Alfred StieglitzVereinigte Staaten, 1864–1946From the Back-Window "291"
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Stieglitz took this photograph from the back window of the gallery 291, possibly inspired by the fractured, geometric canvases of the Cubist painters Pablo Picasso and Georges Braque, the focus of an exhibition there just months earlier. Yet at the same time that Stieglitz was exploring modern art, he was also looking back to the 19th-century photographs of David Octavius Hill. He wrote to R. Child Bayley around that time, “I have done quite some photography recently. It is intensely direct. Portraits. Buildings from my back window at 291, a whole series of them, a few landscapes and interiors. All interrelated. I know nothing outside of Hill’s work which I think is so direct, and quite so intensely honest.”
For more on the Alfred Stieglitz collection at the Art Institute, along with in-depth object information, please visit the website: The Alfred Stieglitz Collection.
Art Institute of ChicagoCC BY 4.0
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- 1949.710
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- Art Institute of Chicago: die offenen Daten des Museums · abgerufen vor 8 Tagen
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Derweil im Leben von Alfred Stieglitz
Das ganze LebenFebruary 1913
The Armory Show, and his own photographs at 291
Stieglitz lent works from 291 to the organisers, Walter Pach, Arthur B. Davies and Walt Kuhn, and was listed as an honorary vice-president of the exhibition along with Claude Monet, Odilon Redon, Mabel Dodge and Isabella Stewart Gardner. He saw the Armory Show, which opened in February 1913, as a vindication of his five years of work at 291, where he simultaneously showed his own photographs so that the public could see photographs and modern paintings side by side.
1914
African sculpture and children's drawings at 291
In 1914 Stieglitz presented African sculpture to the public, followed by children's drawings.
January – May 1916
Meets Georgia O'Keeffe
In January 1916 the suffragist Anita Pollitzer showed Stieglitz a set of charcoal drawings by Georgia O'Keeffe, and he decided to exhibit them at 291 without meeting her or asking her permission. In late May O'Keeffe heard of it from a friend and came to the gallery to chastise him, which is how they met; by the summer of 1917 they were writing each other their most private thoughts.
1917
The end of the 291 gallery and of Camera Work
The year 1917 saw the end both of Stieglitz's direction of the 291 gallery, which he had run since 1905, and of Camera Work, which had produced 50 issues in 14 years. He later ran several more galleries.
1917
Duchamp's “Fountain” photographed at 291
Marcel Duchamp's readymade Fountain, a urinal signed “R. Mutt” that had been rejected by the Society of Independent Artists exhibition, was displayed and photographed at Stieglitz's gallery-studio 291. The photograph was published in The Blind Man; the original soon disappeared, and it was from this photograph that the Fountain was later reconstructed.
