By F. Richard Thomas
F. Richard Thomas argues convincingly that Alfred Stieglitz wielded a rare effect at the works of such literary figures as Gertrude Stein, Hart Crane, Sherwood Anderson, and William Carlos Williams. the consequences of his argument undergo not just at the aesthetics, kinds, and perceptions of those significant American literary figures yet at the growth of up to date images as well. The 4 writers Thomas stories right here all used points of images of their person aesthetics and enriched their kinds via selective concentrate on individually major element. every one remoted occasions to bare principles in an impressionistic approach. Plot and narration gave option to associative coherence; emotions have been conveyed by way of revealing relationships that existed between items in the writer’s body. of their lives in addition to of their paintings, they got here to sign up for a philosophy in accordance with the rapid and the particular.
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Extra resources for Literary admirers of Alfred Stieglitz
Sample text
Of the writers hereStein, Crane, Williams, and Andersononly Williams is recognized as being part of the early Imagist movement. But all of them were modern, and, therefore, part of that larger group of writers greatly influenced by the Imagists. Furthermore they were all caught up, just as the Imagists, modern painters, and Stieglitz were caught up, in a technological world to which they had to adapt. Page 16 To say that Stieglitz and the traditional camera photography he represents explain once and for all the writings of these four writers would be foolish.
3 One points the camera at something and clicks the shutter. ''4 Turn-of-the-century reactions to photography as an art form were vehemently negative. Because the photograph so closely resembled reality, photography was considered by many people, especially establishment painters and critics, to be a reportorial medium exclusively. Even the early Photo-Secessioniststhe group of photographers headed by Stieglitz who were committed to having the artistic merit of their work recognizeddeliberately used soft-focus lenses, or darkroom tricks (including brushing or penciling the negative) to make their photographs look like paintings.
That he was hated as well as adored is well known. 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).