Alfred Stieglitz

by Graham Clarke

Alfred Stieglitz (1864–1946) was a key figure in America's acceptance of photography as a serious form of artistic expression. His work bridges the gap between the self-consciously aesthetic Pictorialist photography at the turn of the century, and the more precisely descriptive 'straight' photography of the 1920s and 1930s. This monograph covers Stieglitz's career and provides the perfect introduction to the work of a major force in the American modernist movement.

128 pages, Hardcover

First published September 26, 2006

About the author

Graham Clarke was born in 1941 and is an artist, author, illustrator and humorist.

Reviews

[Jerome Berglund · Rating 5 out of 5]

Glorious. Stieglitz hates New York the way only a hardened Angelino can hate his adoptive city, like a partner you staked everything on to make it work with, who proves determined to make you miserable for your vain naivety. What he achieves through the medium of photography, though, is nothing short of breathtaking. The images - which evoke a grim, film noir aesthetic - are so painterly one might at a distance mistake them for charcoal drawings. A wonderfully provocative collection of his most consequential works, preceded by a pointed introduction outlining their historical context and great significance, in their day and within the larger generational and internationalist thrust, neither of which can be overestimated. Thank heavens O’Keeffe dedicated so much of the latter portion of her life to preserving and trumpeting his legacy and the many profound contributions Stieglitz made to the realm of fine art photography - a concept he nearly invented, deserves to be lionized for alongside the likes of Anselm Adams, being every bid cut from cloth of the same caliber equal in quality and lasting impacts worth vocally celebrating.

[dokvader · Rating 5 out of 5]

Aside from the great photos from Stieglitz this book shows his true passion and or obsession to his craft and how it has influenced his personal style and the generation after.

[Cindy May]

My favorite photos are: A Street in Bellagio, Italy, Dorothy True (cool double exposure!), and Dorothy Norman XXIV, Hands with Camera.