Word: stieglitz
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...there, especially Stanton Macdonald-Wright, whose "synchromist" abstractions were among the most advanced experiments being done by any American painter. In New York in the early '20s, Benton dressed (as one of his friends would remark) like "the antithesis of everything American," and had a peripheral relationship to Alfred Stieglitz and the circle of his 291 gallery...
Benton left New York for good in 1935, returning to Missouri. By then the regionalist movement had formed around his "heroic" pastoral vision, and he felt obliged to repudiate the city, whose art world was, he announced, a veritable Sodom of fanatics like Stieglitz and "precious fairies" who "wear women's underwear." Yet an odd thing about regionalism, as Adams shows in amusing detail, is that it was the only art movement ever launched by a mass- circulation magazine. Regionalism's promoter was a small-time Kansas-born art dealer named Maynard Walker, who sensed that the resentments of America...
...upon. Among them were a series of vivid head shots, like his startling portrait of Manuel Hernandez Galvan, 1924, that use the subjects' plain vitality to confound the impassivity one expects from monumental figures. The Mexican portraits show that Weston had absorbed the principles delivered to him by Alfred Stieglitz, words that Weston later summarized as a "maximum of detail with a maximum of simplification...
...grasping that some transaction beyond the simply formal or factual is afoot. This is particularly true with her flower paintings: magnified closeups, filling the whole surface, of a black iris, a jack-in-the-pulpit, or a calla lily. Almost from the moment that they were first exhibited at Stieglitz's gallery in the mid-'20s, these were interpreted as sexually coded images, and since O'Keeffe is now one of the icons of feminism, this reading is unlikely to change. She always denied it, with asperity. But then, she had to make her way in a world more prudish...
...Alfred Stieglitz, who was to become her mentor, promoter, lover and husband and who, with her, would enact one of the great partnerships of American culture, grasped the other side of this immediately. "At last," he exclaimed on seeing her drawings in 1916, "a woman on paper!" For in the last analysis, one cannot imagine the peculiar sensibility of her work -- its steely finesse and suppleness, its imagery of blossoming, unfolding and embrace -- coming with such conviction, or perhaps at all, from a man. O'Keeffe was a woman of exquisite moral vigor. Now that she is dead, no effort...