Lake Geroge Philadelhia Art Museum Lake George Philadelphia Art Museum
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Lake George
Returning from an extended family stay in Europe in 1886, Stieglitz's father purchased a holding at Lake George, north of New York City. It remained in the family after his death, and, equally the eldest son, Alfred dominated the schedule at this retreat in the Adirondacks, inviting colleagues, friends, and lovers to bring together the extended family during the summer. Stieglitz photographed many aspects of life at Lake George, from its vegetation to its outbuildings to its visitors. A pocket-size structure known as "The Petty House" served as his darkroom and as a regular photographic bailiwick. Houses, barns, and sheds effectually the estate likewise found their way into his pictures, echoing an involvement in architecture and geometry that dates back to some of his early piece of work in Italy and coincides with his growing commitment to American themes in fine art.
Later on his youthful travels in Europe, Stieglitz spent his fourth dimension only in New York Urban center or Lake George. The country manor was his kingdom and his habitation, a place where he was surrounded past those who knew him best and loved him anyhow. In this accepting atmosphere, away from fine art world concerns, the artist relaxed and slowed his pace, frequently creating specially exploratory and adventurous photographs. His series of cloud pictures known as the Equivalents is 1 of the finest examples, but just as Stieglitz turned his camera to the sky, so, as well, did he point it at the globe. Several shut-up images of grasses from 1933 were fabricated during an especially productive summertime at Lake George and represent a departure in his piece of work. Another subject he pursued was that of dying chestnut and poplar copse, which, once leafless, revealed their fascinating shapes to his lens.
Equivalents
Music - A Sequence of Ten Cloud Photographs, No. I, 1922
Alfred Stieglitz, American
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During the summer of 1922, Alfred Stieglitz began work at his Lake George retreat on the famous Equivalents, a photographic series of clouds. His first efforts bring together the landscape and sky into moody visual passages that the artist initially equated with music. Confident in this new direction, Stieglitz exhibited this grouping a few months later at the Anderson Galleries in New York. The following year, he put away his 8 x 10–inch view camera on a tripod and used a 4 10 v–inch handheld Graflex camera to photograph the clouds solitary, resulting in smaller images that he named Equivalents in 1925. The Graflex could exist pointed directly at the heaven, freeing the image from earthly constraint. The weather condition at Lake George was oft mercurial and dramatic, providing countless variations in subject. The ephemeral nature of his subject field offered an boosted claiming, and Stieglitz had to work quickly to capture a cloud configuration he liked before it shifted, never to be seen again except in his prints. Once the prints were made, he wasn't strict near maintaining their original orientation, moving them from horizontal to vertical to suit his purposes, sometimes leaving stray foliage stranded in midair.
This series offers a photographic parallel to the abstract paintings of John Marin, Georgia O'Keeffe, and others Stieglitz promoted at his galleries, in which an element of the everyday world is used to evoke a sensation or mood non directly tied to its meaning as an object. While depicting a specific grouping of clouds, Stieglitz likewise wanted to create a visual work of art that could be experienced in a less linear fashion, conjuring feelings and impressions. Several of the pictures here, dating from 1930–32, were made when O'Keeffe was spending summers in New United mexican states and Stieglitz was intensely involved with Dorothy Norman; some of these later views were inspired by Norman and given to her every bit gifts.
Poplars
Ane of the distinctive features of the Stieglitz family property at Lake George was its towering poplar trees, some of which were planted past Alfred Stieglitz'southward father. Amidst the largest deciduous trees in Northward America, poplars are somewhat fragile and thus generally non long lived. Their genus proper noun populus (Latin for "people" or "nation"), upright stature, and limited lifespan make them an apt symbol for human being. Stieglitz had grown up with these poplars during his many seasons at Lake George, and their turn down was peradventure a reminder of his own lessening vitality in his belatedly sixties.
Stieglitz first turned his attending to the trees in 1932, a time when he was avidly photographing outdoors, and the serial tin can be seen in connection with concurrent views made at Lake George, including the Equivalents. The failing wellness of the trees, however, revealed the elaborate circulatory organization of branches that truly engaged Stieglitz. The stand of poplars, which he returned to on his visits to Lake George, is shown from a variety of distances and under dissimilar conditions. On at to the lowest degree one occasion, the impulse for renewal appears as a leafy center amid the bare branches, but the fate of the tree is unmistakable. The noble stateliness of the poplar too provides a natural counterpoint to the images of the General Electric Building that Stieglitz had recently photographed from his apartment at the Shelton Hotel. In both bodies of work, Stieglitz uses a compelling formal element in his life as a focus of artistic and personal meditation.
Source: https://www.philamuseum.org/exhibitions/2008/273.html?page=4
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