Alfred StieglitzThe Ferry Boat by Alfred Stieglitz, 1910, Photogravure, Photography1910
1910
About the Item
- Creator:Alfred Stieglitz (1864-1946, American)
- Creation Year:1910
- Dimensions:Height: 11 in (27.94 cm)Width: 7.25 in (18.42 cm)Depth: 0.07 in (1.78 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Dallas, TX
- Reference Number:
Alfred Stieglitz
Few individuals have exerted as strong an influence on 20th-century American art and culture as the photographer and art dealer Alfred Stieglitz.
Born in Hoboken, New Jersey, in 1864 during the Civil War, Stieglitz lived until 1946. He began to take photographs while a student in Berlin in the 1880s and studied with the renowned photochemist Hermann Wilhelm Vogel. On his return to the United States in 1890, he began to advocate that photography should be treated as an art. He wrote many articles arguing his cause, edited the periodicals Camera Notes (1897–1902) and Camera Work (1903–1917), and in 1902 formed the Photo-Secession, an organization of photographers committed to establishing the artistic merit of photography.
Stieglitz photographed New York for more than 25 years, portraying its streets, parks, and newly emerging skyscrapers; its horse-drawn carriages, trolleys, trains, and ferry boats; as well as some of its people. In the late 1910s and early 1920s, he also focused his camera on the landscape around his summer home in Lake George, New York.
In 1918 Stieglitz became consumed with photographing his future wife, the artist Georgia O’Keeffe. For many years he had wanted to make an extended photographic portrait — he called it a composite portrait — in which he would study one person over a long period. Over the next 19 years, he made more than 330 finished portraits of her. Beginning in 1922 and continuing throughout the 1920s, he also became preoccupied with another subject, clouds, making more than 300 finished studies of them.
Photography was always of central importance to Stieglitz: not only was it the medium he employed to express himself, but, more fundamentally, it was the touchstone he used to evaluate all art. Just as it is apparent today that computers and digital technology will dominate not only our lives but also our thinking in this century, so too did Stieglitz realize, long before many of his contemporaries, that photography would be a major cultural force in the 20th century. Fascinated with what he called “the idea of photography,” Stieglitz foresaw that it would revolutionize all aspects of the way we learn and communicate and that it would profoundly alter all of the arts.
Stieglitz’s own photographs were central to his understanding of the medium: they were the instruments he used to plumb both its expressive potential and its relationship to the other arts. When he began to photograph in the early 1880s, the medium was barely 40 years old. Complicated and cumbersome and employed primarily by professionals, photography was seen by most as an objective tool and utilized for its descriptive and recording capabilities.
By the time ill health forced Stieglitz to stop photographing in 1937, photography and the public’s perception of it had changed dramatically, thanks in large part to his efforts. Through the publications he edited, including Camera Notes, Camera Work, and 291; through the exhibitions he organized; and through his own lucid and insightful photographs, Stieglitz had conclusively demonstrated the expressive power of the medium.
Find original Alfred Stieglitz photography on 1stDibs.
(Biography provided by PDNB Gallery)
- ShippingRetrieving quote...Ships From: Dallas, TX
- Return PolicyA return for this item may be initiated within 7 days of delivery.
- Stirling Moss and Denis Jenkinson, Mercedes 300 SLR Mille Miglia, ItalyBy Jesse AlexanderLocated in Dallas, TXSigned in black ink on print margin by Jesse Alexander Paper size: 16 x 20 in., Image size: 11 1/2 x 17 in. "The Mercedes W196 of Stirling Moss practices in the rain on one of the fastest road racing circuits in Europe. Moss teamed with the Argentine champion, Juan Manuel Fangio, as the two drivers spearheaded the Mercedes effort in 1995, dominating the season. This is the open-wheeled version of the W196, a car that Mercedes uses today at historic events around the world to promote its racing heritage." -Caption from "Driven: The Racing Photography...Category
20th Century Modern Black and White Photography
MaterialsSilver Gelatin
- Bill Owens: Suburbia Portfolio (15 photographs)By Bill OwensLocated in Dallas, TXBill Owens Portfolio A selection of fifteen photographs from the series, Suburbia Edition of 15 Each photograph is signed and numbered in pencil with artist stamp in black ink on pri...Category
1970s Modern Black and White Photography
MaterialsSilver Gelatin
- 1000 Kilometer Race Start, Nurburgring, GermanyBy Jesse AlexanderLocated in Dallas, TXNo Edition. Signed in black ink on print margin by Jesse Alexander Gelatin silver print Paper size: 14 x 11 in. Image size: 9 1/4 x 9 1/4 in. Jesse Alexander was considered one of t...Category
20th Century Modern Black and White Photography
MaterialsSilver Gelatin
- Anthony Gonzales, Spanish Ranch, NevadaBy Adam JahielLocated in Dallas, TXEdition of 50 Signed and numbered.Category
1990s Modern Black and White Photography
MaterialsSilver Gelatin
- TexasBy Elliott ErwittLocated in Dallas, TXSigned in black ink on print margin, signed, titled, dated and misc. notations in pencil on print verso by Elliott Erwitt Gelatin silver print, 14 x 11 in. Born to Russian parents i...Category
Mid-20th Century Modern Black and White Photography
MaterialsSilver Gelatin
- Providence, Rhode IslandBy Elliott ErwittLocated in Dallas, TXSigned by Elliott Erwitt. Gelatin silver print, 11 x 14 in. Born to Russian parents in Paris in 1928, Elliott Erwitt spent his childhood in Milan, Italy, before emigrating to the Un...Category
1950s Modern Black and White Photography
MaterialsSilver Gelatin
- Chrysler Building Through WindowBy Tom BarilLocated in New York, NYPhotogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium museum plexi. A graduate of New York’s School of Visual Arts, Tom Baril spent over fifteen years as Robert Mapplethorpe’s master printer. His subjects include urban architecture, seascapes and meticulously detailed botanical and nature photographs. Baril’s work demonstrates a command of technique that results from his extensive experience as a master printer. Baril developed a unique toning process that enriches the color and opulence of his photographs. Tom Baril is inspired by the nature studies of modernist photographers such as Edward Weston, Imogen Cunningham and Karl Blossfeldt. A similar attentiveness to the clarity of line, form, pattern and texture characterizes Baril’s still lifes. In composing the seascapes, Baril employs the traditional box camera obscura, better known as the pinhole camera...Category
Early 2000s Black and White Photography
MaterialsPhotogravure
- Chrysler Building at NightBy Tom BarilLocated in New York, NYPhotogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium muse...Category
Early 2000s Black and White Photography
MaterialsPhotogravure
- Chrysler Building from Madison AvenueBy Tom BarilLocated in New York, NYPhotogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium muse...Category
Early 2000s Black and White Photography
MaterialsPhotogravure
- Smoke Stacks VariationBy Tom BarilLocated in New York, NYPhotogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium museum plexi. A graduate of New York’s School of Visual Arts, Tom Baril spent over fifteen years as Robert Mapplethorpe’s master printer. His subjects include urban architecture, seascapes and meticulously detailed botanical and nature photographs. Baril’s work demonstrates a command of technique that results from his extensive experience as a master printer. Baril developed a unique toning process that enriches the color and opulence of his photographs. Tom Baril is inspired by the nature studies of modernist photographers such as Edward Weston, Imogen Cunningham and Karl Blossfeldt. A similar attentiveness to the clarity of line, form, pattern and texture characterizes Baril’s still lifes. In composing the seascapes, Baril employs the traditional box camera obscura, better known as the pinhole camera...Category
Early 2000s Black and White Photography
MaterialsPhotogravure
- 59th Street BridgeBy Tom BarilLocated in New York, NYPhotogravure from the Tom Baril 'Manhattan' Portfolio. Edition of 75, signed by the artist on bottom right. Framing: acid free, archival framed, cotton rag mat. Glazing: Optium muse...Category
Early 2000s Black and White Photography
MaterialsPhotogravure
- French Contemporary Collotype Photograph Black White Photo Andre NaggarBy Andre NaggarLocated in Surfside, FLPhotos pictured of information cards after the images of the black and white photos are not included. La Chute D'Icare (The Fall of Icarus) is a original, black and white photograp...Category
1990s Contemporary Black and White Photography
MaterialsPhotogravure
Recently Viewed
View AllRead More
Photographer to Know: Harold Edgerton
Edgerton captured motion like no other, yet he considered himself a scientist — not an artist.
These 9 Galleries Have Helped Turn the Lone Star State into a Thriving Art Hub
The Texas art scene is booming, thanks to trailblazing gallerists and their savvy collectors.