07
Apr
11

Exhibition: ‘Stieglitz, Steichen, Strand’ at The Metropolitan Museum of Art, New York

Exhibition dates: 10th November 2010 – 10th April, 2011

.

Many thankx to the The Metropolitan Museum of Art for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.

.

.


.

Alfred Stieglitz (American, 1864–1946)
Georgia O’Keeffe – Neck
1921
Palladium print
23.6 x 19.2 cm (9 5/16 x 7 9/16 in.)
The Metropolitan Museum of Art
Gift of Georgia O’Keeffe, through the generosity of The Georgia O’Keeffe Foundation and Jennifer and Joseph Duke, 1997

.

.

Alfred Stieglitz (American, 1864–1946)
Spiritual America
1923
Gelatin silver print
11.6 x 9.2 cm (4 9/16 x 3 5/8 in.)
The Metropolitan Museum of Art,
Alfred Stieglitz Collection, 1949

.

.

Edward Steichen (American, born Luxembourg, 1879–1973)
Alfred Stieglitz
1907
Autochrome
23.9 x 18 cm
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1955

.


.

Edward Steichen (American, born Luxembourg, 1879–1973)
The Little Round Mirror
1901, printed 1905
Gum bichromate over platinum print
48.3 x 33.2 cm (19 x 13 1/16 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933

.

.

“Three giants of 20th-century American photography – Alfred Stieglitz, Edward Steichen, and Paul Strand – are featured at The Metropolitan Museum of Art, New York, through April 10, 2011, in the exhibition Stieglitz, Steichen, Strand. The diverse and groundbreaking work of these artists will be revealed through a presentation of 115 photographs, drawn entirely from the Museum’s collection. On view will be many of the Metropolitan’s greatest photographic treasures from the 1900s to 1920s, including Stieglitz’s famous portraits of Georgia O’Keeffe, Steichen’s large colored photographs of the Flatiron building, and Strand’s pioneering abstractions.

Alfred Stieglitz (1864–1946) was a photographer of supreme accomplishment and a forceful and influential advocate for photography and modern art through his gallery “291” and his sumptuous journal Camera Work. Stieglitz also laid the foundation for the Museum’s collection of photographs. In 1928, he donated 22 of his own works to the Metropolitan; these were the first photographs to enter the Museum’s collection as works of art. In later decades he gave the Museum more than 600 photographs by his contemporaries, including Edward Steichen and Paul Strand.

Among Stieglitz’s works to be featured in this exhibition are portraits, views of New York City from the beginning and end of his career, and the 1920s cloud studies he titled Equivalents, through which he sought to arouse in the viewer the emotional equivalent of his own state of mind at the time he made the photograph, and to show that the content of a photograph was different from its subject.

The exhibition will also include numerous photographs from Stieglitz’s extraordinary composite portrait of Georgia O’Keeffe (1887–1986), part of a group of works selected for the Museum’s collection by O’Keeffe herself. Stieglitz made more than 330 images of O’Keeffe between 1917 and 1937 – of her face, torso, hands, or feet alone, clothed and nude, intimate and heroic, introspective and assertive. Through these photographs Stieglitz revealed O’Keeffe’s strengths and vulnerabilities, and almost single-handedly defined her public persona for generations to come.

Stieglitz’s protégé and gallery collaborator, Edward Steichen (1879–1973), was the most talented exemplar of the Photo-Secession, the loosely-knit group of artists founded by Stieglitz in 1902, seceding, in his words, “from the accepted idea of what constitutes a photograph,” but also from the camera clubs and other institutions dominated by a more retrograde establishment. In works such as The Pond – Moonrise (1904), made using a painstaking technique of multiple printing, Steichen rivaled the scale, color, and individuality of painting.

Steichen’s three large variant prints of The Flatiron (1904) are prime examples of the conscious effort of Photo-Secession photographers to assert the artistic potential of their medium. Steichen achieved coloristic effects reminiscent of Whistler’s Nocturne paintings by brushing layers of pigment suspended in light-sensitive gum solution onto a platinum photograph. Although he used only one negative to create all three photographs, the variable coloring enabled him to create three significantly different images that convey the chromatic progression of twilight. The Metropolitan’s three prints, all donated by Stieglitz in 1933, are the only exhibition prints of Steichen’s iconic image.

In 1908 Steichen photographed the plaster of Rodin’s sculpture of Honoré de Balzac in the open air, by the light of the moon, making several exposures as long as an hour each. In Balzac, The Silhouette – 4 A.M., the moonlight has transformed the plaster into a monumental phantom rising above the brooding nocturnal landscape. Steichen recalled that when he presented his finished prints to Rodin, the elated sculptor exclaimed, “You will make the world understand my Balzac through your pictures.”

Among the unique early-20th-century works by Stieglitz and Steichen in the Museum’s collection are Autochromes, an early process of color photography that became commercially available in 1907. Because of the delicate and light-sensitive nature of these glass transparencies, five original Autochromes by Stieglitz and Steichen will be displayed for one week only, January 25-30, 2011. During the other weeks of the exhibition, facsimiles of these Autochromes will be on view.

Stieglitz’s and Steichen’s younger contemporary, Paul Strand (1890–1976), pioneered a shift from the soft-focus aesthetic and painterly prints of the Photo-Secession to the straight approach and graphic power of an emerging modernism. Strand was introduced to Stieglitz as a high-schooler by his camera club advisor, Lewis Hine, the social reformer and photographer. He quickly became a regular visitor to “291,” where he was exposed to the latest trends in European art through groundbreaking exhibitions of works by Cézanne, Picasso, Matisse, and Brancusi.

Strand incorporated the new language of geometric abstraction into his interest in photographing street life and machine culture. His photographs from 1915-1917 treated three principal themes: movement in the city, abstractions, and street portraits. Stieglitz, whose interest in photography had waned as he grew more interested in avant-garde art, saw in Strand’s work a new approach to photography. He showed Strand’s groundbreaking photographs at 291 and devoted the entire final double issue of Camera Work (1917) to this young photographer’s work, marking a pivotal moment in the course of photography.

In From the El (1915), Strand juxtaposed the ironwork and shadows of the elevated train with the tiny form of a lone pedestrian. In 1916, he experimented with radical camera angles and photographing at close range. Among the astonishingly modern photographs he made that summer is Abstraction, Twin Lakes, Connecticut, one of the first photographic abstractions to be made intentionally. When Stieglitz published a variant of this image in Camera Work, he praised Strand’s results as “the direct expression of today.”

In the same year, Strand made a series of candid street portraits with a hand-held camera fitted with a special lens that allowed him to point the camera in one direction while taking the photograph at a 90-degree angle. Blind, his seminal image of a street peddler, was published in Camera Work and immediately became an icon of the new American photography, which integrated the humanistic concerns of social documentation with the boldly simplified forms of Modernism. As is true for most of the large platinum prints by Strand in the exhibition, the Metropolitan’s Blind, a gift of Stieglitz, is the only exhibition print of this image from the period.

Stieglitz, Steichen, Strand is organized by Malcolm Daniel, Curator in Charge of the Metropolitan Museum’s Department of Photographs, assisted by Russell Lord, Jane and Morgan Whitney Fellow in the Department of Photographs.”

Text from the Metropolitan Museum of Art website

.


.

Edward Steichen (American, born Luxembourg, 1879–1973)
The Flatiron
1904
Gum bichromate over platinum print
47.8 x 38.4 cm (18 13/16 x 15 1/8 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933

.


.

Paul Strand (American, 1890–1976)
Blind
1916
Platinum print
34 x 25.7 cm (13 3/8 x 10 1/8 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933

.

.

Paul Strand (American, 1890–1976)
Wild Iris, Maine
1927-28
Gelatin silver print
24.8 x 19.8 cm (9 3/4 x 7 13/16 in.)
The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1955
Credit: Courtesy Aperture Foundation, Inc., Paul Strand Archive

.

.

Alfred Stieglitz (American, 1864–1946)
Looking Northwest from the Shelton, New York
1932
Gelatin silver print
24.2 x 19.2 cm (9 1/2 x 7 9/16 in.)
The Metropolitan Museum of Art, Ford Motor Company Collection
Gift of Ford Motor Company and John C. Waddell, 1987

.

.

The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Information: 212-535-7710

Opening hours:
Tuesday – Thursday: 9:30 a.m. – 5:30 p.m.*
Friday and Saturday: 9:30 a.m. – 9:00 p.m.*
Sunday: 9:30 a.m. – 5:30 p.m.*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

Back to top


1 Response to “Exhibition: ‘Stieglitz, Steichen, Strand’ at The Metropolitan Museum of Art, New York”


  1. 1 Laura
    May 18, 2011 at 2:49 pm

    Wonderful!


Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s


Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,181 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

April 2011
M T W T F S S
« Mar   May »
 123
45678910
11121314151617
18192021222324
252627282930  

Archives

Categories


%d bloggers like this: