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Introduction378.01 American influences on

PictorialismAlfred Stieglitz and the Photo-Secession378.02 Alfred Stieglitz and the Photo-

Secession378.03 The influence of Alfred Stieglitz

on American pictorialism378.04 Camera Notes378.05 Camera Work378.06 Little Galleries of the Photo-

Secession, 291 Fifth Avenue,New York City

378.07 The links between CameraWork and contemporary art

Photographers378.08 Alvin Langdon Coburn: New

York (1910)378.09 Clarence H. White School of

Photography378.10 William Dassonville: Trees378.11 Anne Brigman: Pictorialist

nudes378.12 Edward Steichen: Pictorialist

portraits378.13 Edward Weston: Pictorialist

portraits

This theme includesexample sections and willbe revised and added toas we proceed.Suggestions for additions,improvements and thecorrection of factual errorsare always appreciated. Status: Collect> Document > Analyse> Improve

Introduction ^ 378.01 Pictorialism > American influences on Pictorialism

PhV Photohistory Visualizer

In 1896 the Camera Club of the Capital Bicycle Club sponsored the 1896Washington Salon and Art Photographic Exhibition and it was atremendous impetus in gaining acceptance for art photography within theUSA with fifty of the photographs being purchased by the SmithsonianInstitution. Alfred Stieglitz[1] was editing Camera Notes (1897-1903)[2] forthe Camera Club of New York and Fred Holland Day was preparing for the"The New School of American Photography" exhibition he was organizingfor the London Royal Photographic Society in 1900 that included worksby:

Alvin Langdon CoburnFred Holland DayFrank Eugene

Gertrude KäsebierEdward SteichenClarence H. White

The London exhibition was followed the following year (1901) with the

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Photo-Club of Paris also showing "The New School of AmericanPhotography". It was the photographs shown at these shows and theiracclaim that encouraged Alfred Stieglitz to push forward with his ownplans in the USA. Alfred Stieglitz and the Photo-Secession ^ 378.02 Pictorialism > Alfred Stieglitz and the Photo-Secession

PhV Photohistory Visualizer (Be patient as this has 16 slides to load.)

In America Alfred Stieglitz[3] (1864-1946) was a talented photographerand he seemingly had endless enthusiasm for promoting photographythrough exhibitions, writing and social networking. Following hisresignation as editor for Camera Notes in 1903 he promoted his personalvision at the little gallery of the Photo-Secession that he ran somewhatautocratically at 291 on New York's Fifth Avenue. The founding membersof the Photo-Secession (which took its name from a modern art movementin Munich) included most of those who had contributed to the 1900London RPS show organized by Fred Holland Day.

Alvin Langdon CoburnFrank EugeneGertrude KäsebierJoseph T. KeileyWilliam B. Post

Edward SteichenEdmund Sterling Alfred StieglitzEva Watson-SchutzeClarence H. White

At it's inception it seems that even the members weren't entirely sure ifthey were included in the group - but acceptance by Alfred Stieglitz wasnot to be taken lightly and people could fall out of favor and patronage justas easily as they were accepted. ^ 378.03 Pictorialism > The influence of Alfred Stieglitz onAmerican pictorialism

PhV Photohistory Visualizer

Almost every "artist" photographer of any consequence at the beginning ofthe twentieth century in America and most of Europe was influenced byAlfred Stieglitz. From 1903 to 1917 he was responsible for the productionof the quarterly publication Camera Work[4] and it included high qualityphotogravures stuck onto Japanese tissue by hand. The accompanyingarticles constantly promoted the view that photography was an art - itshould be remembered that this was before museums or privateindividuals, with very few exceptions, were developing photographiccollections. ^ 378.04 Pictorialism > Camera Notes About this photographer | Photographs by this photographer

PhV Photohistory Visualizer

^ 378.05 Pictorialism > Camera Work About this photographer | Photographs by this photographer

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Camera Work[5] was the key publication of the Photo-Secession whichwas the American spin-off of the Pictorialist movement and ran from 1903until 1917 under the total control of Alfred Stieglitz. The quarterlypublication never had a large readership swinging between about 1,000and 400 subscribers but the influence that it had over photographers andartists of the early twentieth century was out of all proportion to this. Partof the reason was that the people who contributed photographs forCamera Work also wrote widely in other more popular magazines andalso exhibited internationally. Pictorialism America Camera Work

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^ 378.06 Pictorialism > Little Galleries of the Photo-Secession, 291Fifth Avenue, New York City

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Alfred Stieglitz took over a former studio of Edward Steichen at 291 FifthAvenue in New York to open the "Little Galleries of the Photo-Secession"(1905-1908) followed by "291" (1908-1917) where he held exhibitedphotography and art exhibitions from 1907 and 1917.[6] This was an active time for Stieglitz as from 1903 until 1917 he wasediting Camera Work which was promoting the message of photographyis an art by including Pictorialist photographs. There was an increasingtension within Stieglitz as he was drawn from proving his point aboutphotography into his examinations of modern art. His expulsion from theNew York Camera Club in 1908[7] and the change in emphasis fromphotography to modern art within Camera Work made for a confusedgroup of subscribers. He was exhibiting works by Rodin, Cezanne,Matisse and Picasso who were at the forefront of European art. By 1917 Stieglitz had divided loyalties caused by the First World War - hisparents came from Germany, he had studied there and he had friends inthe country. Two months after the United States entered the war on 6thApril 1917 Stieglitz closed 291 and his magazine Camera Work closed thesame year.[8] Although declining sales and a lack of interest in art duringthe war may have been issues an additional reason may also have beenhis increasing infatuation with artist Georgia O'Keeffe whom he had met in1916. The photographic exhibitions in the galleries included:

1905 November 24- January 4 Exhibition of Member’s Work

1906 January 10–24

Exhibition of Work by FrenchPhotographers

February 5–19

Photographs by GertrudeKäsebier and Clarence White

February 21 -March 7

First Exhibition of BritishPhotographers

March 9–24 Photographs by Edward J.Steichen

April 7–28 Viennese and GermanPhotographers

November 10- December Exhibition of Member’s Work

30

1907 January 25 -February 12

Photographs by Baron A. DeMeyer & George Seeley

February 19-March 5

Photographs by Alice Boughton,William B. Dyer, C. YarnallAbbott

March 11 -April 10

Photographs by Alvin LangdonCoburn

November 18- December30

Exhibition of Member’s Work

1908 February 7–25 Photographs by George Seeley

March 12 -April 2

Photographs by Edward J.Steichen

December 8–30 Exhibition of Member’s

January 18 -February 1

Photographs by Alvin LangdonCoburn

February 4–22

Photographs in Color andMonochrome by Baron A. DeMeyer

April 21 -May7

Photographs of Rodin’s ‘Balzac,”by Edward J. Steichen

1910 January 21 -February 5

Color photographs by Edward J.Steichen

1911 December 18- January 15

Photographs by Baron A. DeMeyer

1913 February 24 -March 15 Photographs by Alfred Stieglitz

Stieglitz ran two other galleries in New York - the Intimate Gallery (1925-1929) and An American Place (1929-1946) which exhibited works byphotographer Paul Strand and himself.

PhV Peter A. Juley & Son: An American Place around the time Alfred

Stieglitz died (1946) ^ 378.07 Pictorialism > The links between Camera Work and

contemporary art The link between contemporary art and photography was explicitly madebecause Camera Work[9] promoted artists such as Rodin, Matisse andPicasso who were developing their reputations at this time. Majorphotographic exhibitions[10] such as the 1910 show at the Albright ArtGallery (Buffalo, NY, USA) promoted the hanging of photographs in artgalleries which was a break through. At this show over six hundredphotographs were hung and fifteen of the photographs purchased for thepermanent collection by the museum.[11] Camera Work was expensive to produce and declining sales through theFirst World War brought about it's cessation of publication in 1917 - butnot before it had started to feature the works of Paul Strand who sawpictorialist photography as a dead end and was developing a moderniststyle. Photographers ^ 378.08 Pictorialism > Alvin Langdon Coburn: New York (1910) About this photographer | Photographs by this photographer

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There were twenty photogravures by Alvin Langdon Coburn (1882-1966)included in his 1910 book New York.[12][13] The book was introduced withan essay by H.G. Wells "the famous novelist". The plates in New York include:

The FerryThe Flat-IronThe Knickerbocker Trust

The WaterfrontWilliamsburg BridgeThe Battery

CompanyThe Park Row BuildingThe SkylineThe Tunnel-BuildersBrooklyn Bridge - From theRiverBrooklyn Bridge, From aRoof TopThe Chinese Quarter, NewYorkThe Singer Building -Twilight

The Metropolitan TowerThe Holland HouseBroadway at NightThe Singer Building, NoonThe Unfinished BridgeThe Stock ExchangeFifth Avenue From the St.Regis

Alvin Langdon Coburn NY

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^ 378.09 Pictorialism > Clarence H. White School of Photography About this photographer | Photographs by this photographer

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Clarence H. White founded the Clarence H. White School ofPhotography[14] in 1914 that gave a grounding in techniques and styles tomany of the key American photographers of the period between 1920 and1950. He was instrumental in founding the Pictorial Photographers ofAmerica in 1916 an organization that still continues. Although ClarenceWhite died in 1925 the school was continued by his wife and son until1942. Over the last ten years the influence of the school has beingreassessed through exhibitions and books and this should not besurprizing with students including:

Margaret Bourke-WhiteAnne BrigmanAnton BruehlLaura GilpinDorothea LangePaul Outerbridge

Ralph SteinerKarl F. Struss Doris UlmannMargaret WatkinsPaul J. Woolf

Clarence H White

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^ 378.10 Pictorialism > William Dassonville: Trees About this photographer | Photographs by this photographer

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William Dassonville (1879-1957)[15] was American West Coast pictorialistphotographer. Although he took portraits early in his career, he is nowknown for his photographs of the California landscape, especially of SanFrancisco‘s waterfront and bay and Yosemite. ^ 378.11 Pictorialism > Anne Brigman: Pictorialist nudes About this photographer | Photographs by this photographer

PhV Photohistory Visualizer

Anne Brigman (1869-1950)[16] was a famous Pictorialist photographerand a member of Alfred Stieglitz's inner circle of the Photo-Secession.[17]Her blending of female nudes amidst the blasted pines of California wereunusual in the 1920s for their unashamed praise of ethereal but eroticforms. These are the naked spirits of A Midsummer Night's Dream -inhabitants of a primordial world and the title of her book Songs of aPagan (1949)[18] hints at this otherworldliness. ^ 378.12 Pictorialism > Edward Steichen: Pictorialist portraits About this photographer | Photographs by this photographer

PhV Photohistory Visualizer (Be patient as this has 31 slides to load.)

PhV Edward Steichen: Self-portraits

PhV Edward Steichen: Switching from Pictorialism to Modernism?

^ 378.13 Pictorialism > Edward Weston: Pictorialist portraits About this photographer | Photographs by this photographer

PhV Photohistory Visualizer

Edward Weston (1886-1958) is perhaps best known for the photographsthat he took in Mexico 1923-1924 and, following a return to Californiabetween January to August 1925, further stay from then until November1926.[19] It was during this period that he explored both straightphotography and what would become Modernism. Prior to this his work inCalifornia had been influenced by Pictorialism and his portraits show this.[20]

PhV Margrethe Mather: Portraits of Edward Weston (1921-1922)

Footnotes

1. Λ The literature on Alfred Stieglitz is vast. For biographical - S,D. Lowe, 1983, Stieglitz: A Memoir/Biography,(New York: Farrar, Straus & Giroux); R. Whelan, 1995, AlfredStieglitz: A Biography, (Boston: Little, Brown) For general context - Robert Doty, 1978, Photo-Secession: Stieglitzand the Fine-Art Movement in Photography, (New York: DoverPublications, Inc.) [Foreword by Beaumont Newhall]; William InnesHomer, 1983, Alfred Stieglitz and the Photo-Secession, (New York:Little, Brown); Sarah Greenough, 2000, Modern Art and America:Alfred Stieglitz and his New York Galleries, (Washington: NationalGallery of Art); Lisa Mintz Messinger, 2011, Stieglitz and His Artists:Matisse to O'Keefe, (Metropolitan Museum of Fine Art). For Camera Notes - Christian A. Peterson, 1993, Alfred Stieglitz’s“Camera Notes”, (New York: W. W. Norton) For Camera Work - Pam Roberts, 1997, Camera Work: TheComplete Illustrations 1903–1917. Alfred Stieglitz, 291 Gallery andCamera Work, (Köln and New York: Taschen)

2. Λ Christian A. Peterson, 1993, Alfred Stieglitz’s “Camera Notes”,(New York: W. W. Norton)

3. Λ The literature on Alfred Stieglitz is vast. For biographical - S,D. Lowe, 1983, Stieglitz: A Memoir/Biography,(New York: Farrar, Straus & Giroux); R. Whelan, 1995, AlfredStieglitz: A Biography, (Boston: Little, Brown) For general context - Robert Doty, 1978, Photo-Secession: Stieglitzand the Fine-Art Movement in Photography, (New York: DoverPublications, Inc.) [Foreword by Beaumont Newhall]; William InnesHomer, 1983, Alfred Stieglitz and the Photo-Secession, (New York:Little, Brown); Sarah Greenough, 2000, Modern Art and America:Alfred Stieglitz and his New York Galleries, (Washington: NationalGallery of Art); Lisa Mintz Messinger, 2011, Stieglitz and His Artists:Matisse to O'Keefe, (Metropolitan Museum of Fine Art). For Camera Notes - Christian A. Peterson, 1993, Alfred Stieglitz’s“Camera Notes”, (New York: W. W. Norton) For Camera Work - Pam Roberts, 1997, Camera Work: TheComplete Illustrations 1903–1917. Alfred Stieglitz, 291 Gallery andCamera Work, (Köln and New York: Taschen)

4. Λ For Camera Work - Pam Roberts, 1997, Camera Work: TheComplete Illustrations 1903–1917. Alfred Stieglitz, 291 Gallery andCamera Work, (Köln and New York: Taschen)

5. Λ For Camera Work - Pam Roberts, 1997, Camera Work: TheComplete Illustrations 1903–1917. Alfred Stieglitz, 291 Gallery andCamera Work, (Köln and New York: Taschen)

6. Λ William Innes Homer, 1977, Alfred Stieglitz and the AmericanAvant-Garde, (Boston: New York Graphic Society); SarahGreenough, 2000, Modern Art and America: Alfred Stieglitz and hisNew York Galleries, (Washington: National Gallery of Art.); LisaMintz Messinger, 2011, Stieglitz and His Artists: Matisse to O'Keefe,(Metropolitan Museum of Fine Art) Archival material - Alfred Stieglitz/Georgia O'Keeffe Archive,Beinecke Rare Book & Manuscript Library, Yale University(Accessed: 10 September 2013)beinecke.library.yale.edu/collections/highlights/alfred-stieglitzgeorgia-okeeffe-archive

7. Λ For the expulsion of Alfred Stieglitz from the New York CameraClub - Camera Work, Number 22, April 1908

8. Λ The final issue of Camera Work was a double issue Numbers 49-50 which came out in June 1917. It included eleven photographs byPaul Strand, including The White Fence, Abstraction PorchShadows, and Abstraction Bowls which were pioneering studies forthe use of abstraction within photography.

9. Λ For Camera Work - Pam Roberts, 1997, Camera Work: TheComplete Illustrations 1903–1917. Alfred Stieglitz, 291 Gallery andCamera Work, (Köln and New York: Taschen)

10. Λ In 2013 The Metropolitan Museum of Art (New York) madeavailable online a vast collection of "Pictorialist PhotographyExhibition Catalogues, 1891-1914". The "International Exhibition ofPictorial photography"at the Albright Art Gallery is one of those.www.metmuseum.org/about-the-museum/now-at-the-met/features/2013/pictorialist-photography-exhibition-catalogues

11. Λ Catalogue of the international exhibition, pictorial photography /Buffalo Fine Arts Academy, Albright Art Gallery, Exhibition held Nov.3-Dec. 1, 1910 at the Albright Art Gallery; Published as an issue ofAcademy notes - catalogue online:libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll19/id/6374

12. Λ Alvin Langdon Coburn, 1910, New York, (London: Duckworth andNew York: Brentano‘s)

13. Λ An advertisement for Alvin Langdon Coburn, 1910, New York,(London: Duckworth and New York: Brentano‘s) was published inCamera Work, 1910, no, XXXII.

14. Λ Marianne Fulton et al., 1996, Pictorialism into Modernism: TheClarence H. White School of Photography, (New York: Rizzoli, inassociation with George Eastman House and the Detroit Institute ofArts)

15. Λ Peter Palmquist, 1999, Dassonville: William E. Dassonville,California Photographer (1879-1957), (Carl Mautz Publishing)

16. Λ S. Ehrens, 1995, A Poetic Vision: The Photographs of AnneBrigman, (Santa Barbara: Santa Barbara Museum of Art)

17. Λ William Innes Homer, 1983, Alfred Stieglitz and the Photo-Secession, (New York: Little, Brown)

18. Λ Anne Brigman, 1949, Songs of a Pagan, (Caldwell, Idaho: CaxtonPrinters)

19. Λ The "Daybooks" of Edward Weston are a rare diary of aphotographer as he undergoes changes in his artistic vision -Nancy Newhall (ed.), 1973, The Daybooks of Edward Weston:Volume 1, Mexico, (Millerton, NY: Aperture); Nancy Newhall, (ed.),1973, The Daybooks of Edward Weston: Volume 2, California,(Millerton, NY: Aperture)

20. Λ Graham Howe & Beth Gates Warren, 2017, Edward Weston:Portrait of the Young Man as an Artist, (Merrell)

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Home > Contents > Further research

General reading 1994, Pictorialism in California: Photographs 1900–1940, (Malibu, CA: J.Paul Getty Museum; San Marino, CA: Henry E. Huntington Library and ArtGallery) [Δ] Adams, Harriet Dyer, 1988, ‘The undiscovered photo-secessionist: WilliamB. Dyer‘, History of Photography, vol. 12, no. 4, pp. 281-293 [Δ] Balcomb, Robert, 2013, Me and Mortensen: Photography with the Master,(Amphora Editions) isbn-10: 0983655006 isbn-13: 978-0983655008 [Δ] Bannon, Anthony, 1981, The Photo-Pictorialists of Buffalo, (Buffalo, NY:Media Study) [Δ] Clarkson, Ralph, 1899, 1 October, ‘The Photographs of William B. Dyer‘,Brush and Pencil, vol. 5, pp. 20-30 [Δ] Fulton, Marianne et al., 1996, Pictorialism into Modernism: The Clarence H.White School of Photography, (New York: Rizzoli, in association with GeorgeEastman House and the Detroit Institute of Arts) [Δ] Green, Jonathan (ed.), 1973, Camera Work: A Critical Anthology, (Millerton,NY: Aperture) [Δ] Martin, David F. & Bromberg, Nicolette, 2011, Shadows of a Fleeting World:Pictorial Photography and the Seattle Camera Club, (University ofWashington Press) isbn-10: 0295990856 isbn-13: 978-0295990859 [Scottand Laurie Oki Series in Asian American Studies] [Δ] Mauro, Alessandra, 2014, ‘Alfred Stieglitz and 291‘, in Alessandra Mauro(ed.), 2014, Photoshow: Landmark Exhibitions that Defined the History ofPhotography, (Contrasto), pp. 101-128 [Δ] Peterson, Christian A., 2012, Pictorial Photography at the MinneapolisInstitute of Arts, (Christian A. Peterson: Privately printed) [Limited to 50initialed copies] [Δ] Roberts, Pam, 1997, Camera Work: The Complete Illustrations 1903–1917.Alfred Stieglitz, 291 Gallery and Camera Work, (Köln and New York:Taschen) [Δ] Roberts, Pam, 2008, Camera Work: The Complete Photographs 1903–1917, (Taschen) isbn-10: 3822837849 isbn-13: 978-3822837849 [Δ] Stieglitz, Alfred, 1899, November, ‘Pictorial Photography‘, Scribner’sMagazine, vol. 26, no. 5, pp. 528-537 [Δ] Readings on, or by, individual photographers Ansel Adams Gray, Andrea, 1982, Ansel Adams: An American Place, 1936, (Center forCreative Photography) isbn-10: 0938262068 isbn-13: 978-0938262060 [Supplement to The Archive] [Δ]

John Bullock Beck, Tom, 1989, An American Vision: John G. Bullock and the Photo-Secession, (Baltimore: Aperture in Association with University ofMaryland) [Foreword by William Innes Homer] [Δ] Alvin Langdon Coburn Coburn, Alvin Langdon, 1910, New York, (London: Duckworth and NewYork: Brentano‘s) [Introductory essay by H.G. Wells] [Δ] Gertrude Käsebier Michaels, Barbara, 1992, Gertrude Käsebier: The Photographer and HerPhotographs, (New York: Harry N. Abrams) [Δ] William Mortensen Mortensen, William; Dawson, Michael; Dillon, Diane; Coleman, A.D.; Tytle,Larry & Rule, Amy, 1998, William Mortensen: A Revival, (Center for CreativePhotography, University of Arizona) isbn-10: 0938262335 isbn-13: 978-0938262336 [ The Archive (Book 33)] [Δ] Mortensen, William; Dunham, George; Moynihan, Michael & Lytle, Larry,2014, The Command to Look: A Master Photographer’s Method forControlling the Human Gaze, (Feral House) isbn-10: 1627310010isbn-13: 978-1627310017 [Reprint] [Δ] Mortensen, William; Lytle, Larry; Coleman, A.D. & Moynihan, Michael, 2014,American Grotesque: The Life and Art of William Mortensen, (Feral House)isbn-10: 1936239973 isbn-13: 978-1936239979 [Δ] Alfred Stieglitz Doty, Robert, 1978, Photo-Secession: Stieglitz and the Fine-Art Movementin Photography, (New York: Dover Publications, Inc.) [Foreword byBeaumont Newhall] [Δ] Gray, Andrea, 1982, Ansel Adams: An American Place, 1936, (Center forCreative Photography) isbn-10: 0938262068 isbn-13: 978-0938262060 [Supplement to The Archive] [Δ] Homer, William Innes, 1977, Alfred Stieglitz and the American Avant-Garde,(Boston: New York Graphic Society) isbn-10: 0821207555 [Δ] Homer, William Innes, 1983, Alfred Stieglitz and the Photo-Secession, (NewYork: Little, Brown) [Δ] Margolis, Marianne Fulton (ed.), 1978, Alfred Stieglitz, Camera Work: APictorial Guide, (New York: Dover) [Δ] Messinger, Lisa Mintz, 2011, Stieglitz and His Artists: Matisse to O'Keefe,(Metropolitan Museum of Fine Art) isbn-10: 0300175884 isbn-13: 978-0300175882 [Δ] Naef, Weston, 1995, In Focus: Alfred Stieglitz: Photographs from the J. PaulGetty Museum, (J. Paul Getty Museum) isbn-10: 0892363037 isbn-13: 978-0892363032 [Δ] Stieglitz, Alfred, 1897, Picturesque Bits of New York and Other Studies,(New York: R.H. Russell) [Δ] Waldo, Frank et al., 1934, America and Alfred Stieglitz: A Collective Portraitwith 120 illustrations, (New York: Doubleday Doran & Company) [Δ] Whelan, Richard & Greenough, Sarah, 2000, Stieglitz on photography: Hisselected essays and notes, (Aperture) [Δ] Paul Strand Barnes, Martin; Beckman, Karen et al., 2014, Paul Strand: Master of ModernPhotography, (Philadelphia Museum) isbn-10: 0300207921 isbn-13: 978-0300207927 [Δ]

Eva Watson-Schutze Wolf, Tom M., 2009, Eva Watson-Schutze: Photographer, (SUNY Press)isbn-10: 1438431295 isbn-13: 978-1438431291 [Samuel Dorsky Museum ofArt Series] [Δ] If you feel this list is missing a significant book or article please let me know -Alan - alan@luminous-lint.com Resources Pictorialist exhibition catalogues http://libmma.contentdm.oclc.org ... The Metropolitan Museum of Art has scanned more than one hundredPictorialist photography exhibition catalogues, most of them donated to theMuseum by Alfred Stieglitz in 1922 and many of them not found elsewhere.These fully searchable scans provide a valuable new research tool forpeople studying turn-of-the-century photographic history. (Malcolm Daniel,28 June 2013, British Photographic History) Home > Contents > Photographers > Photographers worthinvestigating

Francis & Mary Allen • John Bullock (1854-1939) • Alvin Langdon Coburn (1882-1966) • William Dassonville (1879-1957) • F. Holland Day (1864-1933) • William B. Dyer (1860-1931) • Frank Eugene (1865-1936)• Elias Goldensky (1867-1943) • Joseph T. Keiley (1869-1914)• Gertrude Käsebier (1852-1934) • William Mortensen (1897-1965)• William B. Post (1857-1921) • Jane Reece (1868-1961)• Edward Steichen (1879-1973) • Alfred Stieglitz (1864-1946) • ClarenceH. White (1871-1925) • Myra Albert Wiggins (1869-1956)

Home > Contents > Online exhibitions > American influences on Pictorialism

Please submit suggestions for Online Exhibitions that will enhance this theme.Alan - alan@luminous-lint.com

Alvin LangdonCoburn: London PhV Title | Lightbox |

ChecklistReleased (August 18,2006)

Alvin Langdon Coburn:New York PhV Title | Lightbox |

ChecklistImproved (August 18,2006) Thanks to Mark Katzmanof the photogravure.comwebsite for supplying themissing images.

AmericanPictorialism: CameraWork (1903-1917) PhV Title | Lightbox |

ChecklistReleased (May 1,2006)

E.O. Hoppé: Amerika PhV Title | Lightbox |

ChecklistReleased (January 14,2007)

Gertrude Käsebier:Family PhV Title | Lightbox |

ChecklistReleased (May 16,

The Clarence H. WhiteSchool of Photography PhV Title | Lightbox |

ChecklistReleased (November 30,

2007) 2006) The Warren and MargotCoville Collection at theLibrary of Congress.

Home > Visual indexes > American influences on Pictorialism

Please submit suggestions for Visual Indexes to enhance this theme.Alan - alan@luminous-lint.com

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