As writers began defining the vernacular aspects of American art in mid-1910s, the photographer and gallerist Alfred Stieglitz and his circle became a locus of attention. Two younger writers, Waldo Frank and Paul Rosenfeld, both neo-Freudians, were among those responsible for redirecting the interpretation of modernist expression. Frank and Rosenfeld
Kathleen Pyne — In 1916 Georgia O’Keeffe received from the admiring New York photographer Alfred Stieglitz a group of photogravures he had published several years earlier. These pictures of nudes bound to dying trees or frolicking in refreshing mountain waters provoked O’Keeffe, in her own words, to an “absurd” level
It’s hard to imagine what American art today would look like without Alfred Steiglitz. A photographer in his own right, Steiglitz was also the gallery owner who first exhibited Rodin and Picasso in the United States, the husband who championed Georgia O’Keeffe as the first truly American modernist, and the
Born November 15, 1887, Georgia O’Keeffe lived 98 years to become one of the most well known and celebrated American artists of the twentieth century. But to her husband Alfred Stieglitz, the man who had first brought her work to New York, she was “Sweetestheart”, and he was “Dearest Duck.”
Yesterday on NPR’s Morning Edition, Susan Stamberg interviewed Sarah Greenough on her new book of letter correspondence: My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Stieglitz: Volume One, 1915-1933. Unlike new 21st-century ways of sending love notes such as texts and Facebook messages, which seem only to escalate
Paul Strand, a friend of Alfred Stieglitz and his wife, Georgia O’Keeffe, visited O’Keeffe while she was away in New Mexico. Stieglitz had written O’Keeffe on June 27, 1931 from Lake George, NY, “…Strand will add to his trophies of photography. What a chance he has. He ought to do
The Goodreads giveaway for My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Stieglitz: Volume One, 1915-1933 may have passed, but the story of the letters is only now beginning to unfold as we approach the June 21 publication of the volume. In just over 30 years, Stieglitz and
There are few couples in the history of 20th-century American art and culture more prominent than Georgia O’Keeffe (1887–1986) and Alfred Stieglitz (1864–1946). Between 1915, when they first began to write to each other, and 1946, when Stieglitz died, O’Keeffe and Stieglitz exchanged over 5,000 letters (more than 25,000 pages)
Between 1917 and 1937, Alfred Stieglitz took 331 photographs of Georgia O’Keeffe. Along with the thousands of letters the two exchanged throughout their 30-year romance, these photographs occupy a sort of middle ground between documentation and expression, between correspondence and art. They are an eloquent testament to a profound and