Discuss the contribution of Alfred Stieglitz and his “circle” to the development of modern
art in America. What artists were involved and what were their key contributions?
Alfred Stieglitz, an American photographer “trained” in Berlin, was a major contributor to the
early 20th century realist movement in the United States, eventually becoming the main
galvanizing proponent for its international acclaim. Like many artists and art movements before
him, Stieglitz eventually broke free from the traditional art forms he had trained in (Pictorialism)
and, with photographs like, The Steerage, forged new pathways for himself and the burgeoning
artistic freedom that was happening in New York. Taking advantage of his affiliation with the
city’s 291 art gallery, Stieglitz showcased the brilliance of American artistic efforts with pieces
from artists like Max Weber, Marsden Hartley, Edward Steichen, John Marin, Arthur Dove, and
Georgia O’Keefe. With the exception of O’Keefe, all the other artists spent time in, and were
deeply influenced by the artists and art movements that were impacting Europe. Weber’s,
Chinese Restaurant, for example, is a clear example of the Cubist movement that was so en
vogue at that time, but which retained an element of the urban bustle he was surrounded by.
Steichen, like Stieglitz, was a Pictorialist photographer, but with pieces like, Balzac, The
Silhouette, clearly advanced the “artistic possibilities” of the Pictorialist photography creed
(Arnason 343). Also inspired by the artistic freedom taking place in Europe, Arthur Dove created
abstract pieces like, Nature Symbolized, and, much like the efforts of European Symbolist art,
focused on elaboration of the spiritual dimension. Finally, the American painter Georgia
O’Keefe, although not trained or directly influenced by European artists, seemed to possess the
de facto ability that exemplified early 20th century American modern art, “Her paintings involve
such economy of detail and such skillful distillation of her subject that, however naturalistically
precise, they somehow become works of abstraction” (Arnason 347).
Works Cited
Arnason, H.H., et al. (2010). History of modern art: Painting, sculpture, architecture,
photography. 6th ed. Old Tappan, New Jersey: Prentice Hall.