“There are many schools of painting. Why should there not be many schools of photographic art? There is hardly a right and a wrong in these matters, but there is truth, and that should form the basis of all works of art.”
Photography has not always been considered an art. In early days, photographs were considered an advance of science, not art. Cameras were machines, and everyone knew that machines didn’t make art;
people made art. But when Alfred Stieglitz made this picture he was leading a movement called Pictorialism, which promoted the photograph as art, the same kind of art as a drawing or painting. Stieglitz and other
Pictorialists understood that a photograph was created when the camera was used as a tool, like a paintbrush was a tool. And they tried to show that they were a part of the art tradition by manipulating their photos in the darkroom,
using tricks and techniques that were evidence of the human hand in the process.
There are other references to the world of art in this photograph. Stieglitz was very involved in the modern art scene and had closely followed the Impressionist movement in Europe. Impressionists were some of the first artists to look to the
city as a worthy subject for their paintings, and it was a new city they looked at. Machines and all things modern in the city were desirable subjects. At the same time, Impressionists represented these modern scenes in stop-motion glimpses,
with plenty of atmosphere. European painters chose the steam engine as a subject and a symbol of the modern city. Stieglitz would embrace the city as his subject too, but he would use photography as his medium.
Stieglitz was very concerned that photographs not look like paintings and this idea fueled his pursuit of images. Images of everyday life became the main subject for Stieglitz, thus not allowing the viewer to escape into romantic images.
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