Chip Taylor Communications



Subject: Arts: Art & Artists

Art: Transatlantic Modernism Series

Art historian and author Wanda Corn (The Color of Mood; The Art of Andrew Wyeth; Grant Wood) examines the cultural dynamics that linked art circles in Paris and New York in the opening decades of the 20th century, focusing on painting, sculpture, art films, literature and the decorative arts. Produced Click for more

5. NY: Symbolism and Abstraction in the Stieglitz Circle 1

05. NY: Symbolism and Abstraction in the Stieglitz Circle 1

"'Steiglitz in Focus' - Alfred Stieglitz. Brilliant, opinionated, and often tactless, he would do more than anyone in America to persuade the art world that photography deserved a place alongside painting and sculpture." -Smithsonian Magazine
The Stieglitz Circle - Alfred Stieglitz, Georgia O'Keeffe, John Marin, Arthur Dove, Edward Steichen - was at the cutting edge of art in the early years of the twentieth century. From Stieglitz's Photo Succession Gallery, later called 291, avant-garde artists showed their works in the most modern setting of the time: the works were hung at eye level in small rooms with controlled light and soft colors. It was the perfect vehicle in which to promote photography as a new art form, and it was the only gallery in New York devoted to the truly avant garde until 1913 and the Armory Show. Through Steichen's network of friends in Europe, such artists as Rodin, Picasso, Braque, Rousseau, Cezanne, Brancusi, and Matisse displayed works at the 291 Gallery. Stieglitz himself, with his long, unruly hair and moustache and characteristic eyeglasses, came to represent both artist and entrepreneur, and he began to collect and show American avant garde works in 1908. This second Stieglitz Circle focused on American artists, with their growing sense of national pride and self-assuredness and their emphasis on abstracting nature. John Marin was one of these artists. Using watercolors, his early works are very impressionistic and based in nature, but his control of the canvas and his spontaneous brushstrokes filled his works with enthusiasm and energy. In the 1920s he expanded his palette to oils, and these rural and urban landscapes are small-scaled and intimate, yet exciting. Marin's primary works influenced such Abstract Expressionists as Jackson Pollock and Mark Rothko. 98/09DE SCA 60 min.
Also See: NY: Symbolism and Abstraction in the Stieglitz Circle 2 and Georgia O'Keeffe and Alfred Stieglitz





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