In 1913 Picabia was the only member of the Cubist group to personally attend the Armory Show, and Alfred Stieglitz gave him a solo exhibition at his gallery 291.

The show was successful enough that Stieglitz issued a platinum print portfolio of 22 of her paintings and showed her work twice more, in 1908 and 1909.

Stieglitz, who had worked so long for this moment, responded by indicating he was already thinking of a new vision beyond pictorialism.

One of the key figures in establishing both the definition and direction of pictorialism was American Alfred Stieglitz, who began as an amateur but quickly made the promotion of pictorialism his profession and obsession.

Through his writings, his organizing and his personal efforts to advance and promote pictorial photographers, Stieglitz was a dominant figure in pictorialism from its beginnings to its end.

By selecting photographers whose vision was aligned with his, including Gertrude Käsebier, Eva Watson-Schütze, Alvin Langdon Coburn, Edward Steichen, and Joseph Keiley, Stieglitz built a circle of friends who had enormous individual and collective influence over the movement to have photography accepted as art.

While much initially centered around Stieglitz, pictorialism in the U. S. was not limited to New York.

Until the 1920s the primary aesthetic standard of photography was pictorialism, championed by Alfred Stieglitz and others as the highest form of photographic art.

This idea, first proposed by Julius Stieglitz in 1899 was further developed by Hans Meerwein in his 1922 study of the Wagner-Meerwein rearrangement.

It was the subject of one of Edward Steichen's atmospheric photographs, taken on a wet wintry late afternoon in 1904, as well as a memorable image by Alfred Stieglitz taken the year before, to which Steichen was paying homage.

( See below ) Stieglitz reflected on the dynamic symbolism of the building, noting that it "... appeared to be moving toward like the bow of a monster ocean steamer – a picture of a new America still in the making ," and remarked that what the Parthenon was to Athens, the Flatiron was to New York.

When Stieglitz ' photograph was published in Camera Work, his friend Sadakichi Hartmann, a writer, painter and photographer, accompanied it with an essay on the building: " A curious creation, no doubt, but can it be called beautiful?

O ' Keeffe had first visited 291 in 1908, but did not speak with Stieglitz then, although she came to have high regard for him and to know him in the spring of 1916, when she was in New York at Teachers College.

Although O ' Keeffe knew that Stieglitz was planning to exhibit her work, he had not told her when, and she was surprised to learn that her work was on view ; she confronted Stieglitz over the drawings but agreed to let them remain on exhibit.

The two were deeply in love, and shortly after her arrival, they began living together, even though the then-married Stieglitz was 23 years her senior.

Her work commanded high prices ; in 1928, Stieglitz masterminded a sale of six of her calla lily paintings for US $ 25, 000, which was the largest sum ever paid for a group of paintings by a living American artist.

By 1929, O ' Keeffe acted on her increasing need to find a new source of inspiration for her work and to escape summers at Lake George, where she was surrounded by the Stieglitz family and their friends.

Photograph by Alfred Stieglitz

Photograph of Georgia O ' Keeffe by Alfred Stieglitz in 1918.

Photograph by Alfred Stieglitz

Photograph by Alfred Stieglitz

This is a short period of time for an artist to complete some 80 pictures ( the number claimed by Smith in a letter to Stieglitz in 1909 ).

Soon the Ashcan school artists gave way to modernists arriving from Europe — the cubists and abstract painters promoted by Stieglitz at his 291 Gallery in New York City.

" Spring Showers ", by Alfred Stieglitz, 1902

Over the years other names were given to pictorialism, including " art photography " and Camerawork ( both by Alfred Stieglitz ), " Impressionist photography " ( by George Davision ), " new vision ( Neue Vision ), and finally " subjective photography " ( Subjektive Fotographie ) in Germany after the 1940s.

Stieglitz also continually promoted pictorialism through two publications he edited, Camera Notes and Camera Work and by establishing and running a gallery in New York that for many years exhibited only pictorial photographers ( the Little Galleries of the Photo-Secession ).

While in the city in 1908, O ' Keeffe attended an exhibition of Rodin's watercolors at the 291, owned by her future husband, photographer Alfred Stieglitz.

Gertrude Stein, whose work Anderson was introduced to by either his brother Karl or photographer Alfred Stieglitz between 1912 and 1915, is also said to have played a key role in helping shape the unique style found in the stories.

In 1926, he had a one-man show at the Anderson Galleries and another at Intimate Gallery the New York gallery run by his friend Alfred Stieglitz.

He was eclipsed by his rival, Stieglitz.

File: Eugene, Stieglitz, Kühn and Steichen Admiring the Work of Eugene. jpg |" Eugene, Stieglitz, Kühn and Steichen Admiring the Work of Eugene ," by Frank Eugene from 1907.

It was while on a fieldtrip in this class that Strand first visited the 291 art gallery – operated by Stieglitz and Edward Steichen – where exhibitions of work by forward-thinking modernist photographers and painters would move Strand to take his photographic hobby more seriously.

Applying this same sensibility to photography, Alfred Stieglitz later stated it this way: " Atmosphere is the medium through which we see all things.

The marriage did not seem to have any immediate effect on either Stieglitz or O ' Keeffe ; they both continued working on their individual projects as they had before.

He became involved with a circle of influential photographers including Alfred Stieglitz, Edward Weston, Walter Chappell and Ansel Adams ; hearing Stieglitz's idea of " equivalents " from the master himself was crucial to the direction of White's mature post-war work.

Moreover, Stieglitz continued to make sure that the gallery was not just an exhibition space ; he strongly believed in its original mission as being an educational facility and meeting place for those with avant-garde ideas.

The new art and the public's reactions to it were very vitalizing to Stieglitz ; it gave him a brand new set of admirers and followers at a time when he was feeling less and less connected to his old colleagues at the Photo-Secession.

Any given day Stieglitz might have been surrounded by artists John Marin, Max Weber, Arthur Dove, Marsden Hartley or Marius de Zayas ; authors and art critics Sadakichi Hartmann and Benjamin De Casseres ; financial supporters Paul Haviland and Agnes Ernst Meyer ; and editors and collaborators Joseph Keiley and John Kerfoot.

from ' 291, 1984 ; Charles Sheeler: Vintage Photographs, 1985 ; Irving Penn: 48 Portraits from 1948, 1992 ; Alfred Stieglitz: Photographs from the Collection of Georgia O ' Keeffe, 1993 ; Robert Frank: Flower is ... Paris, 1949 – 1951, 1997 ; Laszlo Moholy-Nagy: Early Experiments, 1922 – 1932, 1997 ; Cropping and Picture Making, 1999 ; Man Ray: Important Vintage Photographs, 1999 ; Philip-Lorca diCorcia: Heads, 2001 ; David Byrne, 2003 ; Andy Warhol: Red Books, 2004 ; Frederick Sommer: Frederick Sommer at 100, 2005 ; Irving Penn: Underfoot, 2005 ; Emmet Gowin: Mariposas Nocturnas, Edith in Panama, 2005 ; Richard Misrach: Chronologies, 2006 ; Harry Callahan: Nature, 2007 ; Tod Papageorge: Passing Through Eden-Photographs of Central Park, 2007 ; Diane Arbus, Richard Avedon, August Sander, 2008 ; Josef Koudelka: Invasion 68 Prague, 2008 ; Judith Joy Ross: Protest the War, 2008 ; Richard Benson: Found Views and Chosen Colors, 2008.

In 1907, Alfred Stieglitz gave Smith an exhibition of paintings in New York at his Little Galleries of the Photo-Secession ( also known as gallery 291 ), making Smith the first painter to have a show at what had been until then a gallery devoted exclusively to the photographic avant-garde.

Some Smith works that did not sell remained with Stieglitz and ended up in the Stieglitz / Georgia O ' Keeffe Archive at Yale University.

Among the many individuals he photographed were Judith Anderson, Marian Anderson, Pearl Bailey, Josephine Baker, James Baldwin, Tallulah Bankhead, Barbara Bel Geddes, Thomas Hart Benton, Jane Bowles, Marlon Brando, Paul Cadmus, Erskine Caldwell, Truman Capote, Bennett Cerf, Marc Chagall, Salvador Dalí, Ruby Dee, Jacob Epstein, Ella Fitzgerald, F. Scott Fitzgerald, Lynn Fontanne, John Hersey, Billie Holiday, Lena Horne, Horst P. Horst, Mahalia Jackson, Philip Johnson, Frida Kahlo, Gaston Lachaise, Sidney Lumet, Alfred Lunt, Norman Mailer, Alicia Markova, Henri Matisse, W. Somerset Maugham, Henry Miller, Joan Miró, Ramon Novarro, Georgia O ' Keeffe, Laurence Olivier, Christopher Plummer, Leontyne Price, Diego Rivera, Jerome Robbins, Paul Robeson, Cesar Romero, George Schuyler, Beverly Sills, Gertrude Stein, James Stewart, Alfred Stieglitz, Ada " Bricktop " Smith, Bessie Smith, Alice B. Toklas, Prentiss Taylor, Gore Vidal, Evelyn Waugh, Orson Welles, Thornton Wilder, and Anna May Wong.

Pace / MacGill represents the Estates of Harry Callahan, Robert Rauschenberg, John Szarkowski, Andy Warhol and Garry Winogrand, as well as the work of Adou, Dieter Appelt, Richard Benson, David Byrne, William Christenberry, Chuck Close, Jim Dine, Robert Frank, Jim Goldberg, Emmet Gowin, Lauren Greenfield, Robert Heinecken, Hiro, Mark Klett, Josef Koudelka, Jocelyn Lee, Duane Michals, Diana Michener, Boris Mikhailov, Richard Misrach, Tod Papageorge, Irving Penn, Judith Joy Ross, Paolo Roversi, Michal Rovner, Lucas Samaras, Fazal Sheikh, Kiki Smith, Alfred Stieglitz, Frederick Sommer, JoAnn Verburg, and William Wegman.