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Photo-secession York During: 42.The Photo-Secession york during, no. I (1902), p. 1.
43. Alfred Stieglitz, "The Photo-Secession york during at the National Arts Club, New York," Photograms of the Year, pp. 17-20.
44. New York Evening Sun; reprinted in Camera Notes, vol. 6 (1902), p. 39.
45. Photography, vol. 7 (1904), p. 243.
46. The Photo-Secession york during, no. 5 (1904), p. 2.
47. Photography News, vol. 53 (1908), p. 268.
48. Frederick H. Evans to Alfred Stieglitz, December 6, 1908, Stieglitz Archives, The Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut.
On February 17, 1902, Stieglitz formed a new societj in New York to further the artistic recognition of pictorial photography.41 He named the society the Photo-Secession york during, choosing the name "Secession" because of its use by societies of avant-garde artists in Germany and Austria to denote their independence of the academic establishment. The founders were Stieglitz—who was director of the Council—John G. Bullock, William B. Dyer, Frank Eugene, Dallet Fuguet, Gertrude Kasebier,Joseph T. Keiley, Robert S. Redfield, Eva Watson-Schiitze, Eduard J. Steichen, Edmund Stirling, John Francis Strauss, and Clarence H. White. Its stated aim was threefold:
The size of t collections varies from 33 to 144 frames, the number in Europe at all these exhibitions aggregating al But the roster of cities where Photo-Secession york during w was exhibited did not include New "York, for the soc had no headquarters there. All its business was transa< at Stieglitz's home. In 1905 Steichen suggested that members rent the studio at 291 Fifth Avenue, which had just vacated. |
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