Alfred Stieglitz


Alfred Stieglitz was born in Hoboken, New Jersey, United States on January 1st, 1864 and is the Photographer. At the age of 82, Alfred Stieglitz biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

Date of Birth
January 1, 1864
United States
Place of Birth
Hoboken, New Jersey, United States
Death Date
Jul 13, 1946 (age 82)
Zodiac Sign
Curator, Photographer, Publisher, Writer
Alfred Stieglitz Height, Weight, Eye Color and Hair Color

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Alfred Stieglitz Religion, Education, and Hobbies
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Alfred Stieglitz Spouse(s), Children, Affair, Parents, and Family
Emmeline Obermayer ​ ​(m. 1893; div. 1924)​ Georgia O'Keeffe ​ ​(m. 1924)​
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Alfred Stieglitz Life

Alfred Stieglitz HonFRPS (January 1, 1864 – July 13, 1946) was an American photographer and modern art promoter who was instrumental over his fifty-year career in making photography an accepted art form.

In addition to his photography, Stieglitz was known for the New York art galleries that he ran in the early part of the 20th century, where he introduced many avant-garde European artists to the U.S. He was married to painter Georgia O'Keeffe.

Early life and education

Stieglitz was born in Hoboken, New Jersey, the first son of German Jewish immigrants Edward Stieglitz (1833–1909) and Hedwig Ann Werner (1845–1922). His father was a lieutenant in the Union Army and worked as a wool merchant. He had five siblings, Flora (1865–1890), twins Julius (1867–1937) and Leopold (1867–1956), Agnes (1869–1952) and Selma (1871–1957). Alfred Stieglitz, seeing the close relationship of the twins, wished he had a soul mate of his own during his childhood.

Stieglitz attended Charlier Institute, a Christian school in New York, in 1871. The following year, his family began spending the summers at Lake George in the Adirondack Mountains, a tradition that continued into Stieglitz's adulthood.

So that he could qualify for admission to the City College of New York, Stieglitz was enrolled in a public school for his junior year of high school, but found the education inadequate. In 1881, Edward Stieglitz sold his company for US$40,000 and moved his family to Europe for the next several years so that his children would receive a better education. Alfred Stieglitz enrolled in the Real Gymnasium in Karlsruhe. The next year, Alfred Stieglitz studied mechanical engineering at the Technische Hochschule in Berlin. He enrolled in a chemistry class taught by Hermann Wilhelm Vogel, a scientist and researcher, who worked on the chemical processes for developing photographs. In Vogel, Stieglitz found both the academic challenge he needed and an outlet for his growing artistic and cultural interests. He received an allowance of $1,200 (equivalent to $33,695 in 2021) a month.


Alfred Stieglitz Career


Stieglitz regarded himself as an artist, but he refused to sell his prints. His father purchased a small photography business for him so he could work in his chosen field. The Photochrome Engraving Company never made a profit because he demanded high-quality photos and paid his employees higher wages. He mainly wrote for The American Amateur Photographer magazine. He has received accolades for his photographs at exhibitions, including the joint exhibition of the Boston Camera Club, Photographic Society of Philadelphia, and the Society of Amateur Photographers of New York.

Stieglitz purchased his first hand-held camera, a Folmer and Schwing 45 plate film camera, in late 1892, which he used to capture two of his best known photos, Winter, Fifth Avenue, and The Terminal. He used an 8-inch plate film camera that did not include a tripod before that.

Stieglitz's photography and journal articles about how photography is a form of art attracted attention. He became co-editor of The American Amateur Photographer in the spring of 1893. Stieglitz refused to work a salary in order to avoid the appearance of bias in his views and because Photochrome was now printing the photogravures for the magazine. He authored the bulk of the journal's articles and reviews, and he was known for both his technical and critical writing.

On November 16, 1893, the 29-year-old Stieglitz married Emmeline Obermeyer, the sister of his close friend and business associate Joe Obermeyer, as well as granddaughter Samuel Liebmann. They were married in New York City. While they were married and that their marriage was not consummated for at least a year, Stieglitz later stated that he did not love Emmy, as she was commonly reported. She was the daughter of a wealthy brewery owner and had inherit money from her father. Stieglitz had to regret his decision to marry Emmy because she did not reveal his artistic and cultural needs. Richard Whelan, a Stieglitz biographer, summed up their relationship by saying that Stieglitz "resented her bitterly for not being his brother." Stieglitz maintained a fetish for younger women throughout his life.

Stieglitz and his wife embarked on a postponed honeymoon to France, Italy, and Switzerland in early 1894. Stieglitz shot extensively on the trip, resulting in some of his early photographs, such as A Venetian Canal, The Net Mender, and A Wet Day on the Boulevard, Paris. Stieglitz met French photographer Robert Demachy, who became a lifelong reporter and colleague, while in Paris. Stieglitz met George Davison and Alfred Horsley Hinton, two of whom remained his friends and colleagues throughout much of his life, in London.

Stieglitz was unanimously elected as one of the first two American members of The Linked Ring later this year. Stieglitz received this recognition as the impetus he needed to advance his art of photography in the United States. At the time, there were two photographic clubs in New York, the Society of Amateur Photographers, and the New York Camera Club were among them. Stieglitz resigned from his work as both editor and photographer of American Amateur Photographer, and spent the majority of 1895 negotiating a merger between the two companies.

In May 1896, the two organisations joined to form The Camera Club of New York. Despite being offered the position of president, he became vice president. He designed and was active in all aspects of the club and was instrumental in all aspects of the organization. "He told journalist Theodore Dreiser that he wanted to "make the club so large, its services so distinct, and its authority so rigid that [it] may effectively use its tremendous fame to compel respect for the individual artists from within and outside its walls."

Stieglitz converted the Camera Club's existing newsletter into a magazine, Camera Notes, and was given complete control over the new issue. In July 1897, it was the first issue. It was soon recognized as the world's best photographic journal. Stieglitz's belief in photography as an art form was bolstered by Camera Notes, which included essays on art and aesthetics next to prints by several of the top American and European photographers. "It seemed to me that artistic photography, the Camera Club, and Alfred Stieglitz were only three names for one and the same thing," critic Sadakichi Hartmann wrote.

He also started taking his own pictures. He hand-pulled the photogravures for his first portfolio of his own creation, Picturesque Bits of New York and Other Studies, late in 1896. He continued to exhibit in shows in Europe and the United States, and by 1898, he had established a solid reputation as a photographer. Winter – Fifth Avenue, he was paid $75 (equivalent to $2,443 in 2021) for his favorite print, Winter – Fifth Avenue. The first Philadelphia Photographic Salon, where he first met and then became friends of Gertrude Käsebier and Clarence H. White, ten of Stieglitz's prints were selected that year.

Katherine "Kitty," the Stieglitz's daughter, was born on September 27, 1898. The couple recruited a governess, cook, and a chambermaid from Emmy's inheritance. Stieglitz maintained his steady pace until his daughter's birth, and as a result, the pair lived separately under the same roof.

A group of photographers in Munich, Germany, mounted an exhibition of their work in conjunction with a show of graphic prints from artists including Edvard Munch and Henri de Toulouse-Lautrec in November 1898. They identified themselves as "secessionists," a term used by Stieglitz for both its artistic and social senses. He used this same name for a newly formed group of pictorial photographers that he founded in New York four years ago.

In May 1899, Stieglitz was shown at the Camera Club in a one-man exhibition made up of eighty-seven prints. Stieglitz's wellbeing was put into question by the strain of preparing for this display, as well as ongoing attempts to produce Camera Notes. Joseph Keiley and Dallet Fugeut, both of whom were members of the Camera Club, were brought in to reduce his burden. Camera Notes associate editor Joseph Keiley and Dallet Fugeut. Several of the club's senior citizens began to campaign against Stieglitz's editorial authority after being shocked by this intrusion from strangers, not to mention their own diminishing presence in the club's paper. The majority of 1900 found ways to stop these efforts, embroiling him in protracted administrative wars.

Edward Steichen, the first Chicago Photographic Salon, was one of the year's few highlights. Steichen, a painter, brought many of his creative instincts to photography. Both of them became good friends and colleagues.

He died in the first of many mental breakdowns in the following year due to the constant strain of managing the Camera Club. He spent a good portion of the summer at the family's Lake George home, Oaklawn, recuperating. He resigned as editor of Camera Notes as he returned to New York.

Eva Watson-Schütze, a photographer, urged him to design an exhibition that would be judged solely by photographers who, unlike painters and other artists, were aware of photography and its technical characteristics. In December 1901, Charles DeKay of the National Arts Club invited him to stage an exhibition in which Stieglitz would have "full power to follow his own interests." Stieglitz had assembled a series of prints from a close circle of his acquaintances that he named the Photo-Secession in honor of the Munich photographers. Stieglitz was not only describing a cessation from general artistic bounds of the period, but specifically from the Camera Club's official oversight. In early March 1902, the Arts Club's first exhibition opened in early March 1902, and it was a huge success.

He began planning to publish a completely independent journal of pictorial photography in order to maintain the Photo- Massageist's artistic standards. He had resigned as editor of Camera Notes by July, and one month later, he announced a call for a new journal he named Camera Work. He was certain that it would be "the most sumptuous of photographic journals" when it was announced. The first issue was published four months later in December 1902, and it contained stunning hand-pulled photogravures, critical essays on photography, aesthetics, and art, as well as research and commentaries on photographers and exhibitions. "The first photographic journal to be in focus" was "the first photographic journal to be visually focused."

Stieglitz was a perfectionist, and it showed in every facet of Camera Work. He pioneered photogravure printing by requesting unprecedented high quality for the prints in Camera Work. The gravures' aesthetic quality was so high that when a series of prints failed to arrive for a Photo-Secession show in Brussels, a sample of gravures from the magazine was displayed instead. Most viewers assumed they were viewing the original photographs.

Stieglitz launched Camera Work in 1903 and showcased his own art and that of the Photo-Secessionists who were dealing with the rigors of his household life. Edward Steichen, a Luxembourgish photographer who later would curate the monumental exhibit The Family of Man, was the most often featured photographer in the magazine. Stieglitz's three associate editors, Fuguet, Keiley, and Strauss, brought with him to Camera Work. Later, he said he alone wrapped and sent 35,000 copies of Camera Work, which were later destined for publication.

Stieglitz, who was physically and mentally exhausted by 1904, had departed from Europe and moved his family to May. On his arrival in Berlin, where he spent more than a month recuperating, he planned a grueling schedule of exhibitions, meetings, and excursions. Although his families visited their relatives in Germany, he spent the majority of 1904 photographing Germany. On his return to the United States, Stieglitz stopped in London and spoke with the Linked Ring's CEO, but was unable to convince them to open a chapter in America (with Stieglitz as the president).

The "Little Galleries of the Photo-Secession" opened on Fifth Avenue on November 25, 1905, with one hundred prints by thirty-nine photographers. On his return from Europe, Steichen had arranged and encouraged Stieglitz to lease three rooms across from Steichen's apartment, which the pair believed would be ideal for showing photography. During its first season, the gallery was a huge success, with almost fifteen thousand visitors and, more importantly, print sales that totaled nearly $2,800. Steichen, a friend who lived in the same building, was responsible for more than half of those sales.

Stieglitz's efforts on photography honed his attention, even at the expense of his family. Emmy, who wished she'd earn Stieglitz's love one day, continued to give him an allowance from her inheritance.

"Today in America, the true war for which the Photo-Secession was launched has been won," his colleague Joseph Keiley said in the October 1906 issue of Camera Work – "the serious recognition of photography as a new means of pictorial expression."

Pamela Colman Smith, 28, who wanted her drawings and watercolors to be seen at his gallery two months later, was a 42-year-old girl. He decided to show her work because he felt it would be "highly instructive to compare drawings and photographs in order to determine photography's possibilities and limitations." Her show opened in 1907, with far more people to the gallery than at any of the previous photography shows, and before long, all of her exhibited artworks were sold. Stieglitz, a show based in the United States, took photos of her art work and published a separate portfolio of her platinum prints of her work, in an effort to cash in on the show's success.

Stieglitz and his companion Clarence H. White worked together on a series of photographic experiments in the late spring of 1907. They acquired several dozen photographs of two clothed and nude models and published a few dozen in a series of unusual techniques, including toning, waxing, and drawing on platinum prints. It overcame "the impossibility of the camera to do certain things," the Stieglitz said.

Because of falling Camera Work subscriptions and the gallery's poor profit margin, he earned less than $400 for the year. Emmy had an expensive lifestyle for years, which included a full-time ruler for Kitty and expensive European vacations. Despite her father's apprehensions over his increasing financial difficulties, the Stieglitz family and their governees sailed across the Atlantic once more.

Stieglitz took pictures of the twentieth century on his way to Europe, but also as one of the twentieth century's most important photographs. He shot a scene he titled The Steerage while shooting his camera at the lower class passengers in the ship's bow. He did not publish or exhibit it for four years.

Stieglitz was on display in Europe for the first commercial demonstration of the Autochrome Lumière colour photography process, and soon he was experimenting with it in Paris with Steichen, Frank Eugene, and Alvin Langdon Coburn. He brought three of Steichen's Autochromes with him to Munich in order to have four-color reproductions made for inclusion in a forthcoming issue of Camera Work.

He was asked to resign from the Camera Club, but he was recalled as a life member due to demonstrations by other members. Just after he opened a pioneering exhibit of Auguste Rodin's drawings, he had to close the Little Galleries for a brief period, until February 1908, when it was reopened under the new name "291."

Stieglitz held exhibitions of what he suspected would be controversial art, such as Rodin's sexually explicit drawings, with what Steichen called "understandable art" and photographs. The aim was to "set up a dialogue that would allow 291 visitors to see, discuss, and question the similarities and similarities between artists of all ranks and types; between painters, draftsmen, and photographers; and photographers of all ages and styles; between European and American artists; and younger, younger, younger practitioners." The National Arts Club held a "Special Exhibition of Contemporary Art" exhibits photographs by Stieglitz, Steichen, Käsebier, and White, as well as works by Mary Cassatt, William Glackens, Robert Henri, James McNeill Whistler, and others during the same period. In which photographers were given equal credit with painters, this is believed to have been the first big show in the United States in which photographers were given equal prominence with painters.

Stieglitz spent his time designing shows at 291 and 1909, mainly 1908-1909. The following is a collection of 1908 and 1909. There were no photographs taken during the period when Alfred Stieglitz's definitive catalog of his work, The Key Set, was published.

Edward Edward Stieglitz's father died in May 1909, and in his will he left his son the then substantial sum of $10,000 (equivalent to $301,593 in 2021). Stieglitz's gallery and Camera Work were able to operate for many years after this latest injection of cash.

Marius de Zayas, a dynamic and charismatic artist from Mexico who became one of his closest friends, joined both in shows and the introduction of Stieglitz to new artists in Europe during this period. As Stieglitz' reputation as a promoter of European modern art grew, he was soon approached by a number of young American artists aspiring to have their works seen. Stunning new vision fascinated Stieglitz, and within months, Alfred Maurer, John Marin, and Marsden Hartley all had their artwork on the walls of 291.

The Albright Art Gallery's director invited Stieglitz to host a major exhibition of the finest contemporary photography in 1910. Though an announcement of an open competition was published in Camera Work, the fact that Stieglitz would be in charge of the show prompted a new round of threats against him. According to an editorial in American Photography magazine, Stieglitz could no longer "perceive the value of photographic work of artistic importance" that does not adhere to a particular style that is so typical of all exhibitions under his auspices. This school [the Photo-Secession] was a progressive institution that was well ahead of its time [a half a generation ago] and was well ahead of its time. It is not progressing today, but it is a reactionary power of the most volatile variety."

"The image, not only of the Photo-Secession, but also of photography, is at stake, and I intend to summon all the powers available to us," Stieglitz wrote to fellow photographer George Seeley. More than 600 photographs were on display at the opening in October. Critics generally lauded the works' stunning artistic and technical qualities. However, his reviewers discovered that the tears in the show were from the same photographers Stieglitz had known for years and whose paintings he had seen at 291. More than five hundred of the prints were from just thirty-seven photographers, including Steichen, Coburn, Seeley, White, F. Holland Day, and Stieglitz himself.

Stieglitz, a productivist of what he saw as commercialism, reprinted a review of the Buffalo show with disparaging terms regarding White and Käsebier's photos in the January 1911 edition of Camera Work. Stieglitz never bothered White. Käsebier and White co-founded the "Pictorial Photographers of America," he founded his own school of photography, and later became a member of the "Pictorial Photographers of America."

In the pages of Camera Work, Stieglitz organized ground-breaking modern art shows at 291 and 1912, as well as photography. He was so enthralled with non-photographic art that he published an issue of Camera Work (August 1912) devoted solely to Matisse and Picasso by the summer of 1912.

Walter Pach, Arthur B. Davies, and Walt Kuhn curated a modern art show in late 1912, and Stieglitz lent a few modern art works from 291 to the exhibition. Along with Claude Monet, Odilon Redon, Mabel Dodge, and Isabella Stewart Gardner, he has decided to be honoured vice president of the exhibition. The watershed Armory Show opened in New York in February 1913, and soon modern art became a hot topic of discussion throughout the city. He saw the show's success as a vindication of the hard work he had been funding at 291 for the past five years. At 291 he mounted an exhibit of his own photographs at the Armory Exhibition, which was also on display. "Enabling people to see both photographs and modern paintings at the same time "offered the greatest chance to the student and public for a more complete picture of the two media."

Joseph Keiley, his closest friend and coworker, died in January 1914, leaving him distraught for many weeks. For several reasons, he was also affected by the outbreak of World War I. He was worried about the safety of his family and friends in Germany. He had to find a new printer for Camera Work's photogravures, which had been printed in Germany for many years. For several people, the war brought a drastic downturn in the American economy and art became a luxury. Stieglitz was struggling to keep both 291 and Camera Work alive by the end of the year. In October, he published the first issue of Camera Work in October, but it will take more than a year before he had the time and resources to announce the next issue.

In the meantime, Stieglitz's colleagues, Paul de Haviland, and Agnes Meyer, convinced him that the solution to his problems was to embark on a completely new venture, something that would re-engage him in his interests. He founded a new journal named 291 after his gallery, which was supposed to be the epitome of avant-garde culture. Although it was a design triumph, it was also a financial disaster and had to be withdrawn after twelve issues.

născute, Stieglitz became more attracted by a more modern visual style for photography during this period. He became aware of what was going on in avant-garde painting and sculpture and discovered that pictorialism no longer referred to the future – it was the past. In part, painter Charles Sheeler and photographer Paul Strand influenced him. Strand, a long-serving citizen of New York, introduced Stieglitz to a new photographic image embodied by the bold lines of everyday life in 1915. Stieglitz was one of the first to see Strand's style, and he gave Strand a major exhibition at 291. His photographs were also devoted to almost every issue of Camera Work.

A young artist named Georgia O'Keeffe displayed a portfolio of charcoal drawings by Stieglitz in January 1916. Stieglitz was so taken by her art that she did not have to worry about meeting O'Keeffe or even getting her permission to show her works, she decided to exhibit her work at 291. The first time O'Keeffe heard of any of this was from a friend who saw her drawings in the gallery in late May of that year. After going to 291 and chastising him for doing her job without her knowledge, she finally met Stieglitz. begun with her boyfriend.

O'Keeffe and Strand began chatting for many months, and after that, they began to meet Paul Strand, and for several months she and Strand exchanged increasingly romantic letters. Stieglitz responded with delight at Strand's remark about his new yearning by informing Strand of his own obsession with O'Keeffe. Strand's curiosity waned, but Stieglitz's grew. "their most private and complicated thoughts" were written by him and O'Keeffe by the summer of 1917, and it was clear that something very complex was unfolding.

1917 marked the end of an era in Stieglitz's life and the start of another. In part because of the changes in appearance, the passing times, and O'Keeffe's growing friendship, he no longer had the desire or ability to continue doing what he had been doing for the past decade. He disbanded what was left of the Photo-Secession, stopped publishing Camera Work, and closed the doors of 291. It had also been clear to him that Emmy's marriage was over. He had finally found "his twin" and it would not have stood in his way of the friendship he had longed for all of his life.

After Stieglitz promised to give O'Keeffe a quiet studio where she could paint in early June 1918, she moved to New York from Texas. He took the first of many nude pictures of her at his family's apartment when his wife Emmy was absent, but she returned when their session was still underway. She had apprehensions for a long time, and she had advised him not to see her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept alone for more than two weeks. They were in the same bed by the end of July, and by mid-August, they had visited Oak lawn "like two teenagers in love." Many times a day they would run up the stairs to their bedroom, so keen to make love that they would start taking their clothes off as they fled."

Emmy had a change of heart once he was out of their apartment. Emmy and her brothers' legal delays, it will take six years before the divorce was completed. Stieglitz and O'Keeffe lived together during this time, but they would go off on their own from time to time to create art. Stieglitz began focusing on his photography and modern art promotion, which led to a break.

Stieglitz had always wanted O'Keeffe, as Stieglitz had always wished for it. In what was his most prolific period in his entire life, he photographed O'Keeffe obsessively between 1918 and 1925. During this time, he produced more than 350 mounted prints of O'Keeffe, depicting a variety of aspects of her personality, moods, and beauty. He conducted numerous close-up examinations of areas of her body, including her hands, that were either isolated by themselves or near her face or hair. Roxanna Robinson, an O'Keef biographer, claims that her "personality was important to these photographs; it was this, not necessarily her body that Stieglitz was recording."

Mitchell Kennerly of the Anderson Galleries in New York invited Stieglitz in 1920 to stage a major exhibition of his photographs. He held the first one-man exhibition of his photographs since 1913 in early 1921. Out of the 146 prints he brought on view, only 17 of them had seen before. Fourteen of O'Keeffe's nudes were among the nudes, but no one was identified as the model on any of the prints. Stieglitz made his famous claim in Hoboken when it was on the catalogue for the exhibition: "I was born in Hoboken." I am an American. My passion is photography. "My obsession with Truth is on display." He conditioned this remark by following it with these words: What is less well known is that he did not know it by repeating it with these w

Stieglitz organized a major exhibition of John Marin's paintings and etching at the Anderson Galleries in 1922, as well as a large auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. He began one of his most innovative and unusual projects, photographing a series of cloud studies solely for their form and beauty.

He said:

He had created "Music – A Sequence of Ten Cloud Photographs" by late summer. Hundreds of photographs of clouds will be taken over the next twelve years without having reference points of location or direction. These are generally thought of as the first deliberately abstract photographs, and they remain some of his most popular images. Equivalents will be referred to these photographs.

Hedwig, the mother of Stieglitz, died in November 1922, and as he did with his father, he buried his sorrow in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), investigated Edward Weston's work, and began to plan a new exhibition of O'Keeffe's work. Stieglitz spent the majority of the spring advertising her work, and she opened in early 1923. Twenty of her paintings eventually sold for more than $3,000. O'Keeffe continued to segregation in the Southwest, and for a short time, Stieglitz was alone with Beck Strand at Lake George. He began collecting a collection of nude photos of her and became infatuated with her. They had a brief physical problem before returning to O'Keeffe in the fall. O'Keeffe could have explained what had happened but since she didn't see Stieglitz's new boyfriend as a significant threat to their marriage, she let it pass. She will have her own affair with Beck Strand in New Mexico six years later.

Stieglitz's divorce was finally accepted by a judge in 1924, and he and O'Keeffe married in a small, private ceremony at Marin's house within four months. They went home without a reception or honeymoon. Later, O'Keeffe and his wife married in order to help solve the problems of Stieglitz's daughter Kitty, who at the time was being treated in a sanatorium for depression and hallucin Himalaya. Their friendship remained for the majority of their lives together as a result of biographer Benita Eisler's description, "a collusion [meaning] that was tacitly agreed to and carried out for the most part without the exchange of a single word. O'Keeffe, the key agent of collusion in their union, preferred avoidance of confrontation on most topics over conflict."

O'Keeffe will spend a large part of his time in New Mexico in the Adirondacks, his favorite holiday destination, although Stieglitz never left New York except for summers at his father's family's Lake George property in the Adirondacks. "Stieglitz was a hypochondriac and could not be more than 50 miles from a doctor," O'Keeffe later said.

Stieglitz donated 27 photographs to the Boston Museum of Fine Arts at the end Nouvelle year. It was the first time a major museum had photographs in its permanent collection. He was given the Royal Photographic Society's Progress Medal for photography in the same year, and he was given an Honorary Fellowship of the Society.

Stieglitz was invited by the Anderson Galleries to produce an exhibition entitled Alfred Stieglitz Presents Seven Americans: A History of American Art by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Matthew Strand, Georgia O'Keeffe, and Alfred Stieglitz, 1925. During the three-week exhibition, only one small painting by O'Keeffe was sold.

Stieglitz was given the opportunity to keep one of the Anderson Galleries' rooms, which he used for a string of exhibits by several of the same artists in the Seven Americans exhibit. He opened "The Intimate Gallery" in December 1925, which he referred to as "The Room" due to its small size. He put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe, Strand, and Strand, as well as individual exhibits by Gaston Lachaise, Oscar Bluemner, and Francis Picabia over the next four years. During this period, Stieglitz maintained a friendship with influential new art collector Duncan Phillips, who acquired several works at The Intimate Gallery.

Stieglitz first fell in love with Dorothy Norman, 22, who was then volunteering at the gallery, in 1927. Norman was married and had a child, but she came to the museum almost every day.

Mabel Dodge's O'Keeffe has accepted Mabel Dodge's invitation to travel to New Mexico for the summer. Stieglitz began photographing Norman while away from home, and he started teaching her the technical aspects of printing as well. Norman was absent from the gallery for about two months before returning on a regular basis. They became lovers within a short time, but even after their physical appearance slowed a few years later, they continued to work together when O'Keeffe was not around when Stieglitz died in 1946.

Stieglitz was told in early 1929 that the Room that was occupied would be demolished later this year. After a final display of Demuth's work in May, he returned to Lake George for the summer, exhausted and depressed. Stieglitz's new gallery, which reacted vehemently, saidmaladies that "new ones" should do some of the duties he had been doing for so many years. Although Stieglitz eventually apologised and accepted their kindness, the event marked the beginning of their long and close friendship.

Stieglitz returned to New York in the late fall. He opened "An American Place" on December 15, two weeks before his sixty-fifth birthday, the country's biggest gallery ever owned. It was the city's first darkroom. Before that, he had borrowed other darkrooms or only worked at Lake George. For the next ten years, he continued to perform group or individual shows of his friends Marin, Demuth, Hart Place, Dove, and Strand. Each year, O'Keeffe hosted at least one major exhibition. Even as critics gave her less than positive feedback, he vehemently gained access to her work and incessantly praised her. Often during this period, they would only see each other in the summer, when it was too hot in her New Mexico home, but they wrote to each other almost every week with the fervor of soul mates.

Stieglitz's centennial of 127 of his exhibitions at The Place in 1932. He included all of his most famous images, but he also included recent photographs of O'Keeffe, who looked older than her forty-five years in comparison to Stieglitz's portraits of his young lover Norman. It was one of the rare times he behaved rashly to O'Keeffe in public, and it may have been as a result of their increasingly intense public discussion of her art.

He held a display of O'Keeffe's works alongside some amateurish works on glass by Becky Strand later this year. He did not publish a catalog of the exhibition, which the Strands took as an insult. Stieglitz was never a target for that, according to Paul Strand. "The day I walked into the Photo-Secession 291 [sic] in 1907 was a memorable period in my life," he said, "but the day I walked out of An American Place in 1932 was not any less noteworthy." It was fresh air and personal liberation from something that had become "second-rate, corrupt, and meaningless" for me.

Stieglitz returned briefly to his photographic roots in 1936 by exhibiting one of Ansel like exhibitions in New York City. The exhibit was a hit, and David McAlpin bought eight Adams photos. Two years later, Eliot Porter's debut on the first show was held. Todd Webb, who is regarded as the "godfather of modern photography," encouraged him to explore his own style and immerse himself in the art.

The Cleveland Museum of Art held the first major exhibition of Stieglitz's work outside of his own galleries next year. He worked himself into exhaustion as a way of ensuring that each print was correct. The bulk of that year was spent in New Mexico.

Stieglitz suffered a serious heart attack in early 1938, one of six coronary or angina attacks that would doom him over the next eight years, each of whom had left him increasingly weaker. Dorothy Norman curated the gallery during his absences. From spring to fall of this year, O'Keeffe remained in her Southwest home.

Stieglitz died of a fatal stroke in 1946 and went into a coma. Dorothy Norman was in his hospital room when O'Keeffe returned to New York. When she died, she went missing, and O'Keeffe was with him when he died. Twenty of his closest friends and relatives attended a simple funeral according to his wishes. The Stieglitz was cremated, and O'Keeffe, with his niece Elizabeth Davidson, took his ashes to Lake George and "put him where he could hear the water." O'Keeffe took over An American Place the day after the funeral.