Word: stieglitz
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...clouds blowing over the dunes. While Strand has emphasized the staccato patterns of vegetation almost mirroring the clouds above, O'Keffe isolates two trees and focuses on their branches and on their dominant relation to the environment, a closeup rather than a landscape. (O'Keefe was married to Alfred Stieglitz, the eminent photographer that greatly influenced both his wife and Strand.) Yet both works maintain the majestic space of the Southwest, a testimony to each artist's involvement with the people. "Ranchos of Taos Church," (1932) confirms this understanding of the Spanish civilization and furthers Strand's abstract theme...
...Frenchmen Etienne Carjat and Jean-Eugene-Auguste Atget capture the romanticism of rainy Parisian streets and of distinguished bearded gentlemen. Gertrude Kasebier explores the classic form of mother and child. And Alfred Stieglitz a papa in photographer and a great art lover, introduced the American public to Picasso, Matisse and others. His misty streets in "Glow of Night. N.Y.," and the rippling reflections of "Venetian Doorways," are nicely juxtaposed to point out staccato reflections in wet surfaces...
...years in Europe between 1905 and 1909, he never willingly admitted a debt to what he saw there. "Played some billiards, incidentally knocked out some batches of etchings"-such was his summary of his time overseas. His one crucial meeting in Europe was with another American, the photographer Alfred Stieglitz, who invited him to join the "291" group and acted as his dealer, supporter and closest friend until Stieglitz died...
Fifty years ago, Georgia O'Keeffe was the muse and queen bee of the New York avantgarde. A small, aggressive coterie, its social life revolved around the "291" Gallery, run by O'Keeffe's future husband, Alfred Stieglitz. O'Keeffe was beautiful, then as now, and Stieglitz's pictures of her over their long years together form the greatest love poem in the history of photography. But painters in the "291" circle, like Marsden Hartley and John Marin, found it hard to believe that somebody who did the cooking might also be a serious painter...
Even before Stieglitz died in 1946, his wife had quit New York to spend the summer months in seclusion in the Southwest. Since then, she has been known as America's "leading woman artist"-a boldly condescending phrase-and largely dismissed as irrelevant by generations weaned on Pollock and Kline. To younger painters, her articulate images of mountain, bone and desert looked merely provincial. The milk train of history, having stopped at Tenth Street to pick up the Abstract Expressionists, could not be expected to halt at so remote a siding as Abiquiu, N. Mex. But if it could...