GUEST BLOG / ART INSTITUTE CHICAGO
From the Alfred Stieglitz Collection Series
Georgia O’Keeffe and Alfred Stieglitz met in 1916, when she paid a visit to see an exhibition of Marsden Hartley works at Gallery 291. Nearly 24 years his junior and just gaining recognition as a painter, O’Keeffe made an immediate impact on Stieglitz—both artistically and emotionally. The two began an avid, often daily correspondence that eventually turned into a passionate affair before they finally married in 1924.
|Alfred Stieglitz (1864-1946)|
After Stieglitz’s death in 1946, O’Keeffe was appointed executor of his estate, and she divided the Stieglitz Collection among several institutions, including the Art Institute of Chicago. Learn more about the Stieglitz collection here.
|Georgia O'Keeffe (1887-1986)|
In 1919, he wrote to Sadakichi Hartmann: “I am at last photographing again. . . . It is straight. No tricks of any kind.—No humbug.—No sentimentalism.—Not old nor new.—It is so sharp that you can see the [pores] in a face—& yet it is abstract. . . . It is a series of about 100 pictures of one person—heads & ears—toes—hands—torsos—It is the doing of something I had in mind for very many years.”
Stieglitz displayed many of these—including, somewhat provocatively, several nudes—for the first time as part of his retrospective of photographs at Anderson Galleries in 1921. O’Keeffe wrote that Stieglitz’s “idea of a portrait was not just one picture”; instead, it was a composite of pictures addressing an idea and personality too large to fit in a single photograph.