of Stieglitzs fascination with urban
surroundings as seen through the rapid building of New York City. Peterson explains the
photogravure process that began to gain popularity among the amateur photographers and
the role it played in Camera Notes. He discusses how Stieglitz learned the process upon
his return to America from Europe in the late 1800s. He also provides insight as to how
photogravures were a reason Camera Notes gained popularity and became the most well
known and highest quality photography publication of its time. Peterson further explains
the literary component of Camera Notes and explains how the articles helped support the
claims for photography as an art. Articles concerning the creativity that photography
encompassed were published by photographers, art critics, and Stieglitz. The idea of artist
subjectivity in pictorial photographs was also emphasized, since it related to artistic
emotion and expression. He then provides insight to the relationship between Joseph T.
Keiley and Stieglitz. Peterson also offers analysis of whether or not the photographs
Stieglitz championed were new and radical or not. He offers arguments against Stieglitzs
work during his time under Camera Notes and provides examples of why controversy
soon began to surround him. Peterson concludes by tying together Stieglitzs connections

with the Camera Club of NY, his leadership in the movement for artistic photography,
and his role as editor of many artistic journals.

Photography. The Village Voice 15 March 1976: 71. Print.

During the early 1900s, Stieglitz photographed much of his artwork with a Graflex
camera, which at the time, was not even considered useful to other photographers. Alfred
Stieglitz did not only follow the values of Pictorialism but embraced straight photography
in most of his work. This differentiated himself from the other members in the Pictorialist
movement, as Stieglitz accepted new art techniques and styles. This newspaper article
depicts Stieglitz as not only the greatest photographer but the greatest artist in American
history.

Roberts, Pam. Alfred Stieglitz: Camera Work. Berlin: Bildarchiv Preussischer Kulturbesitz,
1997. Print.
Pam Roberts mentions Alfred Stieglitz as a passionate photographer, writer, publisher,
gallery owner, and leader in art, especially photography. It is stated that his own
photography was the most significant factor in transforming photography into an art form
with the Photo-Secession alongside of it. Stieglitz is known for promoting a modern
technique called straight photography, while still embracing new concepts with it.
Roberts mentions that Stieglitz envisioned photography as a form of modern art as soon
as he experimented with a camera. European photography, especially the work of Peter
Emerson, inspired Alfred Stieglitz to photograph. Stieglitz began to photograph New

York City, which was also modern approach to art. He focused on shapes and depicting
reality in his artwork. He believed that arts purpose was to demonstrate truth.
Stieglitz promoted artistic expression with the camera, just like many of the Pictorialists.
He began editing The American Amateur Photographer in 1893. In 1897, he became a
member of the Camera Club of New York and was chief editor of the clubs journal
Camera Notes. In 1902, Stieglitz published his first own journal, known as Camera
Work. This journal would depict the beliefs of the Photo-Secession society and spread
them. Stieglitz also portrayed the work of his circle with his gallery 291 on Fifth Avenue.
Stieglitz was dedicated to elevating photography into a form of art.
Alfred Stieglitz improved the printmaking process. Photogravure was a perfect way to
communicate at the time, and Stieglitz used it to its full potential. To Stieglitz, perfection
mattered more than anything. He would rather delay the publication of Camera Work
than settle for meaningless artwork. Stieglitz did not publish Camera Work ever without
his approval of every page beforehand. This shows he was a strict and determined leader
of the journal and most importantly, modern art.
Pam Roberts begins to discuss to the price of Camera Work. Roberts mentions that
Stieglitz was upset when Camera Work was sold to the Camera Club Library for just one
dollar. The British photographic press depicted Camera Work as a brilliant art journal that
could have only been produced by Stieglitz, since Alfred Stieglitz was the only one ahead
in revolutionizing photography and breaking barriers that no one had even thought of
surpassing beforehand.
Pam Roberts states that Stieglitz opened the gallery 291 in November 1905. Stieglitz
wanted to establish a gallery to display the work of modern art photographers in order to

spread new ideas and techniques about photography. Through gallery 291, Stieglitz and
the Photo-Secession society was able to gain many new supporters. It formed a new way
of communication. In 1907 and 1909, Alfred Stieglitz met Matisse and Rodin. Stieglitz,
along with Steichen, then decided to incorporate contemporary French art in American
Art.
In 1924, Alfred Stieglitz won the Societys Progress Medal for the publication of Camera
Work over the course of fourteen years. It was the first time artistic photography had ever
been so publicized and advertised to the public. Stieglitz always focused more on the
present and future, rather than the past. He believed that work was not art unless it
allowed an artist to express himself freely with a message behind every piece of his or her
artwork. Lastly, Roberts mentions that Camera Work was very important because it
inspired many artists as well. From this point, other artists were inspired from those
artists, which adds the legacy of Alfred Stieglitz.

Rogers, Bob. "Seeing and Believing: The Ideological Roots of the Photographic Image."
Afterimage Jan.-Feb. 2013: 16. General OneFile. Web.
The thesis of this journal article is that Alfred Stieglitz managed to popularize the camera
and photography by leading the Photo-Secession society. Rogers provides insight to
Stieglitzs goal and what he wanted photography to be considered. He first explains how
his efforts began when he used new esthetics in his own photographs. Rogers then goes
on to discuss the importance of Camera Work and 291 to Stieglitz and this movement. He
acknowledges that by the early decades of the 20th century, Stieglitzs goal was finally
met and the camera was being used as an instrument for artistic expression. Rogers also
analyzes how Stieglitz evolved during his career as a photographer, art dealer, and gallery

director. This journal article is biased, since Rogers is a photographer and chair of the
Department of Art at Queensborough Community College. Bias is also evident in the
article when Rogers concludes by agreeing with the same principles that Stieglitz
believed in.

Shiffman, Joseph. The Alienation of the Artist: Alfred Stieglitz. American Quarterly 3 (1951):
244-248. Print.
In this journal, Shiffman focuses on the influence that Alfred Stieglitz had in all fields of
art, specifically photography and painting. He provides information on how Stieglitz was
a pioneer for the modern art movement in America. Shiffman also gives insight to a new
theme that Stieglitz encouraged amongst artists of the time; to create art without
monetary incentive. This journal is valuable because it provides information on other
legacies left by Stieglitz that are less heard of yet important. Shiffman explains the role of
Stieglitz in presenting African art to America as well as being the initial promoter for
artists such as Picasso and Marin. Furthermore, he explains how Stieglitz grouped
together a wide variety of influential intellectuals of the time period, ultimately creating
the new and contemporary culture. There isnt bias present in the article since Shiffman
remains objective and includes only facts, assertions made by other artists of the time
period, and none of his own opinions or theories related to the subject.

Sodergren, Rebecca. Pictorialists Bring into Focus Photographys Artistry. Pittsburgh Post.
28 June 2006: 14. Print.
This newspaper article discusses how during the 19th and early 20th centuries,
photography was rejected as an art form. Pictorialists started forming societies opposing

this, claiming that photography was indeed a form of art. Sodergren stated that
Pictorialists initially focused on photographing industrial products and creating hazes
over their photographs.

Strand Photographs Exhibited in New York. The Sunday Gazette. 25 March 1998: 11. Print.

This newspaper article discusses an exhibition that was going to take place of Paul
Strands photography. It was mentioned how one could see the change in his artwork over
the course of several years. He began to abandon the common techniques presented by
pictorialists and decided to focus more on realism and abstract art, like Stieglitz. Quoted
in this article, Maria Hambourg said that Strand married photography and modernism
together, meaning Paul Strand effectively believed that photography was a form of
modern art and expressed this in his own work.

Szarkowski, John. Alfred Stieglitz at Lake George. New York: Museum of Modern Art, 1995.
Print.
In this book, Szarkowski begins by providing background information on Alfred Stieglitz
and his career. He ponders what exactly Stieglitz was and the what he meant to
photography, and art in general during the early 19th century. Szarkowski also establishes
the main idea of book, which is Stieglitzs photographic works during the two decades he
spent in Lake George. He describes the beginnings of the movement and the importance
of the Buffalo Exhibit in 1910. Szarkowski regards Stieglitzs ability to learn from new
and younger artists as a major reason for his success. He also uses this to explain why
Stieglitz held so many different theoretical positions throughout his career and how his

work would at times seem to contradict his position. Overall, he makes the conclusion
that Stieglitzs actions override his words and testimonies. Szarkowski continues by
explaining the new style that Stieglitz abided by beginning in 1915, during the last years
at 291. He accounts for this change by describing how Stieglitz was going through a
period where he finally had time to return to photography. Also, he believes it could be
because of the new art that he saw and exhibited at his gallery. This section also includes
other artists who interacted with Stieglitz during this time period, and influenced his
work. Szarkowski then describes the importance of the summers Stieglitz spent at Lake
George, beginning in 1919. He states that the environment of Lake George provided
Stieglitz with the time and space, which allowed him to be free and experimental with his
photographs. He explains how during his time there, he really began to ponder the idea of
photography being art. The esthetic of his photographs no longer corresponded with the
characteristics of pictorialism. Szarkowski also discusses the influence that Georgia
O'Keeffe had on Stieglitz and his work as well as how his style further evolved in the late
1920s and early 1930s. He then goes on to discuss the series of cloud photographs taken
by Stieglitz and what he was trying to achieve through these photographs. He provides
insight as to how Stieglitz felt about these photographs and the drawbacks he faced in
creating the series. He also analyzes the series and expresses his own opinion on the
photographs. Szarkowski concludes the written portion of the book by describing
Stieglitzs late career and the subject of the photographs he took. He does this by
analyzing why Stieglitz began to photograph poplars in the late 1930s. He also provides
insight as to why he stopped working about nine years before his death, stating it was
because of his failing health. Szarkowski finishes by providing a concise explanation of

the theme present in all of Stieglitzs pieces in addition to Stieglitzs last viewpoint on the
purpose of photography.