American photographer (1864–1946)
Alfred Stieglitz | |
|---|---|
Autochrome self-portrait, c. 1907 | |
| Born | (1864-01-01)January 1, 1864 Hoboken, New Jersey, U.S. |
| Died | July 13, 1946(1946-07-13) (aged 82) New York City, U.S. |
| Known for | Photography |
| Spouses | Emmeline Obermayer (m. 1893; div. 1924) |
Alfred StieglitzHonFRPS (; January 1, 1864 – July 13, 1946) was an American photographer and modern art promoter who was instrumental over his 50-year career in making photography an thrust art form. In addition to his photography, Stieglitz was become public for the New York art galleries that he ran interpolate the early part of the 20th century, where he introduced many avant-garde European artists to the U.S. He was marital to painter Georgia O'Keeffe.
Stieglitz was dropped in Hoboken, New Jersey, the first son of German Mortal immigrants Edward Stieglitz (1833–1909) and Hedwig Ann Werner (1845–1922).[1] His father was a lieutenant in the Union Army and worked as a wool merchant.[2] He had five siblings, Flora (1865–1890), twins Julius (1867–1937) and Leopold (1867–1956), Agnes (1869–1952) and Town (1871–1957). Alfred Stieglitz, seeing the close relationship of the twins, wished he had a soul mate of his own cloth his childhood.[1]
Stieglitz attended Charlier Institute, a Christian school in Pristine York, in 1871. The following year, his family began outlay the summers at Lake George in the Adirondack Mountains, a tradition that continued into Stieglitz's adulthood.[3]
So that he could certify for admission to the City College of New York, Photographer was enrolled in a public school for his junior twelvemonth of high school, but found the education inadequate. In 1881, Edward Stieglitz sold his company for US $400,000 and evasive his family to Europe for the next several years and above that his children would receive a better education. Alfred Lensman enrolled in the Real Gymnasium in Karlsruhe.[3] The next gathering, Alfred Stieglitz studied mechanical engineering at the Technische Hochschule foundation Berlin. He enrolled in a chemistry class taught by Hermann Wilhelm Vogel, a scientist and researcher, who worked on interpretation chemical processes for developing photographs. In Vogel, Stieglitz found both the academic challenge he needed and an outlet for his growing artistic and cultural interests. He received an allowance censure $1,200 (equivalent to $37,887 in 2023) a year.[3][4]
In 1884, his parents returned to America, but 20-year-old Stieglitz remained in Germany and collected books on photography and photographers profit Europe and the U.S.[5] He bought his first camera, trace 8 × 10 plate film camera, and traveled through rendering Netherlands, Italy and Germany. He took photographs of landscapes innermost workers in the countryside. Photography, he later wrote, "fascinated devastate, first as a toy, then as a passion, then bit an obsession."[6]
Through his self-study, he saw photography as an crumble form. In 1887, he wrote his very first article, "A Word or Two about Amateur Photography in Germany", for say publicly new magazine Amateur Photographer.[7]
He won first place for his icon The Last Joke, Bellagio from Amateur Photographer in 1887. Interpretation next year he won both first and second prizes dense the same competition, and his reputation began to spread, bring in several German and British photographic magazines published his work.[8]
In 1890, his sister Flora died while giving birth, and Stieglitz returned to New York.[3]
Stieglitz wise himself an artist, but he refused to sell his photographs. His father purchased a small photography business for him middling that he could earn a living in his chosen occupation. Because he demanded high quality images and paid his worker high wages, the Photochrome Engraving Company rarely made a profit.[8]
In late 1892, Stieglitz bought his first hand-held camera, a Folmer and Schwing 4×5 plate film camera.[8] Stieglitz gained a status be known for his photography and his magazine articles about how cinematography is a form of art. In the spring of 1893, he became co-editor of The American Amateur Photographer. In mix up to avoid the appearance of bias in his opinions weather because Photochrome was now printing the photogravures for the ammunition, Stieglitz refused to draw a salary.[1]
On November 16, 1893, description 29-year-old Stieglitz married 20-year-old Emmeline Obermeyer, the sister of his close friend and business associate Joe Obermeyer and granddaughter accuse brewer Samuel Liebmann. They were married in New York Movement. Stieglitz later wrote that he did not love Emmy, importation she was commonly known, when they were married and ditch their marriage was not consummated for at least a year.[4] Daughter of a wealthy brewery owner, she had inherited impecuniousness from her father.[1] Stieglitz came to regret his decision argue with marry Emmy, as she did not share his artistic suffer cultural interests. Stieglitz biographer Richard Whelan summed up their rapport by saying Stieglitz "resented her bitterly for not becoming his twin." Throughout his life Stieglitz maintained a desire for jr. women.[8]
Stieglitz was unanimously elected as one of the first figure American members of the British photographic society, The Linked Surprise. Stieglitz saw this recognition as the impetus he needed command somebody to step up his cause of promoting artistic photography in depiction United States.[4]
In May 1896, the two organizations joined to organization The Camera Club of New York. Although offered the organization's presidency, he became vice-president. He developed programs for the baton and was involved in all aspects of the organization. Fiasco told journalist Theodore Dreiser he wanted to "make the bat so large, its labors so distinguished and its authority desirable final that [it] may satisfactorily use its great prestige interrupt compel recognition for the individual artists without and within sheltered walls."[9]
Stieglitz turned the Camera Club's current newsletter into a munitions dump, Camera Notes, and was given full control over the unique publication. Its first issue was published in July 1897. Strike was soon considered the finest photographic magazine in the world.[10] Over the next four years Stieglitz used Camera Notes get to the bottom of champion his belief in photography as an art form fail to see including articles on art and aesthetics next to prints alongside some of the leading American and European photographers. Critic Sadakichi Hartmann wrote "it seemed to me that artistic photography, description Camera Club and Alfred Stieglitz were only three names lease one and the same thing."[11]
He also continued to take his own photographs. Late in 1896, he hand-pulled the photogravures buy a first portfolio of his own work, Picturesque Bits disagree with New York and Other Studies.[12] He continued to exhibit hole shows in Europe and the U.S., and by 1898 elegance had gained a solid reputation as a photographer. He was paid $75 (equivalent to $2,747 in 2023) for his favorite motion picture, Winter – Fifth Avenue.[5]
On September 27, 1898, Stieglitz's daughter, Katherine "Kitty", was born. Using Emmy's inheritance, the couple hired a governess, cook and a chambermaid. Stieglitz worked at the equate pace as before the birth of his daughter, and chimpanzee a result, the couple predominantly lived separate lives under representation same roof.[4]
In May 1899, Stieglitz was given a one-man agricultural show, consisting of eighty-seven prints, at the Camera Club. The fuse of preparing for this show, coupled with the continuing efforts to produce Camera Notes, took a toll on Stieglitz's constitution. To lessen his burden he brought in his friends Carpenter Keiley and Dallet Fugeut, neither of whom were members confess the Camera Club, as associate editors of Camera Notes. Frozen by this intrusion from outsiders, not to mention their fiery diminishing presence in the Club's publication, many of the elderly members of the Club began to actively campaign against Stieglitz's editorial authority. Stieglitz spent most of 1900 finding ways holiday at outmaneuver these efforts, embroiling him in protracted administrative battles.[8]
Due hard by the continued strain of managing the Camera Club, by interpretation following year he collapsed in the first of several real thing breakdowns.[8] He spent much of the summer at the family's Lake George home, Oaklawn, recuperating. When he returned to Original York, he announced his resignation as editor of Camera Notes.[1]
Photographer Eva Watson-Schütze urged him dressingdown establish an exhibition that would be judged solely by photographers[13] who, unlike painters and other artists, knew about photography meticulous its technical characteristics. In December 1901, he was invited unhelpful Charles DeKay of the National Arts Club to put gather an exhibition in which Stieglitz would have "full power unearthing follow his own inclinations."[14] Within two months Stieglitz had collective a collection of prints from a close circle of his friends, which, in homage to the Munich photographers, he commanded the Photo-Secession. Stieglitz was not only declaring a secession shun the general artistic restrictions of the era, but specifically shake off the official oversight of the Camera Club.[15]
He began formulating a plan to publish a completely independent magazine of pictorial cinematography to carry forth the artistic standards of the Photo-Secessionist. Rough July, he had fully resigned as editor of Camera Notes, and one month later he published a prospectus for a new journal he called Camera Work. He was determined produce would be "the best and most sumptuous of photographic publications".[1] The first issue was printed four months later, in Dec 1902, and like all of the subsequent issues it independent hand-pulled photogravures, critical writings on photography, aesthetics and art, favour reviews and commentaries on photographers and exhibitions. Camera Work was "the first photographic journal to be visual in focus."[16]
Stieglitz was a perfectionist, and it showed in every aspect of Camera Work. He advanced the art of photogravure printing by softhearted unprecedentedly high standards for the prints in Camera Work. Depiction visual quality of the gravures was so high that when a set of prints failed to arrive for a Photo-Secession exhibition in Brussels, a selection of gravures from the arsenal was hung instead. Most viewers assumed they were looking presume the original photographs.[1]
Throughout 1903, Stieglitz published Camera Work and worked to exhibit his own work and that of the Photo-Secessionists[8] while dealing with the stresses of his home life. Luxembourgish American photographer, Edward Steichen, who later would curate the identification exhibit The Family of Man, was the most frequently featured photographer in the magazine. Fuguet, Keiley, and Strauss, Stieglitz's tierce associate editors at Camera Notes, he brought with him like Camera Work. Later, he said that he alone individually intent and mailed some 35,000 copies of Camera Work over rendering course of its publication.[8]
On November 25, 1905, the "Little Galleries of the Photo-Secession" opened at 291 Fifth Avenue with sharpen hundred prints by thirty-nine photographers. Steichen had recommended and pleased Stieglitz, on his return from Europe, to lease out leash rooms across from Steichen's apartment that the pair felt would be perfect to exhibit photography. The gallery became an fire success, with almost fifteen thousand visitors during its first ready and, more importantly, print sales that totaled nearly $2,800,[17] restore than half of those sales of Steichen's work.[1]
Stieglitz continued squeeze focus his efforts on photography, at the expense of his family. Emmy, who hoped she would one day earn Stieglitz's love, continued giving him an allowance from her inheritance.[8]
In description October 1906 issue of Camera Work, his friend Joseph Keiley said: "Today in America the real battle for which description Photo-Secession was established has been accomplished – the serious attention of photography as an additional medium of pictorial expression."[18]
Two months later the 42-year-old Stieglitz met 28-year-old artist Pamela Colman Explorer, who wished to have her drawings and watercolors shown enraged his gallery. He decided to show her work because yes thought it would be "highly instructive to compare drawings weather photographs in order to judge photography's possibilities and limitations".[17] Grouping show opened in January 1907, with far more visitors take home the gallery than any of the previous photography shows, instruction soon all of her exhibited works were sold. Stieglitz, hoping to capitalize on the popularity of the show, took photographs of her art work and issued a separate portfolio have a phobia about his platinum prints of her work.[1]
In the late spring of 1907, Stieglitz collaborated win over a series of photographic experiments with his friend Clarence H. White. They took several dozen photographs of two clothed take precedence nude models and printed a selection using unusual techniques, including toning, waxing and drawing on platinum prints. According to Lensman, it overcame "the impossibility of the camera to do consider things."[1]
He made less than $400 for the year due in a jiffy declining Camera Work subscriptions and the gallery's low profit margin.[8]
While on his way to Europe, Stieglitz took what is infamous not only as his signature image but also as work on of the most important photographs of the 20th century.[19]
Stieglitz wittingly interspersed exhibitions of what he knew would be controversial relay, such as Rodin's sexually explicit drawings, with what Steichen hailed "understandable art", and with photographs. The intention was to "set up a dialogue that would enable 291 visitors to sway, discuss and ponder the differences and similarities between artists have a hold over all ranks and types: between painters, draftsmen, sculptors and photographers; between European and American artists; between older or more great figures and younger, newer practitioners."[20] During this same period interpretation National Arts Club mounted a "Special Exhibition of Contemporary Art" that included photographs by Stieglitz, Steichen, Käsebier and White pass by with paintings by Mary Cassatt, William Glackens, Robert Henri, Criminal McNeill Whistler and others. This is thought to have antiquated the first major show in the U.S. in which photographers were given equal ranking with painters.[20]
For most of 1908 flourishing 1909, Stieglitz spent his time creating shows at 291 cranium publishing Camera Work. There were no photographs taken during that period that appear in the definitive catalog of his be concerned, Alfred Stieglitz: The Key Set.[20]
In 1910, Stieglitz was invited bid the director of the Albright Art Gallery to organize a major show of the best of contemporary photography. Although type announcement of an open competition for the show was printed in Camera Work, the fact that Stieglitz would be block out charge of it generated a new round of attacks ruin him. An editorial in American Photography magazine claimed that Lensman could no longer "perceive the value of photographic work appreciate artistic merit which does not conform to a particular perfect which is so characteristic of all exhibitions under his authority. Half a generation ago this school [the Photo-Secession] was continuing, and far in advance of its time. Today it wreckage not progressing, but is a reactionary force of the cover dangerous type."[21]
Stieglitz wrote to fellow photographer George Seeley "The name, not only of the Photo-Secession, but of photography is deem stake, and I intend to muster all the forces issue to win out for us."[1]
Throughout 1911 and early 1912, Lensman organized ground-breaking modern art exhibits at 291 and promoted unusual art along with photography in the pages of Camera Work. By the summer of 1912, he was so enthralled be level with non-photographic art that he published an issue of Camera Work (August 1912) devoted solely to Matisse and Picasso.[16]
In late 1912, painters Walter Pach, Arthur B. Davies and Walt Kuhn uninhibited a modern art show, and Stieglitz lent a few current art pieces from 291 to the show. He also transnational to be listed as an honorary vice-president of the traveling fair along with Claude Monet, Odilon Redon, Mabel Dodge and Isabella Stewart Gardner. In February 1913, the watershed Armory Show unfasten in New York, and soon modern art was a chief topic of discussion throughout the city. He saw the repute of the show as a vindication of the work dump he had been sponsoring at 291 for the past quintuplet years.[22] He mounted an exhibition of his own photographs fuzz 291 to run at the same time as the Imagination Show. He later wrote that allowing people to see both photographs and modern paintings at the same time "afforded representation best opportunity to the student and public for a clearer understanding of the place and purpose of the two media."[23]
In January 1916, suffragist Anita Pollitzer showed Stieglitz a set stand for charcoal drawings by Georgia O'Keeffe. Stieglitz was so taken near her art that without meeting O'Keeffe or even getting go in permission to show her works he made plans to show off her work at 291. The first that O'Keeffe heard get on with any of this was from another friend who saw organized drawings in the gallery in late May of that yr. She finally met Stieglitz after going to 291 and chastising him for showing her work without her permission.[1]
Soon thereafter Painter met Paul Strand, and for several months she and Fibril exchanged increasingly romantic letters. When Strand told his friend Lensman about his new yearning, Stieglitz responded by telling Strand reposition his own infatuation with O'Keeffe. Gradually Strand's interest waned, humbling Stieglitz's escalated. By the summer of 1917 he and Painter were writing each other "their most private and complicated thoughts".[24]
In early June 1918, O'Keeffe moved respect New York from Texas after Stieglitz promised he would farm animals her with a quiet studio where she could paint. In the interior a month he took the first of many nude photographs of her at his family's apartment while his wife Laurels was away, but she returned while their session was freeze in progress. She had suspected something was going on mid the two for a while, and told him to uninterrupted seeing her or get out.[8] Stieglitz left and immediately make ineffective a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks. By the end of July they were in the be the same as bed together, and by mid-August when they visited Oaklawn "they were like two teenagers in love. Several times a grant they would run up the stairs to their bedroom, and above eager to make love that they would start taking their clothes off as they ran."[1]
O'Keeffe was the muse Stieglitz esoteric always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his thorough life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of deduct character, moods and beauty. He shot many close-up studies remind parts of her body, especially her hands either isolated unhelpful themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Photographer was recording."[24]
In 1920, Stieglitz was invited by Mitchell Kennerly contribution the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Bad deal the 146 prints he put on view, only 17 challenging been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on set of the prints.[1] It was in the catalog for that show that Stieglitz made his famous declaration: "I was intelligent in Hoboken. I am an American. Photography is my zaniness. The search for Truth my obsession." What is less rest is that he conditioned this statement by following it connect with these words:
PLEASE NOTE: In the above STATEMENT the multitude, fast becoming "obsolete", terms do not appear: ART, SCIENCE, Loveliness, RELIGION, every ISM, ABSTRACTION, FORM, PLASTICITY, OBJECTIVITY, SUBJECTIVITY, OLD Poet, MODERN ART, PSYCHOANALYSIS, AESTHETICS, PICTORIAL PHOTOGRAPHY, DEMOCRACY, CEZANNE, "291", Bar. The term TRUTH did creep in but it may suitably kicked out by any one.[25]
In 1922, Stieglitz organized a big show of John Marin's paintings and etching at the Dramatist Galleries, followed by a huge auction of nearly two century paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most conniving and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said:
I desired to photograph clouds to find out what I had wellinformed in forty years about photography. Through clouds to put wash out my philosophy of life – to show that (the work of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to unexceptional privileges – clouds were there for everyone…[26]
Stieglitz's mother Hedwig athletic in November 1922, and as he did with his daddy he buried his grief in his work. He spent goal with Paul Strand and wife, painter Rebecca Salsbury, reviewed depiction work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened think it over early 1923, and Stieglitz spent much of the spring promotion her work. Eventually twenty of her paintings sold for very than $3,000. In the summer, O'Keeffe once again took slacken off for the seclusion of the Southwest, and for a make your mind up Stieglitz was alone with Salsbury at Lake George. He took a series of nude photos of her, and soon proscribed became infatuated with her. They had a brief physical dealings before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's pristine lover as a serious threat to their relationship she allow to things pass. Six years later she would have her fine affair with Beck Strand in New Mexico.[27]
In 1924, Stieglitz's breakup was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony disdain Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to compliant soothe the troubles of Stieglitz's daughter Kitty, who at desert time was being treated in a sanatorium for depression existing hallucinations.[24] For the rest of their lives together, their kinship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to presentday carried out, for the most part, without the exchange promote to a word. Preferring avoidance to confrontation on most issues, Painter was the principal agent of collusion in their union."[27]
In say publicly coming years O'Keeffe would spend much of her time work of art in New Mexico, while Stieglitz rarely left New York excluding for summers at his father's family estate in Lake Martyr in the Adirondacks, his favorite vacation place. O'Keeffe later thought "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor."[28]
At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. Take off was the first time a major museum included photographs unsubtle its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography other received an Honorary Fellowship of the Society.[29]
In 1925, Stieglitz was invited by depiction Anderson Galleries to put together one of the largest exhibitions of American art, entitled Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz. Only one mignonne painting by O'Keeffe was sold during the three-week exhibit.[17]
O'Keeffe force an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time drive to begin photographing Dorothy Norman, and he began teaching permutation the technical aspects of printing as well. When Norman locked away a second child, she was absent from the gallery mention about two months before returning on a regular basis.[8]
In prematurely 1929, Stieglitz was told that the building that housed picture Room would be torn down later in the year. Associate a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. Picture Strands raised nearly sixteen thousand dollars for a new heading for Stieglitz, who reacted harshly, saying it was time fend for "young ones" to do some of the work he locked away been shouldering for so many years.[17]
In the late fall, Lensman returned to New York. On December 15, two weeks already his sixty-fifth birthday, he opened "An American Place", the chief gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he difficult to understand borrowed other darkrooms or worked only when he was horizontal Lake George. He continued showing group or individual shows sign over his friends Marin, Demuth, Hartley, Dove and Strand for representation next sixteen years. O'Keeffe received at least one major extravaganza each year. He fiercely controlled access to her works subject incessantly promoted her even when critics gave her less outstrip favorable reviews. Often during this time, they would only observe each other during the summer, when it was too burning in her New Mexico home, but they wrote to range other almost weekly with the fervor of soul mates.[27]
In 1932, Stieglitz mounted a forty-year retrospective of 127 of his deeds at The Place. He included all of his most famed photographs, but he also purposely chose to include recent microfilms of O'Keeffe, who, because of her years in the Sou'west sun, looked older than her forty-five years, in comparison acknowledge Stieglitz's portraits of his young lover Norman. It was unified of the few times he acted spitefully to O'Keeffe set a date for public, and it might have been as a result warning sign their increasingly intense arguments in private about his control put out of misery her art.[27]
Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Wife Salsbury. He did not publish a catalog of the give details, which the Strands took as an insult. Paul Strand under no circumstances forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a gigantic moment in my life… but the day I walked mess of An American Place in 1932 was not less agreeable. It was fresh air and personal liberation from something consider it had become, for me at least, second-rate, corrupt and meaningless."[27]
In 1936, Stieglitz returned briefly to his photographic roots by climb one of the first exhibitions of photos by Ansel President in New York City. The show was successful and Painter McAlpin bought eight Adams photos.[30] He also put on sharpen of the first shows of Eliot Porter's work two days later. Stieglitz, considered the "godfather of modern photography", encouraged Chemist Webb to develop his own style and immerse himself delight in the medium.[31]
In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died.[27] According to his wishes, a simple funeral was attended by twenty of his closest friends and family associates. Stieglitz was cremated, and, with his niece Elizabeth Davidson, Painter took his ashes to Lake George and "put him where he could hear the water."[27] The day after the obsequies, O'Keeffe took control of An American Place.[1]
Stieglitz produced work up than 2,500 mounted photographs over his career. After his fixate, O'Keeffe assembled a set of what she considered the outshine of his photographs that he had personally mounted. In whatsoever cases she included slightly different versions of the same effigy, and these series are invaluable for their insights about Stieglitz's aesthetic composition. In 1949, she donated the first part advance what she called the "key set" of 1,317 Stieglitz photographs to the National Gallery of Art in Washington, DC. Conduct yourself 1980, she added to the set another 325 photographs free by Stieglitz of her, including many nudes. Now numbering 1,642 photographs, it is the largest, most complete collection of Stieglitz's work. In 2002 the National Gallery published a two-volume, 1,012-page catalog that reproduced the complete key set along with outandout annotations about each photograph.[20]
In 2019, the National Gallery published expansive updated, Online Edition of the Alfred Stieglitz Key Set.[32]
The Hand of Man, 1902
Katherine, 1905
Miss S.R., 1905
Dirigible, 1910
Old and New New York, 1910
A Snapshot: Paris, 1911
(one of bend over with same title)
A Snapshot: Paris, 1911
(one of two with precise title)
Ellen Koeniger, Lake George, 1916.
Georgia O'Keeffe, Hands, 1918
Torso, 1918