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STIEGLITZ, ALFRED (1864-1946) Emil Zoler at 291.
STIEGLITZ, ALFRED (1864-1946)
"Emil Zoler at '291'." Platinum print, 91/2x71/2 inches (24x18.6 cm.), double-tipped to the original mount. 1914
Stieglitz, A Memoir/Biography 177
D. Norman, An American Seer, 79
Alfred Stieglitz and the American Avant-Garde, 150
Four of these images are present in the key set of Stieglitz photographs at the National Gallery of Art, Washington, D.C.
From the collection of Emil Zoler (1878-1959), who was first introduced to Alfred Stieglitz by the influential painter Marsden Hartley. Attracted by the avant-garde spirit of Stieglitz's gallery, Zoler became a frequent visitor to '291' and also an appreciated, if erratic, assistant, preparing and installing works for exhibitions.
Stieglitz was often lectured by Zoler on the urgency of the class struggle and found such idealism appealing. While Zoler's frenetic presence did not endear him to everyone, Stieglitz was obviously fond of the artist and often invited him home and, occasionally, to his summer place in Lake George. The two remained friends for decades and, early on, Stieglitz made several intimate portraits of Zoler, including this one.
"Emil Zoler at '291'." Platinum print, 91/2x71/2 inches (24x18.6 cm.), double-tipped to the original mount. 1914
Stieglitz, A Memoir/Biography 177
D. Norman, An American Seer, 79
Alfred Stieglitz and the American Avant-Garde, 150
Four of these images are present in the key set of Stieglitz photographs at the National Gallery of Art, Washington, D.C.
From the collection of Emil Zoler (1878-1959), who was first introduced to Alfred Stieglitz by the influential painter Marsden Hartley. Attracted by the avant-garde spirit of Stieglitz's gallery, Zoler became a frequent visitor to '291' and also an appreciated, if erratic, assistant, preparing and installing works for exhibitions.
Stieglitz was often lectured by Zoler on the urgency of the class struggle and found such idealism appealing. While Zoler's frenetic presence did not endear him to everyone, Stieglitz was obviously fond of the artist and often invited him home and, occasionally, to his summer place in Lake George. The two remained friends for decades and, early on, Stieglitz made several intimate portraits of Zoler, including this one.
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