Challenge That His Photographs

O'keeffe (Congdon and Hallmark 301). Later on, new insights into his work were being offered in an exhibition, "Alfred Stieglitz: Known and Unknown," at the Museum of Fine Arts, Houston, Tex., through Jan. 5, 2003. It emphasizes lesser-known images and places them in context and some of his most-celebrated photographs (“Alfred Stieglitz” Biography in Context). Stieglitz championed the romanticized images of pictorialism, and often spent hours waiting for just the right atmosphere to develop. Later, the strong geometric shapes of modern painting and flattened images of Japanese printmaking influenced his work, but he decided that photography should not be like painting and embraced sharply focused "straight" photography. Still later, he sought to make photographs that were the pictorial equivalents of emotional responses, similar to music (“Alfred Stieglitz” Biography in Context). In the meantime, Alfred Stieglitz promoted imaginative manipulation of photographic image. People thought Alfred's work aimed an expression rather than realism. Yet he disagreed with their philosophy and maintained that photography should reflect reality and indeed photography was not a fine art medium, such as painting or sculpture (Congdon and Hallmark 299). Stieglitz was determined to establish photography as a fine art. However. there was much debate on the topic at this time. Opposing arguments suggested that photography was a lazy form of painting and that photographers were artists who did not want to take the time to develop traditional art and techniques. These oppositions fueled Stieglitz's drive for the quest and he spent the next several decades providing his claim that indeed photography was art(Congdon and Hallmark 300). In answer to a challenge that his photographs' power was due to his hypnotic influence over his sitters, Stieglitz began to photograph clouds, to show, as he wrote in 1923, "that my photographs were not due to subject matter." He called these photographs "Equivalents," and they almost rivaled abstract art in their beauty of form and chiaroscuro (Congdon and Hallmark 300). When the United States joined European allies in World War 1 against Germany and Austria. Many of the studio 219 artists, including Edward Steichen, joined the U.S military, and soon the central group of people at the gallery has dispersed (Congdon and Hallmark 301). Soon the gallery and Stieglitz himself were considered a threat for the war effort, which resulted in economic hardship for him and his family and prompted the closing of the gallery and the closing of the publication Camera Works (Congdon and Hallmark 301). Years later, Stieglitz had a heart attack, but he recovered soon and after his heart attack in 1937 Stieglitz said that his heart condition precluded him from being able to travel. Stieglitz and his wife O'keeffe made a pact and spent the winter together in New York City at the Manhattan Shelton (Congdon and Hallmark 301-2).Alfred Stieglitz was an important figure in the American history that had a positive impact on the worldbecause since the beginning of his career he believed in photography and developed it’s acceptance into Modern Art.