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Word: stieglitz (lookup in dictionary) (lookup stats)
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...books, mucilage pots, framed and unframed paintings. In the room, at almost any time during the winter season, may be found a keen-eyed little man in a baggy grey suit. He peers inquisitively through silver spectacles, his grey mustache and hair are scraggly, uncombed. His name is Alfred Stieglitz. He is a lover and maker of photographs.* And he is one of the quietest and most admired characters in the art world...

Author: /time Magazine | Title: Art: Steiglitz into Metropolitan | 2/25/1929 | See Source »

...years Alfred Stieglitz fostered the careers of leading modern painters, such as his second wife, Georgia O'Keeffe,† and water-colorist John Marin. And for years Alfred Stieglitz has been studying beauty with his cameras...

Author: /time Magazine | Title: Art: Steiglitz into Metropolitan | 2/25/1929 | See Source »

...esthetic eyes. No matter how disinterested the artists, the art centre is always where patrons are thickest, where coffers are bulging. Never before had Manhattan's greatest museum received photographs into its collections. Such a reception was thus a victory of great moment for photography and for Alfred Stieglitz...

Author: /time Magazine | Title: Art: Steiglitz into Metropolitan | 2/25/1929 | See Source »

Born in dismal Hoboken, N.J., in 1864, Stieglitz went to private and public schools and to the College of the City of New York. Following his father's wishes, he studied mechanical engineering. But photochemistry and photography allured him, and he turned to these subjects, receiving a thorough Germanic induction at the Berlin Polytechnic School and the University of Berlin (1888-90). Returning to Manhattan, he practiced photo-engraving for three years, experimented in three-color work, married Emmeline Obermeyer of New York. Then, in 1895, at 31, he "retired...

Author: /time Magazine | Title: Art: Steiglitz into Metropolitan | 2/25/1929 | See Source »

...ranging from dead white to midnight blackness through numberless greys, catching both gleams and shadows. Sometimes he intellectualized this sensuous process, as in his symbolic expression of a short-skirted girl-a picture of a leg superimposed upon the dim image of a face. There is nothing documentary about Stieglitz photographs; they tell no stories, perpetuate no events. They are studies in pure form and tone...

Author: /time Magazine | Title: Art: Steiglitz into Metropolitan | 2/25/1929 | See Source »

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