First Steichen Exhibition, Main Room—Photo-Secession Gallery
1906
Artist, American, 1864 - 1946
Artwork overview
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Medium
platinum print processed with mercury
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Credit Line
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Dimensions
sheet (trimmed to image): 16.1 x 23.5 cm (6 5/16 x 9 1/4 in.)
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Accession
1949.3.284
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Stieglitz Estate Number
11C
Part of Stieglitz Key Set Online Edition
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Key Set Number
308
Alfred Stieglitz
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Artwork history & notes
Provenance
Georgia O'Keeffe; gift to NGA, 1949.
Associated Names
Bibliography
2002
Greenough, Sarah. Alfred Stieglitz: The Key Set: The Alfred Stieglitz Collection of Photographs. Washington, 2002: vol. 1, cat. 308.
Inscriptions
by Alfred Stieglitz, on mount, lower left, in black ink: First Steichen Exhibition / Main Room—Photo-Secession / Gallery. 1906. / Photo & Print by Stieglitz
by Georgia O'Keeffe, on mount, lower left verso, in graphite: 11 C
Wikidata ID
Q64034795
Scholarly Remarks and Key Set Data
Remarks
The “Exhibition of Photographs by Eduard J. Steichen,” at 291 from 17 March to 5 April 1906 included, from left to right: In Memorium (partial view, no. 37 in exhibition checklist), George Frederick Watts (no. 1), The Little Round Mirror (no. 38), The Big Chestnut Trees (no. 51), Alfred Stieglitz and His Daughter Katherine (no. 26), Rodin—Le Penseur (either no. 3, 4, or 5), and Rodin—Le Penseur (either no. 3, 4, or 5).
Edward Steichen met Stieglitz in 1900 when the painter/photographer stopped in New York on his way to Paris, and the two formed an immediate friendship. In 1902 on his return to New York, Steichen designed the cover of Stieglitz’s newest publication, Camera Work, and in 1905 when he vacated his studio at 291 Fifth Avenue he urged Stieglitz to use it as an exhibition space for modern art and photography. In 1906 Steichen returned to Paris and from there he supplied Stieglitz and the gallery 291 with a steady stream of exhibitions of modern European art, including the first presentations in this country of Matisse, 1908, and Cézanne, 1911. He also sent to 291 many young American artists whom he met in Paris, including John Marin, Arthur B. Carles, and Alfred Maurer. Steichen’s friendship with Stieglitz cooled after 1911 when other more radical artists and theoreticians eclipsed his influence at 291.