Undergraduate Review Volume Issue Article 1988 Alfred Stieglitz & the Armory Show: Its Impact on His Life and His Work Bill Wetzel '89 Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/rev Recommended Citation Wetzel '89, Bill (1988) "Alfred Stieglitz & the Armory Show: Its Impact on His Life and His Work," Undergraduate Review: Vol : Iss , Article Available at: https://digitalcommons.iwu.edu/rev/vol2/iss1/8 This Article is protected by copyright and/or related rights It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s) You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself This material has been accepted for inclusion by faculty at Illinois Wesleyan University For more information, please contact digitalcommons@iwu.edu ©Copyright is owned by the author of this document Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H Alfred Stieglitz & the Armory Show: His W Its Impact on and Bill Wetzel Published by Digital Commons @ IWU, 1988 27 • Undergraduate Review, Vol 2, Iss [1988], Art The transformation of Alfre( to a s promoter 1907 occurring in to in changes personal dimensions to I Armory Show alterations marked a clinwc ninetec new results input of the American public culture Anne towards decade between hisreplaced encompassing personal aStates new generation goal to The of est The \1t United The The by The pr( "i values of of the more traditional Howells "custod "custod ' th treading The "custodians" were aforward nunvie" decisions about this civilization Howells, people."2 stating However, in his standards."3 oppose inherited change tradition from had ninetee toward moral and mater to describes the cc that was imp mt of some The I the future would inevitabilit only result importance offrc and ni: a continuation of American allegiance tothird, three central c values; second, expresses, "these an were first, th the the b society "Well before accomplished maintenance some of been past mal gainir tradition· times were a life were encc were concerned from longer tradition a"iconoclasts" needpoints to for been partly rejected pushing "custodians" change values under modemThe conditio work was by in in modem sui was no folloW' had out that 1~ by p grounds "6 The goals of these • radical; however, their questio ideas originating in Europe 28 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 W"j'2tP' 'rif 'n" ~'? t Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H an organization: "the "custodians" events of their promoted an optimism "men nineteenth-century treading ain sure path, ideals whatever goals the were momentary failures, results his goals metamorphosis ofare of the these Armory early Show opponents began hismodem return movement "Well before The transformation athe the period era to education the far him past change simple, success modem some the more Henry first, believed whole the American tradition of success moral William of culture This dominant were change many people maintaining the devastating Alfred involved instinctive, art and break certainty for in were indirectly ability Dean unique Stieglitz the American be the adaily struggle linked emotional and and related from even universality credo aand pioneer movements had best aprocess new Howells self-reflective "basic made input "had photographer alterations involved nearly all segments of art art accomplished Armory Show marked decade acentral encompassing climax life in of modem his World support times War were apreservation sufficient source ofpast moral value."s There expresses, "these theradical; allegiance more traditional three "custodians" doctrines of "custodians" people."2 pushing However, civilization from were for standards."3 change public concerned tradition to changes in in his grounds."6 society had occurring been They gaining in believed society strength atofthe for time several However, years Henry there May are also American culture replaced toward moral material improvement."1 He1920 also can believed longer describes ato need the values to follow of these precedents conservatives set represented "iconoclasts" were encouraging re-examination ofphotography traditional values; the Howells, United future ideas second, originating stating would States the between only inevitability, in been result Europe awere new partly from generation rejected promoter of in "iconoclasts" America, in of 1907 the ofand who progress; They challenged desired the authority by decisions however, about their this questions "custodians" forward paved movement the aIparticularly could number conservatives, organized loosely, nherited tradition had some special responsibility maintenance of past tradition work towards his personal goal to establish under literary modemculture."4 conditions They were out di.mensions to personal oppose change from nineteenth-century traditions Henry and apoints continuation third, the importance of American ofvalues traditional nineteenth-century civilization, through to that to The of The as The was The The by The of of of The May that by that always was that by be view, of of for that The an that May of were was key as The as The not was by that that was no by 1912 that by The on of way for not 29 Published by Digital Commons @ IWU, 1988 Undergraduate Review, Vol 2, Iss [1988], Art Henry May, in The End of American Innocence, emphasizes graphic argues, that arts," the "gave prewar years.American taste its frenzy of bitterness towards tha sharpest came jolt during biggestbut single shock to tradition from European art "Not literature gloat over every tale of brutaU~ the he circles 11 the "7 The ArmoryEuropean thought Show school exposed "Only model Henry offrom International 1913 innovations aart for handful Europe was progressive displayed art, were Art According Ash Paris, had Exhibition Americans, Alfred Stieglitz in his gallery, ap for between American and ideas whoGertrude had that invasion an ofseen of European modem and Americans, the ed The Allies won thebut war,threethe ce ccepted th4 concernedwar's pessimism were the shown effect among pushed p to be false duri the Can as the not The "iconoclasts." the at the The of Modem to May, tl Robert his small Henri, gallery Stein in New realistic Europe the educating his attempt Henry eventually Armory carefully helped supported "291" promoters period marked own organization exhibition some himself end allowed the goals Alfred his America war "iconoclasts" direct brought the astyle, Association May's shedding own and to primary amake while ruin Money thought Armory Stieglitz's bring caught Stieglitz artists promoted role pocket Davies which characteristics about the concern modernism [AAPS] and current they traditions with sponsored him European belong art fitfinancial either horizon single Stieglitz members event was played art acting a up vital role frequented between visitors, artists, destined to to a certain and bright this new storm greater affinities with on the "8traditional intimate "most Show, Photo but his Secession studio Gallery His work promoting extreme radical; those being "sweeping irrationalism" and "unmoral success the change, others carrying however, who attempting out, shaped the to overthrow exhibition Judith Zilczer cultural values: Stieglitz either; artists always applied near American nineteenth-century art took time tradition Show possible He was comfortable Stieglitz did clearly in the aftermath of the \l Stieglitz did was There not materialism".l0 playa in the of ain part ofstruggle this by bothoptimistic the sides popularity Armory: American the beliefs of TI was by Arthur and of and events to America the such for in unh some time importance noted that Stieglitz The of lit of the of the The eJl of the had as the modem art at "9 in was cm few and in "modem" beliefs Stieglitz, the modem in York the many traditionalists, who helped the timeprovide that caused back~ in that American public changes but the of mm him His work characterized his to contact and its ability to react positively to r Stieglitz's attempt to expose was not he was Armory Show, which freed in an into muc: by not of of the the t He on out that he photographic mea on his longer : struggle experiment to subjects establis with updifferent with Europe does to Camera Work was not reason whyphotography the American remains how to lasted his lifetime, variety America of he out of was varied During the 1890's he en_ pictures the that The to the; of the in of the of as tl: is no no that the of of by the in Germans presented movement barbarians war optimism British hometowards a Paul new image More a brighter and of future They that he not so war destroyed humanity-inhumanity The who defended traditional the of the mage ior society and dians" and Irving Babitt, two conservatives values, catch in their had admitted, of the that the as the I n what respects are our phol the as compared with those of our En, our technique, fully equal to th sense for composition and for photograph of artistic There is nevertheless a touch of the irrational and the indecent in our 30 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 _ _ _ ~"', ,+.""· t $ t' Iiili'liiiIfflOilifililitMlIiI:.Tcillll ' - Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H belong to realistic the Armory ·nocence, emphasizes while that noted theathe "Only handful frenzy of bitterness towards that country [Germany], and in readiness to ow "Not ofhad essive pe that art, exposed were the who e1m Stein International in Paris, American and some taste its gloat over every tale of brutality This is particularly the case in academic I, "gave circles 1l be 1913 was on war inart Europe Injustices were committed aexperimental part of this change from "traditional" values toposition rom The Allies won struggle shift room future the position in decline "brutality" decade reality American time values, war, three must but for left exposed the central literature be literature remembered doctrines created had had been aEuropean been when of mood therising, considering "custodian" of optimistic the Armory beliefs Show in brought universal more moral values of influence the conservatives popularity modem no longer promoter, was only "modem" beliefs Stieglitz, for some time andtowards events him such Hiswere work shown characterized to be false hisduring optimism this decade.the America changes war's effect pushed public both sides inhelped to America ncerned pessimism among the about ~as many importance who "iconoclasts." provide background support for destined to a public certainthe and bright future Choices and costs were viewed The the of the leI for not aftermath Stieglitz clearly in the The isplayed May, was ery, 118 of the of by the The of the less the I.rthur of Zilczer that The of on the (AAPS] The of as which they sponsored had Imoted nlitz's educating llowed he Armory a :xi art was opean the one of York the but the of the American public and s modem in the oldpublic valuestocaused clung Stieglitz traditionalists, i, and himself with the Stieglitz him the its ability to react Armory Show, which freed much of society from to ism They had ationalism" and "unmoral image lnal was values: tew and he oals positively to new experiences the American Ironicallypublic it was the primary concern m ans into Paul More and the attempt to expose eIt period Stieglitz's by that ay's of photographic means camera and tointerest explore the abeautiful variation his wrote, the English art out fact art "There His brethren iswere doing ina different subjects heBritish does ly that he no reason remains variety photography lasted his lifetime, but his personal involvement in it onamateur as his longer struggle to establish photography why the American should pictures ey was varied During the 1890's he encouraged amateur photographers in It was America to experiment with the new up The hand the of of as He is not tum as :l of by as the Light of that not SO.,,12 Stieglitz 1890's: offered public theadvice on red of the how to catch up with Europe in various publications in Is :>resented ~ as as the ~nded In what respects are our photographs deficient, more especially when compared with those of our English colleagues? Granting that we are, in our technique, fully equal to the English, what we lack is that taste and sense for composition and for tone, which is essential in producing a photograph of artistic other words, picture 13 value :xtional and the indecent in our 31 Published by Digital Commons @ IWU, 1988 Undergraduate Review, Vol 2, Iss [1988], Art freedom failure also realized Stieglitz's growth push amateur camera American impact new course public the public for camera majority had the photography of tophotographers changed He follow provided wrote, his ofinlead America convinced him as the of the ognized nd, however, the of of By 1897 the hand the the the he the the on the contributions be it were of was t of Here group they studi(d By 1903 Stieglitz had exhibition abandont had been made pictorial phot( art photOJ selection to offer support and exposure photographers Along with show works in other art mediun designed toforeign offer American Avenue, and New never could produce successful movement, based inin the Photo Secession for a largethe Work was United States Along with ainfo: be worthwhile hold an exhibition Cal New York, Photography as a fad is well-nigh on its last legs, thanks primarily to the bicycle craze Those seriously interested in its advancement not look upon this state of affairs as a misfortune, a of but as disguised blessing, inasmuch as photography had been classed as sport by nearly all a those who deserted its ranks and fled to the present idol, the bicycle 14 In 1906 followi~ show, the York with as their slogan of a part new medium Stieglitzrest what considered took button, criticized his began camera the ainterest rejection and loss a manufacturers withdrawal ofin photography who the He foe not of he the He the The 2~ "photography-by-the yard" "You of c did "rarely wanted in pictures," yet and these"racehorse were had dismissed "express the we the "15 As Stieglitz began his always subjects most refined to explore writing photographs the century: and to, explain fromtrains" more of 1906 occurring what llow his own advice he wastechnical scenes" matters audience he for his public direction Stieglitz By 1908 the focus of Camera' Stieglitz offered technical advice and compositional suggestions to of Stieglitz Edward SI readers in various photographic journals, although to was i he not photographic expression Stieglitz new exhibit style in at he employee "291" p: He value Pamela Colman Smith, earlypainter, reactions as the of methods year Stieglitz presented his first of well~known the tum of the 16 photography modernism before ignored some formation purposes photographer to explore His own school, or contains some exceptional feature with a show featurir: exemplifies some treatment worthy presenting an encouragement old subjects, and were afulfill source The Hand of Man, 1902, and Going demonstrated open express and his did instruction consideration, technical displays tothe felt many its the mind first closing it, the Post, subjects "individuality Stieglitz to issue, magazine Movements in Morris in he had Park, would experimented to and 1904 new artistic worth, guided Stieglitz towards modem recognition inconsistent these pages throughout life Though zhszread stated subject changes in and Stieglitz can for founding in Although atregardless times he Stieglitz's not an areas, new methods the of the WE the is of hi~ of the With of of aged o were he was him of Camera Work be The 1903 the of of he Camera Work 1917 In He that of of of "17 According to pictorial Stieglitz, magazine; "not alsoitohe tohowever, dominateliterary primer, literary combination the but rather a magazine as tended the 32 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 '7 Under Steichen's guidance, Stl modern painting and decided tha which eliminated the need for tr Steichen took Stieglitz to an ex: Stieglitz could not believe that "Why there's nothing there but here and there "19 Unfortunately, one of Stieglitz's thoseatwho were puzzled by nearly all with the shows 1908, "2~ Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H r photography in America vinced him llow of ers act was )f "18 rovided occurring in European art In the living new in style England Within aStieglitz photography, the accomplishments fonned they under planned Stieglitz's to guidance Here took they Stieglitz could present time towould small appreciate exhibitions studio at By 1903 Stieglitz Fifth an brilliant presented had American first Avenue, viewing abandoned modem everyone shifted, new the the and artists: George and work Photo completely the Roeder Secessionist his describes optimism the that exhibitions Stieglitz Auguste in Rodin his there, Steichen opened to understand with itsdirection, first show in November many expression exhibitions employed ofattempt European the Photo Secession, under to the group decided they lease rooms atdecided year Stieglitz presented his first to offer support and exposure toadequate photography the focus could selection methods produce successful photographs early if properly instructed Camera photographers and foreign Along art with never publically displayed before in photographic exhibit atmade modernism with amodernism show drawings had been intoshow pictorial works photography inreactions other art mediums to find time tothe time space which they felt to the value designed offer infonnation to aUnable small number Avenue, American New painter, direction Pamela Colman of Stieglitz movement, Smith, Edward who based Steichen, infeaturing New a from close personal friend, exposed guided Stieglitz towards of hold an exhibition following Spring ,e also for aStates largeofStieglitz Work was of United Along be with a focus to worthwhile what In , Camera Work, York, was its last legs, thanks primarily to ~ted in its advancement not tune, but as a disguised blessing, of ssed as a sport by nearly all the present idol, the bicycle 14 lotography as a rejection of his dium He began a withdrawal rt of what he considered the era mi" with their slogan "You zAsrefined the I explore and always ofthe the explain century: more subjects "racehorse compositional suggestions to ;, not :I "express were of is from tum Ie 1906 of that 291 show, York of on 291 The the of 1906 By 1908 "291" had of Camera Work 1907 was "291" non, of was of by Post, Morris Park, 1904 16 It "not intended technical , StieglitzIn had instruction thean first open issue, mind to to make this a photographic his of he was but in rather a magazine q>lore deration, ements to new zine would fulfill He for theismore advanced photographer of the ty he and artistic worth, z, of by tional ~nting feature iterary of Under Steichen's guidance, Stieglitz became increasingly intrigued with lIlent of modem painting and decided that it served as a complement to photography, Camera Work >nstrated Camera Work :>sing 1917 which eliminated the need for traditional painting As late as 1907, when Steichen took Stieglitz to an exhibition of Cezanne watercolors in Paris, Stieglitz could not believe that they cost 1000 francs each, exclaiming, "Why there's nothing there but empty paper with a few splashes of color here and there "19 of ment with Unfortunately, one his impatience of Stieglitz's later weaknesses was nearly all those the shows who at were puzzled by 1908, their first glance at were non,photograph "291" 33 Published by Digital Commons @ IWU, 1988 Undergraduate Review, Vol 2, Iss [1988], Art Paralleling the changesSecession's overcominggallery the Photo points out: in Camera Work which Arthur Wertheim es n in Americ~ photography correspondl andPhoto art 1his place His mission was clear dividends Stieglitz's belief that he was in of other to Pratt, member of the S letter was a response to Pratt's p was publishing too Work many a a some Around the time of the at first art shows "291", Camera Work began to devote more space to European painting The magazine often printed reproductions of the work of leading European modernist artists, including Matisse, Rodin, Picasso, Van Gogh, and Cezanne Also published were essays on the "291" group and reprinted newspaper and magazine reviews of the gallery's shows Camera Work also included literary material, including poetry, the selected letters ofVincent Van Go?lt, and the writings Shaw, Maeterlinck, and Bergson 20 Don't worry that I am not loa graphy quite as much as ever j greater But as I once told yOt< that matter the artists themsel4 means, as I understand that tl the real meaning of art That at "291" but through Camera' such a conclusive manner that me it is not a question of pers theory; I approach the subject I aUy.23 The link betweenfrom changes "291" reflected and Stieglitz Camera was a brought Work evident the opening of the The to them was moving believed purpose he he felt a advance his it modernism toward was purpose art photography modernism working for shortly his ifSadakichi position was aftermore public Stieglitz uld his indicates work Stieglitz's new ambitions involved his optimism in the He come around to on they to He promotion of important, but related to to as In 1911 letter to Hartmann, returning the which he at the Stieglitz's attempts Armory be impers his to own dead.weeks world modernists placed his 'revitalizers.' complete faith 'That's in the breath before There is certainly no art in America today, what is more, there is, as the of art and fie] yet, no genuine love for it Possibly Americans have no genuine love for three the anything, but I am not hopeless In fact I am quite the contrary The trouble with most photographers and for that matter also with painters, and other people, is, that they are always trying to something which is outside of themselves In consequence they produce nothing that means anything to those who have the gift of intuitionafor truth: all else is really not worth tinker's damn 2/ They're breathing the The Armory Show was a turr other "iconoclasts." Ironically, big show, Art foreshadows eve: the fir: photographs at Exhibition of Modem Stie of the and to In 1913, he wrote, Stieglitz continued, I am glad that my pictures gave you some pleasure The number [Camera Work 36} seems to have come as a breath of fresh air to a great many people It's a pity I can't afford more time for this branch of the work; but daily I realize more and more, I that in sacrificing my own photography I have gained something could never have possessed, and that is certainly a bigger thing; a bigger thing than merely expressing oneself in making photographs, no matter hOw marvelous they mi?ltt be 22 During this period "291" Armory between formation the a service of was doing for convinced that he 34 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 < t of ",24 During the show of Post ImpreSi at "291" It will be the logical forgetting photography and I • test I wonder whether it wiU : vital 25 and the At this time, Stieglitz still beli measure its value I best way to both ' j t he Photo Secession's gallery ints thurout: '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H photography and artWetzel in America that t "291 ", Camera Work began to ng The magazine often printed )pean modernist artists, including d Cezanne Also published were newspaper and magazine reviews also included literary material, ncentVan Gogh, and the writings n'k was evident from opening the ht to them reflected a He sm in the public i positiona working on modernism art more if they ,n was eturning ,vance as In pose was dead Exhibition modernists wrote, 'revitalizers.' 'That's what they are, onoclasts." Ironically, Stieglitz's three foreshadows weeks They're before events breathing to come show, and his presentation placed his complete faith in showing photographs wy, what is more, there is, as ericans have no genuine love for I am quite the contrary The r that matter also with painters, tys trying to something which they produce nothing that means ttuition for truth: all else is really e pleasure The number [Camera ~th of fresh air to a great many ime for this branch of the work; rl sacrificing my own photography ve possessed, and that is certainly ely expressing oneself in making they might be 22 of that he other modem the when he on of the was Work was was 1912 The that Camera on modem Don't worry that I am not looking dfter the interests of pictorial photo, But graphy quite as much as ever As a matter of fact my interest was never greater as I once told you that before the people at large, and for that matter the artists themselves, understand what photography really means, as I understand that term, toit is essential for them be taught the real meaning of art That is what I am attempting to do, not only at "291" but through to in Camera Work and this work I am trying such a conclusive manner that it will have been done for all time With me it is not a question of personal likes and notdislikes; a question theory; I approach the subject in a scientific way, objectively, imperson, ally 23 Stieglitz's belief first photography whole art International attempts his time same and into for only new own bunch a"291" his his January to coincided result Stieglitz time long aShow own to photography images own turning be since work field impersonal aswould with wellJanuary as free many about art were unsuccessful He Art Stieglitz's alife Armory letter breath to Ward began, Muir, "Stieglitz 30, called for the that the Armory Show the of of In 1913, the the the the of an art that is ",24 The other was point of at of Modem the the return of of the is at the In 1913, he During the show of Post Impressionism I shall exhibit my own photographs at "291" It will be the logical thing for me to Sonotyou Isee am forgetting photography and I am putting my own work to a diabolical test I wonder it whether itit it will stand If does not, contains nothing vital 25 was moving )n of "291" Armory and correspondence aArmory response apparent would December the art Show art forward eventually toSecession, Stieglitz Pratt's 7, took before protest return wrote: wrote to George D in a previous letter his Photo At this time, histo this also Stieglitz work measure letter, expressed, still its believed value a public test of elf vas both or best way In he Published by Digital Commons @ IWU, 1988 was the 35 Undergraduate Review, Vol 2, Iss [1988], Art Outside of BaTOn De Mayer, who is here in New York very busy photo~ graphing society and doing it in a masterful fashion, I see none of the photographers They seem to steer clear of "291" as well as myself It is very amusing but fortunately I don't miss them Not because they are not nice fellows but because they have not developed mentally but have stood still during the past six or seven years 26 The things you don't seem to are things which, I assure you, great I mean living for aU tin taught how to see And possib~ my life is teaching the value OJ Stieglitz remained public Inconvinced this same h abrasive well streak aware This ofhis caused masses Stieglitz's Max afterward kept Weber rejected "291" inpersonality contact and and Edward Stieglitz contributions with didletter after Steichen ended Peter The photographers least small link his reappear Armory mention two close between only itfrom circle concerned Stieglitz's International makes inmentioned friendships this ones in Show who with in Show before encouraging this arechange not theininthe public modernism, from but he in was also heatedafter arguments away Stieglitz with to no of ad of promoting modernism in neither New party speakingHe the l~ an the at of 1913 The American has a vote,.the both Unfortunately he has an opiru the other he has a vote The American of not the I as an American have a righJ he the He no has given me the opportunity I as that· understand what did Stieglitz's want their establishment began to admit alone to 1inofthis h: the truth give himself authOrity over the what means elevated himself to be among bored ordinary stiff so often person thinks public did athis close supporter ofofArt negative Stieglitz reaction of the pul was the the art stated in York Conn Exhibition, He not not Stieglitz was consulted by the organizers of the Armory Show, but he "1 played little direct part in it He nonetheless felt within his rights to "30 He downpla~ appropriate it symbolically, to see it as vindicating five years of his own was not 11 activities He wrote to a friend that "the Big International Exhibi~ Quinn, tion was really the outcome of the work going on at "291" for many 1918 years "27 the III by rem andthea International Stieglitzfelt washad certain played crucial role inExhibition its formation would be a success '''31 Many that and he Stieglitz's reaction to he the Armory Show can be seen in his decreased th value of concern for in and a loss of interest long Stieglitz time in his had endeav d I Armory Show sevento more issues not concerned "291." aware released does mean you?" ItO'Keeffe modernism after Camera Work "291." His lack posed magazine interest July reflected of Armory reduction inmaterial devoted issue reply inwere Show in the to his in'291' a only cancelled subscription: his feelings between October By 1917, Stieglitz's Between ventures May associates had fallen without off almost m te issue revolved around this theme and the responses it which related private directly writing to as photography, well After but e, inofApril ety those associated with work g subscribers due of ofStieglitz and histhe is entirely promotion to the question, I 1915 1917 also lastdecided issue intoJune close Work t contained no photography Stieglitz the Camera Work The of 1914 was 1917; be "What was at "291" The 191 was he was at the On to the of the he was He wonder how I'll be when 1914, N Y as I am now -Hartley no soul "-It fascinated me 36 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 10 re in New York very busy photo~ terful fashion, I see none of the of "291" as well as myself It is Uss them Not because they are rwt developed mentally but have 'ears 26 Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H The things you don't seem to like, and I know you don't understand, are things which, I assure you, will live and be considered great~nd by great I mean living for all time-by future generations that have been taught how to see And possibly the greatest work that I have done during my life is teaching the value of seeing 28 Stieglitzpositive also remained theaware lackreaction convinced he had discovered something important tter are not but the itStieglitz's inhe only thisones who Peter in was of of modernism, from the public In this same letter he continued: no eak This ward ublic ~ makes nded in caused theof circle alll Show The American has a vote, therefore he thinks he must have an opinion dships 1913 Unfortunately he has an opinion and unfortunately I sometimes think, Edward ~aking he has a vote The American is superficial and he lacks deeper feeling I as an American have a right to say this, for I have lived a life which has given me the opportunity to test and Judge 29 er >Uraging often alone in this response to the the and public June to the published Armory its Show interest in June in his endeavors toIas educate the public want he to had admit "long he since misjudged ceased to the care what began to downplay the importance Stieglitz's "291" their Stieglitz's establishment ahad Stieglitz long "Judge" necessary and expresses and remarks public said to before, himself personal the had opinion due to itdetermined some of the had totoshared interest effect, become the 'Well, in an these fate effort I don't was put see outShow In letters [collected] Many he wrote others paintings Georgia this have need been toArmory downplay theJohn ns Quinn, a completely closeafter supporter of Arthur Davies and the itInternational the ordinary person thinks itz's associates give himself without authority much interest over the and opinion input what of from the this him masses means Stieglitz about modern Between feelings atpublic the time of Armory He May last did the not negative Stieglitz understand reaction what ventures they were had fallen being off shown almost Stieglitz O'Keeffe bored between stiff value October of public opinion the Show For Stieglitz involved ecided to close "291" in Conn Exhibition, stated for in art elevated HeYork did himself to be among "those who gift of intuition a have the truth not trend-he rs of the Armory Show, but he etheless felt within his rights to vindicating five years of his own "the Big International Exhibi~ IIO'I'k going on at "291"formation for seen reflected at many "291." in his posed devoted in decreased his "30 He was not of 1918 that of my Show his mean tocanmore only seven s lackissues of interest in the xhibition would be a success role in its >w be >ry is "Y Show ~ July 1914 was >1' you?" It was ~glitz work aware he I theme and not the concerned responses it was magazine tion: Stieglitz was If lUt was He :lled so loss of By Work by '''31 1917, of 1915 Camera 1917 Camera Work issue 1917; by 1917 1916, 1917, he On October 7, 1916, he wrote: of I wonder how I'll be when I get back-I never was so little a part of N Y as I am now.-Hartley hates the place because the "people have no soul." -I t fascinated me for years because of that lack-I thought Published by Digital Commons @ IWU, 1988 37 11 Undergraduate Review, Vol 2, Iss [1988], Art that the huge machine would eventually discover its soul will it? Machines have great souls -I know it -Have always known it -But they must be given chance to show them-People interfere too much and have no faith 32 a Between 1911 and 1915 Stieglit he did occassionally make par with 291, his attention and his Camera Work and directing 2S George Roeder points out, them a offer danger Stieglitz had three this andlong group he its toMay a'Keeffe large been fascinated Stieglitz's New York moved nearer towith destruction he saw in xt two letters wever, The in '~s, of the '''Modem is that is a continues that after Stieglitz fol he of as "291" On 31, 1917, continued to receive encour£l8 loyal supporters, but grew 71lO1i hope that modem painting coo small group 38 I have decided to rip 291 to pieces after aU-I can'tdown-and bear soon-in must to think ofathat its walls which held your drawings should be in charge anyone else No the walls come very few days. So that I am sure they're down -Others should move in and build anew 33 He wrote again to a'Keeffe June 24: I didn't tell you that this afternoon I set Zoler ripping down more shelving in the old little room-and ripping down the remaining burla~ I made a photograph of him -hejob-and enjoyed the I enjoyed the destruction 34 As Stieglitz's in photography interest in moderr photography increased a'Keeffe By 1919, was Ne" in His I personal nature he in wrote he saw to his WI April promoting modem art back to art In 1919, ~ directions American spell public without Tearingathis down easy New had many period unhappy his "291" for broken the financial galleries art, and closing had were only thirty-seven ofsuccess Camera Work not become only failure I am virtually alone-I ref bers for its last issue Stieglitz felt he "291" had one of in York again-just to satisfy somethin, modem and Camera Work work say that it is a revelation was He humbug.-No sentimentalism. the To you can see the [pores} in fe was and [they} don't feel they are consc time The of was not to the the June Stieglitz's photography Her Armory rebirth Stieglitz's wrote company Show interest to activity in photography had been slowly June H C Reiner: moved to New York in 1918 In August of 1919, he wrote to I a resurgence building from was key of in I have been printing agair The of mind frequently -I am malaTi the of In 1915, he and more amused how few re standard was even when I tho I am in the midst of experimenting along many lines The first real lished There was too much thou chance I have had in years to what I want to in photography my By August 1923, Stieglitz had CI photography experimenting had to be side-tracked for years, for the bigger Seligmann, that if the work I was doing in fighting for an idea, fighting practically single handed 35 er y, here, photographer is synthetical in hi which the painter cannot as The photography disgusting beinlit of Stieglitz Art" contains a large gap Sarah Greenough explains: 38 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 12 Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H y discover its soul-will it? -Have always known it -But tern-People interfere too much them a danger Jew York and its large over here, Hartley, of the in hree to O'Keeffe offer Stieglitz's lction On May 31, 1917, he , all-I can't bear to think that should be in charge of anyone and very soon-in a few days. hould move in and build anew 33 back personal photography increased art directions ~ I set Zoler ripping down more 19 down the remaining burla~ ,ed the job and I enjoyed the Between 1911 and 1915 Stieglitz did not make many photographs While he did occassionally make portraits of the artists and critics associated with 291, his attention and his time were primarily devoted to publishing Camera Work and directing 291 36 George Roederdisgusting early points so as many out, 1915, being '~s impure Stieglitz forms had written to '''Modem Art" is exploited in that it is and even disheartening.' "37 Roeder continues that after Stieglitz folded his ventures in New in 1917, he York continued to receive encouragement and intellectual stimulation from loyal supporters, but grew more bitter, and less inclined to keep alive the hope that modem painting could become vital to the lives of any but a small group 38 1919, As Stieglitz's his his wrote Sadakichi interest work, establish struggle from photography insaw modem Stieglitz declined, ashisHis art was letters histrying from thisinvolvement period reflect in 1919, O'Keeffe was By in New York and new in the nature he in and the return of concern promoting modem art to to photography In April he to Hartmann, I am virtually alone-I refuse to budge-I am at last photographing again-just to satisfy something within me-and all who have seen the period ,galleries had only in thirty-seven Newwas many June a this failure otography licinwithout success To work say that it is a revelation -It is straight No tricks ofany kind -No aphy s unhappy old nor new.-It is so sharp that he was He hadhumbug.-No sentimentalism.-Not you can see the [pores] in a face-and yet it is abstract -All say that [they] don't feel they are conscious of any medium 39 and slowly financial York :amera Work were not easyhis wrote for company Drk not broken 1918 Her In August ofwrote Paul 1919, he ~rest in ~ow In had been 1915, he to along many lines The first real want to in photography my ~-tracked for years, for the bigger Seligmann, :htingpractically single handed 35 large gap Sarah Greenough to Strand, I have been printing again-and naturally as I print you come to mind frequently -I am making aU sorts of experiments I'm more and more amused how few real photographers exist-and how lax the standard was even when I thought a standard had been of partially estab lished There was too much thought of "art;" too little photography 40 By August 1923,concluded, Stieglitz if had a evident in letter to Herbert that the in photographer is synthetical his choice of the moment of he does something which the painter cannot as weU -He achieves a sense reality, an 39 Published by Digital Commons @ IWU, 1988 13 Undergraduate Review, Vol 2, Iss [1988], Art exactness of reality, a different of kind reality than the painter can put This letter hisfinal expresses true art arta common Whatwhen he synthesizes down the photographer can achieve is not public to appreciate artcamera e It involved his person; Through the Photo Sece photography As Stieglitz's Stieglitz became aware of its similarities years.group respond others: positively he believed to model bicycles replaced the greater I t is different in kind 41 photography Before the retreated Phototo into Secession a smaller S reach a smaller as an on 0\\ whatattempted could become a successful than that of Stieglitz's favorite subject from aarrival art Stieglitz hundreds front Stieglitz was the finished did New well were through fulfillment poses enjoyment enjoyed convinced over wanted never once more works and three There their completed she moods to she hundred photography marriage, are received expressed very shephotographic finished imitated many.'" from until before his portraits for painting, his ofespecially her rather actress entire who, life, but he had toand settle for knew 1946 her Q'Keeffe worked well proofs aware falls in love was The irrn atinglooks different types painting, shared some similar characteristics, but that as she udies Stieglitz at modern nearly thirty years nal She of the of was the the of her in York, in He as photc as that He as of her he in of au unde She the was of the as as the the not circle 01 was an as resentment worked intothe hispublic phc Following the Armory pessimistic about the Show, depicted a castrated horse 42 herself.-Ot her selves-ane The relationship thirties his Marin, hisbest American of replaced She life brought his Stieglitz work remained failing Q'Keeffe and it health possible close Q'Keeffe inand toforbleak providedafter him1937 with a unable to take photographs Paul Strand andPlace," had since before twenties most productive decade Dudley Johnston April 3, open amade new gallery, provided Stieglitz's him optimism with whatever ofhad not financial support they could Stieglitz wrote vitality he ce some "291." him 44 n ial position ped to of in one of his photographs a breal a noticeable people, How" was the of is thirties and Stieglitz had concluded that focus on elements This as John human is thE him '~n that the sa the was by The changesnot Stieglitz upheaval thedemonstrat a went resultdo the on by Stieglitz HO\\i Stieglitz in thisvalues resulted period from internal of disillusioned cultural He that w: He was to 1925: was as cI My photographs ever born of an inner need-an Experience of Spirit c I not make "pictures," that is I never was a snap,shotter in the sense observations A: Though and the Arme the ofpublic I feel Coburn is I have a vision of life and try to find equivalents for itphotography; failure Indirectly convinced him the art,c for Stieglitz it was show, heahad lost desire toin he pI.: hehis felt his time sometimes in the form of photographs It's because of the lack of inner maintaining his active masses vision amon~t those who photograph that there are really but few true the eo photographers The spirit of my "early" work is the same spirit of my sp "later" work Of course I have grown, have developed, "know" much he was more, am more "conscious" perhaps of what I am trying to So what productio I have gained in form-in maturity -I may have lost in another direction on the artists wi modern There is no such thing as Progress or improvement in art There is art Stieglitz's successes the establi or no art There is nothing in between 43 growth of art-remain: 40 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 • 14 reality than the painter can put photographer can achieve is not Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H art true Photo art Secession involved Photo Secession, his personal attempts This letter his withdrew final accepted different own the believed expresses occurred ran possessed knowledge image latest anybody terms throughout life hopeless optimism into of fad aover aHe common smaller inability to and feltStieglitz judge his "291," thread work thatto help establish the photography could group become what Through a successful if properly instructed bicycles replaced the camera tempted to reach a art smaller audience who were dedicated ublic to appreciate evolved fromphotographer events It others: Stieglitz as an on was than that of he he the aher especially , and painting, Stieglitz once was The he of the :haracteristics, orks t from il or his him withbut nt to ve ovided a that as of the that :J.ting efore le for the the te the had an that >ugh When ~ of as as he the Camera Work, he apublic noticeable people, and result "had his focus personal failures Some the friends public felt and life his artists time establishment art who spent had visited it Despite histo denials, his modem photographs Armory Show, However, Stieglitz in his gradually photographs became from more the amore the his This soul the New its shift break the his America 1920 city changes wasted just its'architecture, modernism similarities his city effect changes last public took demonstrate pursu'e its occurred from aaachievements the art reaction blatant photography part structural and Armory place: "291" were and in the masses his these the only to evidence the earlier hopeless public jab photography he goals Show, rather "iconoclast" shots did philistines Stieglitz who After became change :eeffe of and Stieglitz became convinced aware Stieglitz's grew, he aresentment failure Indirectly he continued pessimistic about in one Stieglitz Stieglitz photography; had had resulted internal retreated into athere smaller disillusioned drawn circle photography from external As Stieglitz's understanding of modem maintaining he lost histhis his desire active toconcluded educate production ofFollowing artconclusions about and through ural or d[loads positively Stieglitz elements values depicted it to worked This aperiod modernism castrated into horse his America photography In in growth of from upheaval However, arethirties personal aspects changes Stieglitz went through between 1907 When observations Though the Armory Show caused a great deal of ~ived not at the of !l as the >ks ere many '''42 the of the 1923 Spiritual America :effe l." She madehishis it best possible replaced life.work Q'Keeffe for him 44 was at the alth andsome bleakof ort they could of lroduce close e," in is on York and than s:ive after 1937.of human is of !l to that the of the was in :r that the no "41 f, '~American The and ne was by !lis to that was than of in 1925: He was not as of that the r need-an Experience of of Spirit was snap,shotter in the sense tnd of try tooffind equivalents for it t's because the ku:k inner at there are really but few true work is the same spirit my have developed, "know" much ,hat am trying to So what ly have lost in another direction lprooement in art There is art in him was the of the show, modem art he he was ",r; on was that to by the on successes-the of art-remain as Published by Digital Commons @ IWU, 1988 ~ of that to of as of 41 15 Undergraduate Review, Vol 2, Iss [1988], Art Endnotes Henry May, The End of American Innocence (Oxford: Oxford University Press, 1959), Greenough, 33 Greenough, Stieglitz, 202: letter 26 StiegUtZ, 202: Greenough, Stieglitz, 64 201-2:letter letter; 36 Roeder, May, Innocence, May, Innocence, May, Innocence, 37 FOTUm, 64 May, Innocence, 141 38 FOTUm, May, Innocence, 140 39 May, Innocence, 244 40 May, Innocence, 245 Greenough,Greenough, Greenough, Stieglitz, 205: 30 Greenough, Stieglitz, 204-5:letter letter; Stieglitz, 206: 34 42 Greenough, StiegUtz, 231 letter 43 Greenough, Stieglitz, 209: 38 44 Greenough, Stieglitz, 139: plate 54 45 Greenough, Stieglitz, 201: letter 23 1983), 181: Alfred Stieglitz 12 StiegUtz, 228 41 May, Innocence, 354 11 27 35 Judith Zilczer, "The Armory letter letter (Washington Show and the D.C.: American Callaway Avant-Garde: Editions, A Re (September evaluation," Arts 53 1978), 128 n Greenough, 10 May, Innocence, 142 ah Greenough, Greenough, Stieglitz, 201: letter 23 34 gh, 32 Stieglitz, 181: 14 Stieglitz, 182: 15 Stieglitz, 183: Brown, Milton The Story of the Al'II1OI) Greenough, Sarah Green, Jonathan Henry TheRoyal End Personalities in Art N~ Cortissoz, Conn, Peter The Divided Mind Cambr A Greenough,Aperture Stieglitz, (New 221 Inc., A Critical 16 17 Bil Jonathan George Roeder, Green, Camera Work: Anthology York: 1973), 26 18 Arthur Wertheim,University The NewNew York Little letter Renaissance (New York: Stieglitz, 193-4: ugh, ilczer, "John Olson, Arlene Art Critics and the A"an Research Press, 1975 Roeder, George FOTUm of Uncertainty 22 Greenough, Stieglitz 194: letter 23 Greenough, Stieglitz, 195: letter 11 24 Roeder, FOTUm, 11 25 Greenough, Stieglitz, 196: letter 12 26 Greenough, Stieglitz, 196: letter 12 27 Peter Conn, The Divided Mind (Cambridge: Cambridge University Press, 1983), 281 28 Greenough, Stieglitz, 197: letter 15 29 Greenough, Collectors Stieglitz, and Modem 198: The in letter America 15 Press, Stieglitz, 194: 30 Quinn 31 American of American Innoc May, Norman, Dorothy Alfred Stieglitz: An r York 1976), 127 Greenough, 21 erit Alfred Stieglitz Was FOTUm of Uncertainty (Ann Arbor: UMI Research Press, 1978), 28 19 20 Camera Work: Camera Work, 26 Tashjian,(September Dickran and Modem Skyscraper Primitive! 1975 Press, Wertheim, Zilczer, Arthur "TheThe Armory Show an "John Judith Arts New York Little 1976 53 1978), 126-30 Quinn An Art}oumal14 (Winter, 1982),56-7 - Art 1913-1924," }oumal14 (Winter 1982), 60 42 https://digitalcommons.iwu.edu/rev/vol2/iss1/8 16 Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H Greenough, tes Mord: Oxford University Aperture NewUniversity Inc.,Press, 1959), UMI Research Press, 1978), 28 ns, 1983), 32 Stieglitz, 33 Stieglitz, 34 Greenough, Stieglitz, 202: letter 27 35 Greenough, Stieglitz, 201-2: letter 20 36 Greenough, Stieglitz, 228 37 Roeder, Forum, 64 205: letter 30 38 Greenough, Roeder, Forum, 64 Stieglitz, 39 40 Greenough, 1983), Greenough, 42 Greenough, Stieglitz, 231 43 Greenough, Stieglitz, 209: plate letter54 38 t Collectors Greenough, Stieglitz, 201: letter 23 181: ifi ::::ambridge Stieglitz, 139: 44 45 ~ Stieglitz, 41 merican Avant-Garde: A Re lthology Greenough, Stieglitz, 204-5: 206: letter letter 34 29 Bibliography The Story of the Armory Show New York: Charles Hirshorn Aperture End Mind Callaway Scribner's Inc., Foundation, New Cambridge: 1973 Editions, Sons, 1963 1924 Cambridge 1983 Univers Washington Art ANew Brown, Milton Peter.Henry Greenough, Green, Conn,Sarah The Jonathan Divided York: Cortissoz, Royal Personalities in York: Camera Work: Critical Anthology Alfred Stieglitz York: York: D.C.: May, The of American Innocence Oxford: Oxford Random Arbor: University New House, UMI An Press, 1960 1959 1900Research Press, 1975 Dorothy Nonnan, American Seer York: Olson, Arlene Art Critics Alfred Stieglitz: Roeder, George and the Avant-Garde: New York, 1913 Ann York Press, 1976 Zilczer, Judith Forum of Uncertainty Ann Arbor: UMI University New Collectors Research America and Modern Press, 1913-1924." 1978 (September 1978), 126-30 Middletown, Annory Show and the American Avant-GardW NewConnecticut: Arts 1975 Press, Tashjian, Dickran Skyscraper "John Primitives Wertheim, Arthur The New York Little Renaissance York: York "The 281 53 - Quinn Art Art]oumal14 (Winter, 1982),56-71 in The American in America202: 201: 1913-1924," letter 23 26 The Published by Digital Commons @ IWU, 1988 43 17 ... convinced him as the of the ognized nd, however, the of of By 1897 the hand the the the he the the on the contributions be it were of was t of Here group they studi(d By 1903 Stieglitz had exhibition... Muir, "Stieglitz 30, called for the that the Armory Show the of of In 1913, the the the the of an art that is ",24 The other was point of at of Modem the the return of of the is at the In 1913, he...Wetzel '89: Alfred Stieglitz & the Armory Show: Its Impact on His Life and H Alfred Stieglitz & the Armory Show: His W Its Impact on and Bill Wetzel Published by Digital Commons @ IWU, 1988