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| Alfred Stieglitz in a portrait of AL Coburn (1908) |
This episode of Imago Veritatis I want to dedicate it to Alfred Stieglitz and the American secessionist movement led by him, through which the movement Photography fight (and win) for having such a place among the fine arts. We are at the beginning of 1900 and until then, photography was largely seen as a mere technical means with remarkable camouflage, which had little or nothing to do with art is commonly understood. Indeed, in those years the efforts of photographers ( room workers) were mostly aimed at the creation of "reproductions" of works of art, nothing hinting that the same photo could be art itself.
The great personality of Alfred Stieglitz, her evolving taste, his ability to look ahead and the courage to advocate their own ideas in spite of ideological conflict and economic difficulties give it a place of honor in the entire history World of Photography.
It is impossible to speak of Stieglitz without speaking, at least briefly, to Camera Work (CW) , his most important work. Camera Work was a magazine of art and photography, conceived, directed, managed, edited, and largely financed by Stieglitz himself, published in 50 numbers "spread" between 1903 and 1917 at roughly quarterly intervals, characterized by a total print quality and rigor of content and form a crucial link to the publisher, which looked at each issue carefully before authorizing publication. But CW is not only a beautiful art and photography magazine, it has served as spokesman for the movement of 'American Photo-Secession , a real split in the world of American photography (division in Europe had already taken place with the birth Linked Ring group photo), created by a group of photographers who later took the name of pictorialists , and that together formed the Pictorialism.
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