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Photo-Secession |
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Photo-SecessionGroup of U.S. photographers influenced by the Pictorialist movement. Founded in 1902 by Alfred Stieglitz, the Photo-Secession sought recognition of photography as an art to be judged on its own terms. It was akin to such groups as the Linked Ring in London, and its name reflected that of the Sezession movement in Austria and Germany. The group regularly showed its work at the Little Galleries of the Photo-Secession, also known as “291” (its address on Fifth Avenue in New York City), a gallery run by Stieglitz. While Stieglitz did not believe in retouching or manipulating negatives or prints, others of the group, such as Edward Steichen, were adherents of the impressionistic soft-focus school and the new techniques. By 1910 many members of the group left due to different aesthetic visions. The record of the Photo-Secession is contained in the quarterly Camera Work (1903–17). How to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit webmaster's page for free fun content. |
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According to Studley President Michael Colacino, loaning this collection to The National Arts Club is significant because 1) it marks the first time that Studley has exhibited a large sampling of its art collection in a public venue, a key initiative of the firm's new art program; and 2) it represents the return of Alfred Stieglitz and his colleagues from the Photo-Secession to The National Arts Club after nearly one hundred years. nbsp;Abbott's 1950 photograph of an elderly Frank Lloyd Wright (looking rather aloof) and an atmospheric shot of Stanford White, of Mead and White, taken in 1903 by Gertrude Kasebier, one of the first female photographers and a founding member of Alfred Stieglitz's Photo-Secession whose members sought to elevate photography to the highest form of art. Whenever anything sold, Stieglitz retained a 15 percent commission "for the benefit of the Photo-Secession treasury," an amount he raised to 20 percent in 1909. |
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