Alfred Stieglitz and His the Steerage Essay Example | Topics and Well Written Essays - 1000 words

Alfred Stieglitz and His the Steerage - Essay Example he snapshots a rich color and picturesqueness, although Stieglitz said: â€Å"I do not object to retouching, dodging or accentuation as long as they do not interfere with the natural qualities of photographic technique† (cited in Whelan, 1995). This photo evolutional trend had been called â€Å"the pictorializm†. Snapshots, so much adored by the follower of this stream, were made by the hand camera or the fixed device, but in the only unrepeatable moment, and, as a result of a painstaking artistic work they were becoming the unique photo pictures, the art masterpieces. But this passion didn’t last for a long time and later it became inexplicable, why the goals posed by the pictorializm can be satisfied only by the photo technology. Alfred Stieglitz, who for nearly 15 years was organizing the exhibitions of young budding photographers and artists, at first, in the 1900-s was affected an active combination of photography and art, and later, after ten years, his gal lery began to pay more attention on the pictorial art itself. New times had come, and pictorializm as a trend became the production of sentimental pictures. So Alfred Stieglitz deeply changes his manner of taking photos. In the 1890-s he was walking the streets with his â€Å"detective† camera and making the reportage photos, not retouching or amplifying them at all. In the later years he talked about the researches of the unknown and said he was looking for the subjects for his works in the sixty yards of his house door. In those days such considerations were innovatory, that was the time of sentimental, genre, compositional and â€Å"highart† photos , criticized by Emerson, the author of the â€Å"Naturalistic photography†, but still popular in the New-York photo clubs, and these wire-drawn images were hanged... The essay "Alfred Stieglitz and his the Steerage" gives detailed information about a famous photographer and explores the story of his greatest photographs of all time. He was the first who acquainted famous by its conservative views American society with the works of such genius of that time as Picasso, Braque, Rodin, Brancusi, Matisse, Dyushan, Cezanne, Americans Max Lieberman and James McNeill. Artists and litterateurs concentrated their attention on the searches of new methods for the description of reality, and, thereby. In the first decades of 20-th century the modernism appeared as the complex of artistic trends (futurism, expressionism, cubism, constructivism, surrealism, abstract art etc.), which were advancing till the Second World War. Alfred Stieglitz is a foremen of piktorializm, the editor of an association of amateur photography enthusiasts. But when within the group the division had started, and members of the Camera Club began to oppose his restrictive editorial poli cies, Stieglitz and several of his friends-photographers ruptured with the Club and established the Photo-Secession group†. Photo portraits Made by Stieglitz were lucid and profound, capitally showing their dispositions. In the 1925 all his works were demonstrated in the gallery of Mitchell Kennerly. But the most famous his work is The Steerage. It was captured in 1907 on the lower deck of one of the largest ships in the world at that time because the snapshot had chased the lower class passenger’s area, known on most ships as the steerage.