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The controversy between the two aesthetic camps—those who insisted that photographs should not be altered […] and those who believed that such manual intervention was necessary […]—was continued in lively debates that clarified the aesthetic role of photography in late nineteenth- and early twentieth-century art.
Cyanotype. The cyanotype (from Ancient Greek: κυάνεος, kyáneos 'dark blue' and τύπος, týpos 'mark, impression, type') is a slow-reacting, economical photographic printing formulation sensitive to a limited near ultraviolet and blue light spectrum, the range 300 nm to 400 nm known as UVA radiation. [1]
The Steerage is a black and white photograph taken by Alfred Stieglitz in 1907. It has been hailed by some critics as one of the greatest photographs of all time because it captures in a single image both a formative document of its time and one of the first works of artistic modernism. [citation needed] There were men and women and children on ...
Pictorialism, which had served to open the museum doors for photography, was now already regarded as a vision of the past by the spearheading photographers of that time. Stieglitz, always craving for the new, was quoted around 1910 saying "It is high time that the stupidity and sham in pictorial photography be struck a solarplexus blow." Additionally, "Claims of art won't do. Let the ...
Piktorialismus. Der Piktorialismus zählt in seiner internationalen Vernetzung, seiner Auseinandersetzung mit der Malerei und in seiner Vielfalt technischer Ausprägungen zu den vielgestaltigsten Kapiteln der Fotografiegeschichte. Mit der „Kunstphotographie um 1900“ entstand eine fotografische Stilrichtung, die vor allem von ambitionierten ...
Winter – Fifth Avenue (1893) by Alfred Stieglitz. Winter, Fifth Avenue is a black and white photograph taken by Alfred Stieglitz in 1893. The photograph was made at the corner of the Fifth Avenue and the 35th Street in New York. It was one of the first pictures that Stieglitz took using a more practical hand camera after his return from Europe.
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