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Literary admirers of Alfred Stieglitz by F. Richard Thomas

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By F. Richard Thomas

F. Richard Thomas argues convincingly that Alfred Stieglitz wielded a rare impact at the works of such literary figures as Gertrude Stein, Hart Crane, Sherwood Anderson, and William Carlos Williams. the results of his argument endure not just at the aesthetics, types, and perceptions of those significant American literary figures yet at the growth of latest images as well. The 4 writers Thomas stories the following all used features of images of their person aesthetics and enriched their kinds via selective specialise in in my view major aspect. every one remoted occasions to bare rules in an impressionistic approach. Plot and narration gave option to associative coherence; emotions have been conveyed by way of revealing relationships that existed between gadgets in the writer’s body. of their lives in addition to of their artwork, they got here to sign up for a philosophy in line with the quick and the particular.

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Now listen! [said Gertrude Stein] Can't you see that when the language was newas it was with Chaucer and Homerthe poet could use the name of a thing and the thing was really there? He could say "O moon," "O sea," "O love" and the moon and the sea and love were really there. And can't you see that after hundreds of years had gone by and thousands of poems had been written he could call on those words and find that they were just wornout literary words? The excitingness of pure being had withdrawn from them; they were just rather stale literary words.

Details Finally, the photographer can and does use detail that the painter cannot use.  .  .  . " 7 Few painters had expressed these details, partly because few had seen them. Not many people stand still long enough for an observer to focus intensely on details for extended periods of time. Through a photograph one can focus on these details indefinitely. Rosenfeld's excitement over Stieglitz's photographs may seem excessive today, but the ability mechanically to reproduce easily and in great quantity photographs of the technical quality achieved by Stieglitz is only a recent development.

But even among those who could not tolerate Stieglitz, few would deny his indefatigable efforts: as propagandist for the Photo-Secessionists; as publisher of magazines of Modern Art and photography (like the incomparable Camera Work); as an organizer for the Albright Museum of the International Exhibition of Pictorial Photography in 1910; and as director of his galleries (291, for example, in which he introduced virtually every major European and American Modern Artist and photographer to the American public).

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