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"Embodied Intelligence in the Stieglitz Circle," by Kathleen Pyne; presentation by Karen Ralston and Kay Swindell

"Embodied Intelligence in the Stieglitz Circle," by Kathleen Pyne; presentation by Karen Ralston and Kay Swindell

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K pyne ralston swindell power point Presentation Transcript

  • 1. “ Embodied Intelligence in the Stieglitz Circle” Article by Kathleen Pyne Presented by Karen Ralston and Kay Swindell
  • 2. Photo Secession, 1906
  • 3. Edward Steichen, Alfred Stieglitz at 291 , 1915
  • 4. Edward Steichen, Self Portrait, 1901 Gum Bichromate
  • 5. Stieglitz, Steichen, Strand The Metropolitan Museum of Art November 10, 2010–April 10, 2011
    • http://www.metmuseum.org
    • Exhibitions
    • Stieglitz, Steichen, Strand
    • See the Collection Database
    • Gallery View
  • 6.  
  • 7.  
  • 8.  
  • 9.  
  • 10.  
  • 11. Stieglitz: Photo Secession
    • “ Photo-Secession actually means a seceding from the accepted idea of what constitutes a photograph.”
    • Promote photography as fine art in general and photographic  pictorialism  in particular.
  • 12. Camera Work 1903-1917
  • 13. Gertrude Käsebier, Evelyn Nesbit, 1932
  • 14. Gertrude Käsebier, The Sketch, 1899-1902 Platinum Print
  • 15. James Whistler, Nocturnes: Blue and Gold Old Battersea Bridge 1872 Falling Rocket 1874
  • 16. Whistler’s Influence on the Photo Secessionists
    • “Make images as if Whistler held a camera”
    • Mystery
    • Musicality
    • Soft focus
    • Veiling of subject
  • 17. Softening Techniques Linked Ring Group in England
    • Pinhole photography
    • Retouching
    • Etching in negative
    • Printing through screens
    • Printing on rough paper
    • Wetting the lens
  • 18. Alfred Stieglitz and Clarence White, The Torso, 1907 Platinum print
  • 19. Alfred Stieglitz, Katherine and Elizabeth Stieglitz, 1907 - Autochrome
  • 20. Edward Steichen, Charlotte Spaulding, ca. 1908 Autochrome
  • 21. Edward Steichen, The Pond-Moonlight, 1904 Photogravure
  • 22. Stieglitz Dethrones Käsebier; Celebrates Brigman
    • A reformed feminine emblem
    • Embodies the nudes of Matisse, Picasso and Cézanne
    • Rhythmic, flowing form
    • Highly manipulated negatives
    • Liberated female body
  • 23. Anne Brigman, The Breeze, Dawn 1909-10
  • 24. Anne Brigman, Platinum Prints The Dying Cedar, 1906 Via Dolorosa, 1911-1912
  • 25. SUMMARY
    • Stieglitz always investigating the medium
    • Always looking for perfection and morphing to achieve his new ideal
    • The Stieglitz Circle played a critical role in the interchange between painting and photography during the early years of the twentieth century.
  • 26. KAY SWINDELL
  • 27. The New Modernism – break from Photo Secession
    • Freedom from past perimeters, styles, labels
    • Removing the veil from human sexuality and supporting in philosophy and art a “throwing off” of societal roles and gender limitations
    • Embracing feelings, ideas, and sensations in all arts and through abstract and cubist art.
    • Various sources included Kandinsky, Asian art principles, personal authenticity, music, dance
  • 28. Deconstructing the nude
    • Stieglitz, writing to Brigman in 1918-9 used the term “no fuzzyism”
    • Earlier nudes were Venus-like; in keeping with late 19 th C masked human sexuality
    • With the 1918-19 O’K series, Stieglitz concentrated on individual shapes
    • Liberated from the past to achieve artistic creativity
  • 29. Alfred Stieglitz, Spring Showers, New York, Negative, 1900/01. Photogravure
  • 30. Pablo Picasso, Standing Female Nude, 1910 Half-tone reproduction
  • 31. Alfred Stieglitz, Georgia O’Keeffe, 1919 Palladium
  • 32. Alfred Stieglitz, Georgia O’Keeffe, 1918 Photograph (gelatin silver print)
  • 33. O’Keeffe’s Path to Modernism
    • Application of Dow’s principles of composition
    • Japanese prints, Nocturnes of Whistler, children’s art
    • Witnessing Marin’s topsy-turvy Woolworth Bldg. illustrating a “moving of me” (Marin’s words) and referring to Brigman photographs, and later, Stieglitz’s O’Keeffe nudes.
    • Isadora Duncan performing a new, free, undulating modern dance style in flowing blues
    • Bakst’s costume designs for Ballet Russe inspired O’Keeffe “spiral” vocabulary in abstracted works from nature as well as her brilliant color combinations.
  • 34. Georgia O’Keeffe, Untitled (Woman by Window), 1907-08
  • 35. Georgia O’Keeffe, Yellow House, 1917
  • 36. Abraham Walkowitz, Isadora Duncan, ca. 1910
  • 37. Léon Bakst, Design for the Faun from the Prélude à ‘L’après-midi d’un faune ,’ 1912
  • 38. Georgia O’Keeffe, Pansy Black Pansy & Forget-Me-Nots, 1926
  • 39. Georgia O’Keeffe, L.K. White Calla and Roses 1926
  • 40. Alfred Stieglitz: In Search of Truth
    • Focus: soft and fuzzy or clean and straight
    • His modernism: ‘dematerialized vision’ to ‘embodied sensation’
    • Never let go of terms spirit and soul
  • 41. THANK YOU!