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Photo-Secession

The Photo-Secession was an influential early 20th-century American photography movement founded in 1902 by Alfred Stieglitz in New York City, aimed at establishing photography as a legitimate fine art distinct from commercial or documentary practices.^[1]^[2]^[3] Inspired by European modernist secession movements and photographic societies like London's Linked Ring Brotherhood, the group sought to "secede" from conservative photographic institutions, such as the Camera Club of New York, to emphasize pictorialism—a style that employed soft-focus, manipulated printing techniques, and artistic compositions to evoke painterly effects and personal expression.^[1]^[2]^[4] Stieglitz, a pivotal figure in American photography, articulated the group's manifesto in a 1903 statement published in the Bausch & Lomb Lens Souvenir, declaring the need for photographers to break from "accepted ideas" and exhibit works that demonstrated individual creativity over technical conformity.^[1] Key members included Gertrude Käsebier, Edward Steichen, Clarence H. White, Alvin Langdon Coburn, and international affiliates like Heinrich Kühn and Frederick H. Evans, who shared a commitment to elevating the medium through labor-intensive processes like gum bichromate printing.^[1]^[2]^[3] The group organized curated exhibitions in national and international salons and, from 1905 to 1917, operated the Little Galleries of the Photo-Secession—renamed Gallery 291 in 1908 at 291 Fifth Avenue—where they showcased not only secessionist photographs but also avant-garde European art by artists like Henri Matisse, Paul Cézanne, and Pablo Picasso, fostering cross-medium dialogues.^[4]^[3]^[1] Complementing these efforts, Stieglitz launched the quarterly journal Camera Work in 1903, which ran until 1917 and featured reproductions of secessionist images, critical essays, and halftone plates to disseminate their aesthetic ideals globally.^[4]^[2] Over time, the movement evolved from pictorialist influences toward "straight photography," as seen in Stieglitz's seminal 1907 image The Steerage and works by emerging members like Paul Strand and Charles Sheeler, prioritizing sharp focus and direct representation of modern life.^[3]^[4] The Photo-Secession's legacy lies in its transformative role in securing institutional recognition for photography in museums and galleries, influencing subsequent generations of American artists, and bridging pictorialism with modernism.^[1]^[3]^[4]

Historical Context

Precursors in Photography

In the late nineteenth century, photography grappled with establishing itself as a legitimate art form, often dismissed as a mere mechanical reproduction rather than a creative medium comparable to painting or sculpture.^[3] This struggle intensified with the rise of commercial snapshot photography, exemplified by Kodak's popularization of amateur "snapshooting," which prioritized technical ease over artistic expression and further marginalized photographers seeking aesthetic depth.^[5] Pictorialism emerged as a pivotal response, advocating for manipulated techniques like soft focus, textured papers, and painterly printing processes to imbue photographs with emotional and interpretive qualities, thereby aligning the medium with fine arts traditions.^[5] A key institutional precursor was the Brotherhood of the Linked Ring, founded in London in 1892 by photographers including Henry Peach Robinson, George Davison, and Henry Van der Weyde, who seceded from the conservative Royal Photographic Society to promote pictorialism as a fine art.^[5] The group emphasized romantic, idealized imagery through methods such as gum bichromate printing and photogravure, organizing international salons and publishing journals to foster an aesthetic discourse that elevated photography beyond documentary utility.^[5] Their efforts directly influenced transatlantic movements by demonstrating how organized rebellion could advance photography's artistic status, countering the dominance of formulaic commercial practices.^[5] Early pictorialist theories were shaped by figures like Peter Henry Emerson, a British advocate of naturalistic photography in the 1880s, whose seminal work Naturalistic Photography for Students of the Art (1889, revised 1890) argued for capturing scenes "as seen by the normal human eye" through differential focusing—sharpening the central subject while blurring peripheries to mimic natural vision.^[6] Drawing from scientific principles in optics and evolutionary psychology, Emerson's earlier publications, such as Life and Landscape on the Norfolk Broads (1886) and Pictures of East Anglian Life (1888), promoted simple, unposed compositions of rural life to achieve "transfigured realism," rejecting contrived studio setups in favor of nature's authentic moods.^[6] Although he later recanted some ideas in The Death of Naturalistic Photography (1890) amid debates over visual perception, his emphasis on photography's interpretive potential laid foundational groundwork for pictorialist aesthetics.^[6] The rebellious naming and ethos of later photographic groups drew inspiration from the Munich Secession, established in 1892 when radical young artists broke away from conservative academies to form a progressive alliance unhindered by traditional constraints.^[7] This movement embodied a broader European spirit of defiance against academic art institutions, prioritizing innovative expression over established hierarchies, and its model of secession as a means of renewal resonated in the nomenclature and organizational strategies of subsequent art reform efforts.^[7] Tensions within American photography came to a head at the 1893 World's Columbian Exposition in Chicago, where the photography section highlighted divides between amateur pictorialists and entrenched professionals controlling official concessions.^[8] Amateurs decried the nepotistic dominance of figures like official photographer C.D. Arnold, whose exclusive rights limited access and sidelined artistic submissions, sparking scandals reported in outlets like the Chicago Daily Times and fueling campaigns in American Amateur Photographer for greater recognition of creative work.^[8] These conflicts underscored the era's push for pictorialism's inclusion in major exhibitions, amplifying calls for photography's elevation as an interpretive art.^[8] In the United States, F. Holland Day emerged as a leading pictorialist in the 1890s, advocating photography's status as fine art through evocative images inspired by literature, mythology, and religious themes, often using platinum prints and self-portraiture to evoke painterly effects.^[9] He curated early exhibitions of American pictorial work, including portfolios like American Pictorial Photography, Series I (1899), and wrote opinion pieces promoting the medium's artistic merits, positioning himself as the first major U.S. proponent of photography's equivalence to traditional arts.^[9] Day's activities, such as staging multimedia presentations of biblical scenes like The Seven Last Words (inspired by his 1890 trip to Oberammergau's Passion Plays), further integrated photography into cultural dialogues, fostering a distinctly American pictorial style with layered mountings and symbolic compositions.^[10]

Formation and Early Development

In early 1902, Alfred Stieglitz, a leading advocate for photography as fine art, was invited by the National Arts Club in New York to organize an exhibition of contemporary American photography. Disagreements arose with the club's more conservative members over the inclusion of innovative pictorialist works, prompting Stieglitz and a cadre of like-minded photographers to withdraw and form an independent group. This conflict culminated in the official founding of the Photo-Secession on February 17, 1902, as a loose association dedicated to elevating photography's artistic status beyond mechanical reproduction.^[3]^[11] Stieglitz assumed leadership, handpicking initial members from a network of pictorialists whose work demonstrated exceptional craftsmanship and expressive potential, including figures like Gertrude Käsebier and Edward Steichen. In his "Valedictory" editorial in the July 1902 issue of Camera Notes—his farewell to the publication he had edited amid internal strife—he formally announced the Photo-Secession, declaring its intent to "advance photography as applied to pictorial expression" and foster a community unbound by conventional constraints. The group's debut exhibition, titled American Pictorial Photography Arranged by "Photo-Secession", opened at the National Arts Club from March 5 to 22, 1902, showcasing approximately 30 photographers' works, with Stieglitz contributing 18 prints such as The Net Mender (1894) and Spring Showers—The Street Sweeper (1901).^[12]^[1]^[13] The early years presented significant challenges, including resistance from established art institutions that viewed photography skeptically, forcing the Photo-Secession to operate without formal backing and rely on self-organized efforts to gain recognition. Members navigated these obstacles by emphasizing pictorialist strategies, deliberately employing soft-focus techniques, gum bichromate processes, and other manipulations to infuse photographs with painterly qualities, as evident in exhibition prints from 1902 to 1905 that blurred sharp details to evoke emotional depth and atmosphere.^[3]^[1]

Ideology and Principles

Stieglitz's Founding Statement

Alfred Stieglitz published his foundational statement for the Photo-Secession, titled "The Photo-Secession," as a supplement in the July 1903 issue (No. 3) of Camera Work, the quarterly journal he established earlier that year to advocate for photography's artistic potential. Spanning 174 words, the statement responded to public inquiries about the group's nature and aims, formally defining its purpose shortly after the informal founding of the Photo-Secession in 1902.^[14] In the statement, Stieglitz outlined the Photo-Secession's core objective: "to advance photography as applied to pictorial expression" by uniting American practitioners and enthusiasts, while organizing exhibitions that could include international works beyond the group's own productions. He positioned pictorial photography as a vehicle for personal and individual expression, distinct from mere documentation or technical demonstration. Membership criteria emphasized artistic merit over mechanical perfection, with Fellows selected by a council for "meritorious photographic work" that demonstrated individuality and alignment with the group's principles; Associates required only sincere sympathy, though applications were rigorously vetted to exclude apathy or opposition. Stieglitz explicitly rejected commercial influences, insisting that the focus remain on elevating photography's expressive qualities rather than marketplace demands.^[14] Stieglitz envisioned the Photo-Secession as a deliberate break from entrenched conservative institutions, such as rigid camera clubs and exhibition juries that prioritized formulaic standards over innovation. Drawing direct parallels to European art movements like the Vienna Secession and the Munich Secession, which rebelled against academic conformity in the 1890s, he framed the group as a similar avant-garde insurgency in photography, demanding recognition of the medium's autonomy as an art form rather than a subservient craft. This rebellious stance underscored a broader critique of the "Philistine" skepticism toward photography's aesthetic validity.^[15] The statement garnered immediate endorsements from early adherents, including Edward Steichen, a close collaborator who contributed to Camera Work's design and became a pivotal Fellow, lending his international reputation to validate the group's artistic ambitions. Yet it also provoked criticisms from traditional photographers, who decried the selective membership as elitist, and from segments of the pictorialist community who felt it marginalized broader amateur efforts in favor of Stieglitz's curated vision.^[15] Over the following years, the 1903 statement's ideas solidified as the Photo-Secession's enduring manifesto, with Stieglitz reprinting and refining it in later Camera Work issues, such as No. 6 (April 1904) and No. 9 (January 1905), to address evolving challenges and reaffirm the commitment to pictorialism amid growing institutional resistance.^[16]

Pictorialist Aesthetic

The Pictorialist aesthetic championed by the Photo-Secession emphasized photography's potential as a fine art medium through subjective emotional expression rather than objective documentation, prioritizing the photographer's personal vision to evoke mood and atmosphere.^[17] Core principles included the use of soft focus and diffused lighting to create dreamlike, painterly effects that blurred the boundaries between photography and traditional painting, allowing images to convey poetic or symbolic interpretations of reality.^[5] This approach rejected the sharp, mechanical precision of commercial snapshots, viewing them as soulless reproductions, and instead advocated for photography's equivalence to Impressionism and Symbolism by focusing on tonal harmony, composition, and emotional resonance over literal accuracy.^[17] Central to this aesthetic were labor-intensive hand-manipulation techniques that addressed photography's perceived mechanical limitations, transforming it into a creative process akin to etching or oil painting. Photographers employed gum bichromate printing, where hand-coated emulsions of gum arabic and pigments were exposed and brushed away to build layered colors and textures, enabling multiple iterations for refined artistic control.^[18] The bromoil process further enhanced tonal subtlety by bleaching and oiling gelatin prints to selectively absorb ink, producing velvety, textured surfaces that mimicked brushstrokes. Photogravure and various toning methods, such as platinum or gum toning, were also favored for their rich, permanent tones and ability to evoke subtle moods, often printed on textured papers like Japanese tissue to underscore the handmade quality.^[17] In practice, these principles manifested in works that prioritized atmospheric evocation, as seen in Edward Steichen's The Pond—Moonlight (1904), a soft-focused landscape capturing a moonlit pond with diffused reflections and subtle blue toning to suggest tranquility and mystery.^[19] Similarly, Steichen's The Flatiron (1904), rendered in gum bichromate, used swirling mists and warm tones to transform an urban scene into an impressionistic vision, emphasizing emotional interpretation over factual depiction.^[17] By promoting such techniques, the Photo-Secession positioned photography as an equal to painting, fostering its recognition in art circles through deliberate craftsmanship that revealed the artist's interpretive hand.^[5]

Organization and Activities

Membership Structure

The Photo-Secession operated with a three-tier membership structure consisting of Fellows of the Council, Fellows, and Associates, designed to recognize varying levels of artistic commitment and contribution to pictorial photography.^[20] The Council, comprising elite leaders such as Alfred Stieglitz and Edward Steichen, oversaw organizational decisions, while Fellows like Gertrude Käsebier and Clarence H. White demonstrated exceptional photographic merit through their work. Associates, including supporters such as writers and collectors, provided broader advocacy without the same artistic expectations.^[17] This hierarchy allowed the group to cultivate a dedicated core while expanding influence.^[16] Membership was strictly invitation-only, determined by Stieglitz's personal evaluation of artistic submissions that aligned with the group's pictorialist ideals, emphasizing emotional expression over technical realism.^[1] In 1902, the initial cohort included around two dozen key photographers, such as Stieglitz, Steichen, Käsebier, White, and Frank Eugene, marking the formal break from the more conservative Camera Club of New York.^[11] By 1906, the group had grown to approximately 80 members, with about 60 being active photographers, reflecting Stieglitz's selective curation.^[21] Geographically, the membership was predominantly American, centered in New York and other East Coast cities, but incorporated international figures like the German-American Frank Eugene based in Munich.^[20] Over time, additions such as Alvin Langdon Coburn, who joined around 1907 and split time between London and New York, diversified the group with transatlantic perspectives.^[17] Roles varied by tier: Council Fellows like Stieglitz directed exhibitions and publications, while Associates and lower Fellows contributed prints and essays to initiatives like Camera Work.^[3] Total membership peaked near 100 by 1910, bolstered by expansions that notably included women photographers such as Käsebier, Annie W. Brigman, and Alice Boughton, who advanced the group's inclusive yet elite aesthetic.^[11] Internal dynamics featured occasional tensions, including F. Holland Day's decision to remain independent rather than fully joining in 1902 due to Stieglitz's dominant influence, and later shifts where some Associates, like Boughton and Brigman, were elevated to Fellows based on evolving contributions.^[1] These changes sustained the group's vitality until its dissolution in 1917, as Stieglitz prioritized modern art over pictorialism.^[17]

Exhibitions and the 291 Gallery

The Photo-Secession's inaugural major exhibition, titled "American Pictorial Photography, Arranged by the Photo-Secession," took place in March 1902 at the National Arts Club in New York City.^[22] This show featured pictorialist prints by leading photographers, including F. Holland Day, Frank Eugene, Gertrude Käsebier, Joseph T. Keiley, Alvin Langdon Coburn, Eva Watson-Schütze, Edward Steichen, Alfred Stieglitz, and Clarence H. White, with Frances Benjamin Johnston as an associate member.^[22] It marked the formal launch of the group and aimed to demonstrate photography's potential as fine art on par with painting and sculpture.^[23] In November 1905, Alfred Stieglitz established the Little Galleries of the Photo-Secession—commonly known as 291—at 291 Fifth Avenue in New York, transforming a former studio into a dedicated space for showcasing advanced photography and, increasingly, modern art.^[22]^[24] The gallery served as a central hub for the Photo-Secession, hosting displays of members' works and fostering intellectual exchanges among artists, critics, and patrons.^[4] Among the notable exhibitions at 291 was the 1906 international show, which highlighted European pictorialists alongside American contributors, broadening the group's exposure to global trends in artistic photography.^[24] In 1908, the gallery presented drawings by Auguste Rodin, marking an early integration of non-photographic fine art and signaling Stieglitz's expanding vision beyond photography alone.^[24]^[25] A 1910 solo exhibition of Stieglitz's own photographs further emphasized the personal and artistic stakes of the Photo-Secession's mission.^[24] Stieglitz personally funded the gallery's operations, which continued until its closure in July 1917 amid financial strains and World War I disruptions, during which it hosted numerous exhibitions.^[22]^[26] These shows occasionally sparked controversies over avant-garde content, such as Francis Picabia's mechanomorphic drawings, which challenged conventional tastes and highlighted tensions with broader art establishments.^[4] The exhibitions at 291 significantly boosted the visibility of pictorialist photography and modern art in the United States, drawing influential critics, patrons, and artists who recognized the medium's artistic legitimacy.^[4]^[24] By introducing European modernists like Henri Matisse, Paul Cézanne, and Pablo Picasso to American audiences, the gallery elevated photography's status within elite art circles and laid groundwork for its acceptance as a vital creative form.^[25]^[26] The Photo-Secession also organized major external exhibitions, such as the 1910 International Exhibition of Pictorial Photography at the Albright Art Gallery in Buffalo, featuring over 570 works by members and aligned photographers.^[27]

Publications and Camera Work

Camera Work was launched in January 1903 as a quarterly photographic journal edited and published by Alfred Stieglitz, serving as the primary publication outlet for the Photo-Secession.^[28]^[29] It succeeded Stieglitz's earlier editorial role on Camera Notes, the journal of the New York Camera Club from 1897 to 1903, which had laid groundwork for promoting advanced photography but under limited control.^[30]^[31] The magazine's format emphasized artistic quality, featuring hand-tipped photogravure reproductions supervised by Stieglitz himself, alongside essays, reviews, and critical writings; its distinctive Art Nouveau cover was designed by Edward Steichen.^[28]^[29] Stieglitz's founding statement for the Photo-Secession first appeared in its pages, articulating the group's mission to elevate photography as fine art.^[16] The content of Camera Work focused on disseminating pictorialist ideas through the promotion of Photo-Secession members' work, including high-quality reproductions of photographs by artists such as Gertrude Käsebier, Edward Steichen, Clarence H. White, and Alvin Langdon Coburn, with hundreds of images printed across its run.^[29]^[30] It also included articles and critiques on pictorialism by influential writers, notably Sadakichi Hartmann, whose essays championed photography's expressive potential and aesthetic parallels to painting.^[29]^[16] These elements positioned the journal as an intellectual and visual platform for the movement, blending soft-focused, atmospheric images with discussions that reinforced the Photo-Secession's advocacy for individual artistic vision over technical documentation.^[28]^[31] Over time, Camera Work evolved to reflect Stieglitz's shifting perspectives, beginning with a strong emphasis on pictorialism in its early issues from 1903 to 1907, which prioritized manipulated, painterly effects to evoke emotion.^[30]^[29] By the 1910s, the journal increasingly incorporated straight photography—unretouched, direct representations—and modernist influences, such as reproductions of works by Paul Strand and even non-photographic art from European avant-gardists like Henri Matisse and Pablo Picasso, signaling a broader engagement with contemporary art movements.^[28]^[31] This progression mirrored Stieglitz's growing interest in unadorned realism and the integration of photography into wider artistic dialogues.^[16] At its peak, Camera Work achieved a circulation of approximately 1,000 subscribers per issue, with international distribution that extended its reach to Europe and beyond, establishing it as the official voice of the Photo-Secession and a key influencer in global photographic discourse.^[32]^[28] Its impact lay in democratizing access to elite pictorialist works through superior reproductions, fostering critical debate, and bridging photography with fine arts, thereby advancing the medium's recognition as a legitimate artistic practice.^[29]^[30] The journal ceased publication with its final double issue (Nos. 49–50) in June 1917, after 50 regular issues and three supplements, primarily due to financial strains from declining subscriptions amid World War I disruptions.^[28]^[29] Today, complete runs are preserved in major archives such as the Art Institute of Chicago and the Museum of Modern Art, underscoring their enduring value as primary documents of early 20th-century photographic innovation.^[28]^[31]

Decline and Legacy

Dissolution of the Group

The Photo-Secession experienced a gradual decline starting around 1910, as Alfred Stieglitz increasingly abandoned pictorial photography in favor of straight photography, emphasizing sharp focus and direct representation of modern forms.^[4] This shift was accompanied by his promotion of European modernists, including exhibitions of Pablo Picasso's drawings and paintings at the 291 Gallery beginning in 1911, which broadened the venue's scope beyond photography and alienated many traditional pictorialist members who felt Stieglitz was diverging from the group's core interests.^[33]^[11] By 1913, Stieglitz had ceased exhibiting photography at 291 altogether, with the exception of Paul Strand's modernist prints in 1916, further eroding the group's focus on pictorialist ideals.^[24] External pressures exacerbated the internal tensions, particularly the United States' entry into World War I in 1917, which disrupted international artistic exchanges and imposed financial uncertainty on operations like the 291 Gallery.^[24] Internally, conflicts over aesthetic direction mounted, highlighted by Edward Steichen's departure that year to volunteer for the U.S. Army Expeditionary Forces' Photographic Section, where he directed aerial photography efforts.^[17]^[34] Key events marked the end: in 1917, Stieglitz closed the 291 Gallery amid mounting financial strain and operational challenges, and the final issue of Camera Work was published, concluding its 15-year run.^[17]^[24] There was no official announcement of the group's dissolution, but Stieglitz effectively ended Photo-Secession activities that year as he pivoted toward broader modernist advocacy.^[11] In the immediate aftermath, members scattered and pursued independent paths; for example, Clarence H. White continued pictorialist photography, co-founding the Pictorial Photographers of America in 1916 and establishing the Clarence H. White School of Photography in 1914, which he expanded in subsequent years to train new generations.^[17] Stieglitz later reopened exhibition spaces, including the Intimate Gallery at 548 West 57th Street in 1925, to continue promoting modern art.^[24]

Influence on Photography and Art

The Photo-Secession played a pivotal role in elevating photography from a technical craft to a recognized fine art form, demonstrating through its members' works that the medium could rival painting and sculpture in expressive depth. By emphasizing labor-intensive processes like gum bichromate printing and innovative compositions, the group challenged prevailing views of photography as mechanical reproduction, fostering its acceptance in artistic circles. This advocacy directly contributed to photography's institutional integration, as seen in the influence of Alfred Stieglitz's efforts on the establishment of the Museum of Modern Art (MoMA) in 1929, where his promotion of photography alongside modern painting and sculpture shaped the museum's foundational commitment to the medium.^[35] Iconic Photo-Secessionist prints, such as Stieglitz's The Steerage (1907) and Gertrude Käsebier's portraits, now form core holdings in major collections, including The Metropolitan Museum of Art and MoMA, underscoring the group's enduring curatorial legacy.^[3] The movement catalyzed a profound aesthetic shift in photography, transitioning from the soft-focus, painterly ideals of pictorialism toward the sharp clarity and realism of modernism in the 1920s and 1930s. Stieglitz himself evolved his style, as evidenced in his Equivalents cloud series (1925–1934), which embraced abstraction and personal vision over imitative effects. This evolution profoundly influenced subsequent photographers; Paul Strand, an early Photo-Secession associate, adopted modernist principles after exposure to the group's exhibitions, pioneering straight photography with works like Wall Street (1915) that prioritized precise detail and social commentary. Similarly, Ansel Adams credited Strand's negatives—encountered through Photo-Secession networks—with inspiring his commitment to photography as a professional pursuit, leading to his high-contrast landscapes that advanced technical precision in the medium.^[3] Institutionally, the Photo-Secession served as a model for artist-led collectives, demonstrating how dedicated groups could advocate for photography's autonomy and innovation. Its structure of selective membership and focused exhibitions inspired later formations, such as Group f/64 in 1932, whose manifesto echoed the Secession's emphasis on medium-specific qualities while rejecting pictorialist manipulation in favor of unadorned realism. This template extended to contemporary art photography organizations, reinforcing collaborative efforts to push boundaries in the field. Through the 291 Gallery (1905–1917), the Photo-Secession extended its cultural reach by bridging photography with European avant-garde movements, introducing American audiences to modernism via exhibitions of works by Pablo Picasso, Henri Matisse, and Constantin Brâncuși alongside photographic shows. This fusion not only democratized access to progressive art but also highlighted photography's compatibility with experimental forms, influencing the Dada and Cubist-infused aesthetics of artists like Paul Strand. The group also advanced gender equity in the medium by prominently featuring women photographers, including founding member Gertrude Käsebier, whose intimate portraits of motherhood and Native Americans earned international acclaim and challenged male-dominated art narratives.^[4] In the 21st century, historiographical reevaluations have reaffirmed the Photo-Secession's foundational impact while critiquing its limitations, such as Stieglitz's selective curation that fostered perceptions of elitism among a privileged artistic elite. Exhibitions like the Metropolitan Museum of Art's 2011 retrospectives—"Stieglitz and His Artists: Matisse to O'Keeffe" and "Photographic Treasures from the Collection of Alfred Stieglitz"—highlighted over 200 works, celebrating the group's role in modernism while addressing its Eurocentric focus on transatlantic influences over diverse American voices. More recently, the 2024 exhibition "Photo-Secession: Painterly Masterworks of Turn-of-the-Century Photography" at the Utah Museum of Fine Arts (August 24–December 29, 2024) further explored the group's pioneering efforts to establish photography as fine art.^[36]^[37]^[38] These reassessments continue to position the Photo-Secession as a catalyst for photography's global legitimacy, informing ongoing discussions in art history.

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Oct 13, 2011 · The exhibition features some two hundred major works by American and European modernists, supplemented by photographs by the Photo-Secessionists ...Missing: Secession retrospective
[36]
Photographic Treasures from the Collection of Alfred Stieglitz
Oct 11, 2011 · This exhibition, which coincides with the exhibition Stieglitz and His Artists: Matisse to O'Keeffe, presents some forty-eight photographic ...Missing: retrospective | Show results with:retrospective