Sherwood Anderson
1923
Artist, American, 1864 - 1946
Artwork overview
-
Medium
palladium print
-
Credit Line
-
Dimensions
image (visible): 24.1 × 18.9 cm (9 1/2 × 7 7/16 in.)
mat: 52.4 × 40.5 cm (20 5/8 × 15 15/16 in.) -
Accession
1949.3.574
-
Stieglitz Estate Number
47A
Part of Stieglitz Key Set Online Edition
Learn more -
Key Set Number
846
Alfred Stieglitz
Curious for more Alfred Stieglitz scholarship?
Discover over 1,000 artworks that the artist’s wife Georgia O’Keeffe termed his “Key Set” of prize photographs. Museum scholars have illuminated each work, his career, practices, and lifetime achievements.
Artwork history & notes
Provenance
Georgia O'Keeffe; gift to NGA, 1949.
Associated Names
Exhibition History
1983
Photographs by Alfred Stieglitz, National Gallery of Art, Washington, DC, February 3–May 8, 1983; Metropolitan Museum of Art, New York, June 17–August 14, 1983; The Art Institute of Chicago, October 18, 1983–January 3, 1984
2001
Modern Art and America: Alfred Stieglitz and His New York Galleries, National Gallery of Art, Washington, DC, 2001
Bibliography
1983
Greenough, Sarah, and Juan Hamilton. Alfred Stieglitz: Photographs and Writings. Washington, 1983: no. 68, pl. 33.
2000
Modern Art and America: Alfred Stieglitz and His New York Galleries. Exh. cat. National Gallery of Art, Washington, 2001: no. 96.
2002
Greenough, Sarah. Alfred Stieglitz: The Key Set: The Alfred Stieglitz Collection of Photographs. Washington, 2002: vol. 2, cat. 846.
Wikidata ID
Q64035211
Scholarly Remarks and Key Set Data
Remarks
O’Keeffe’s painting Untitled, 1923 (Lynes, appendix II, no. 51), exhibited in 1923 at the Anderson Galleries, is in the background.
Author of Winesburg, Ohio (1919), The Triumph of the Egg (1921), Horses and Men (1923), and Beyond Desire (1933), Sherwood Anderson met Stieglitz and O’Keeffe when he moved to New York in 1922. In 1924 Anderson dedicated A Story-Teller’s Story to Stieglitz, writing that the photographer “had been more than a father to so many puzzled, wistful children in the arts in this big, noisy, growing and groping America.”
On receiving three of these portraits from Stieglitz, Anderson wrote that one showed him at his best, but “the two others are in a way terrible but wonderful to have about. They are to me the man disintegrated, gone to pieces, fallen down before the ugliness in himself and others. I’ll look at them on certain days, when I dare perhaps” (Sherwood Anderson to Stieglitz, 18 May 1923, YCAL and Newberry Library).
Stieglitz Collections
A corresponding print was given to the following institution(s) by Alfred Stieglitz during his lifetime, or was received or acquired from the estate:
The Art Institute of Chicago, 1949.726
Other Collections
A print corresponding with this photograph can also be found in the following collection(s):
The J. Paul Getty Museum, Los Angeles, 87.XM.94.5
Lifetime Exhibitions
A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime:
possibly 1932, New York (no. 86, as Sherwood Anderson, 1924)