Word: stieglitz
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Dates: during 1920-1929
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...Costa Greene, able Morgan librarian, pronounced it the greatest portrait of her boss which she had ever seen. When she showed it to him, he declared he had never seen it before, authorized her to buy it. She made a bid of $5,000 to famed pioneer Photographer Alfred Stieglitz (TIME, Feb. 25), then editor of Camera Work, who owned the print. He refused. She then begged Photographer Steichen for another print. For three years he too refused...
...three years ago I broke down. Some say that breakdown was the result of my endeavors to establish independent and sufficient chemical education, chemical research and chemical industries in America. . . ." This apology and the rest of Mr. Garvan's "random thoughts of a lay chemist," Professor Julius Oscar Stieglitz of the University of Chicago read for absent Mr. Garvan...
...Progress Medal was awarded to F. E. Ives of Philadelphia for his work in three-color photography; and in 1923, to N. E. Luboschez, who, although he was living in England at the time, was an American citizen. If these names are added to those of Alfred Stieglitz and George Eastman, it has thus been awarded to four American citizens. In addition to these, in 1928 the medal was awarded to Dr. S. E. Sheppard, who, although a British subject, has carried on the greater part of the researches for which the medal was awarded in Rochester...
Born in dismal Hoboken, N.J., in 1864, Stieglitz went to private and public schools and to the College of the City of New York. Following his father's wishes, he studied mechanical engineering. But photochemistry and photography allured him, and he turned to these subjects, receiving a thorough Germanic induction at the Berlin Polytechnic School and the University of Berlin (1888-90). Returning to Manhattan, he practiced photo-engraving for three years, experimented in three-color work, married Emmeline Obermeyer of New York. Then, in 1895, at 31, he "retired...
...ranging from dead white to midnight blackness through numberless greys, catching both gleams and shadows. Sometimes he intellectualized this sensuous process, as in his symbolic expression of a short-skirted girl-a picture of a leg superimposed upon the dim image of a face. There is nothing documentary about Stieglitz photographs; they tell no stories, perpetuate no events. They are studies in pure form and tone...