The Last Joke, Bellagio, also known as The Good Joke, is a black and white photograph taken by Alfred Stieglitz during a Summer travel to Italy in 1887. He was then living and studying in Germany and decided to travel through several cities of Italy at the Summer.
Stieglitz visited, among other places, Bellagio, on Lake Como, Lombardy, where he took several photographs, often depicting landscapes and folk scenes. This one was part of the group that he took while at Bellagio. The picture depicts a candid scene, without any artificiality, and depicts several children and youngsters of both genders apparently laughing at a joke that the woman at the fountain has just said. The photo is closely cropped, focusing on the children, with architectural arches in the background providing a "stage set" for the image. [1]
Stieglitz sent twelve photographs feom this trip to The Amateur Photographer' magazine's Photographic Holiday Work Competition. This picture appeared in the 25 November 1887 issue. It was considered the only spontaneous work in the competition, judged by British photographer Peter Henry Emerson, and it won the first prize. [2]
There are at least three prints of this photograph; they belong to the collections of the National Gallery of Art, Washington, D.C., the Museum of Modern Art, New York, and of a private collector. [3]
Pictorialism is an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of creating an image rather than simply recording it. Typically, a pictorial photograph appears to lack a sharp focus, is printed in one or more colors other than black-and-white and may have visible brush strokes or other manipulation of the surface. For the pictorialist, a photograph, like a painting, drawing or engraving, was a way of projecting an emotional intent into the viewer's realm of imagination.
Georgia Totto O'Keeffe was an American modernist painter and draftswoman whose career spanned seven decades and whose work remained largely independent of major art movements. Called the "Mother of American modernism", O'Keeffe gained international recognition for her meticulous paintings of natural forms, particularly flowers and desert-inspired landscapes, which were often drawn from and related to places and environments in which she lived.
Alfred Stieglitz was an American photographer and modern art promoter who was instrumental over his 50-year career in making photography an accepted art form. In addition to his photography, Stieglitz was known for the New York art galleries that he ran in the early part of the 20th century, where he introduced many avant-garde European artists to the U.S. He was married to painter Georgia O'Keeffe.
Edward Jean Steichen was a Luxembourgish American photographer, painter, and curator, renowned as one of the most prolific and influential figures in the history of photography.
291 is the commonly known name for an internationally famous art gallery that was located in Midtown Manhattan at 291 Fifth Avenue in New York City from 1905 to 1917. Originally called the "Little Galleries of the Photo-Secession", the gallery was established and managed by photographer Alfred Stieglitz.
Gertrude Käsebier was an American photographer. She was known for her images of motherhood, her portraits of Native Americans, and her promotion of photography as a career for women.
Clarence Hudson White was an American photographer, teacher and a founding member of the Photo-Secession movement. He grew up in small towns in Ohio, where his primary influences were his family and the social life of rural America. After visiting the World's Columbian Exposition in Chicago in 1893, he took up photography. Although he was completely self-taught in the medium, within a few years he was internationally known for his pictorial photographs that captured the spirit and sentimentality of America in the early twentieth century. As he became well known for his images, White was sought out by other photographers who often traveled to Ohio to learn from him. He became friends with Alfred Stieglitz and helped advance the cause of photography as a true art form. In 1906 White and his family moved to New York City in order to be closer to Stieglitz and his circle and to further promote his own work. While there he became interested in teaching photography and in 1914 he established the Clarence H. White School of Photography, the first educational institution in America to teach photography as art. Due to the demands of his teaching duties, his own photography declined and White produced little new work during the last decade of his life. In 1925 he suffered a heart attack and died while teaching students in Mexico City.
Camera Work was a quarterly photographic journal published by Alfred Stieglitz from 1903 to 1917. It presented high-quality photogravures by some of the most important photographers in the world, with the goal to establish photography as a fine art. It has been called "consummately intellectual", "by far the most beautiful of all photographic magazines", and "a portrait of an age [in which] the artistic sensibility of the nineteenth century was transformed into the artistic awareness of the present day."
Alice Boughton was an early 20th-century American photographer known for her photographs of many literary and theatrical figures of her time. She was a Fellow of Alfred Stieglitz's Photo-Secession, a circle of photographers whose artistic efforts succeeded in raising photography to a fine art form.
Consuelo Delesseps Kanaga was an American photographer and writer who became well known for her photographs of African-Americans.
Myra Albert Wiggins (1869–1956) was an American painter and pictorial photographer who became a member of the important early 20th century Photo-Secession movement.
Harriet Candace "Rose" Clark (1852–1942) was an early 20th-century American painter and pictorial photographer. She is best known for the photographs she exhibited with Elizabeth Flint Wade under their joint names, either as "Rose Clark and Elizabeth Flint Wade" or as "Misses Clark and Wade".
The Steerage is a black and white photograph taken by Alfred Stieglitz in 1907. It has been hailed by some critics as one of the greatest photographs of all time because it captures in a single image both a formative document of its time and one of the first works of artistic modernism.
There were men and women and children on the lower deck of the steerage. There was a narrow stairway leading to the upper deck of the steerage, a small deck right on the bow with the steamer.
To the left was an inclining funnel and from the upper steerage deck there was fastened a gangway bridge that was glistening in its freshly painted state. It was rather long, white, and during the trip remained untouched by anyone.
On the upper deck, looking over the railing, there was a young man with a straw hat. The shape of the hat was round. He was watching the men and women and children on the lower steerage deck...A round straw hat, the funnel leaning left, the stairway leaning right, the white drawbridge with its railing made of circular chains – white suspenders crossing on the back of a man in the steerage below, round shapes of iron machinery, a mast cutting into the sky, making a triangular shape...I saw shapes related to each other. I was inspired by a picture of shapes and underlying that the feeling I had about life."
Equivalents is a series of photographs of clouds taken by Alfred Stieglitz from 1925 to 1934. They are generally recognized as the first photographs intended to free the subject matter from literal interpretation, and, as such, are some of the first completely abstract photographic works of art.
Joseph Turner Keiley was an early 20th-century photographer, writer and art critic. He was a close associate of photographer Alfred Stieglitz and was one of the founding members of the Photo-Secession. Over the course of his life Keiley's photographs were exhibited in more than two dozen international exhibitions, and he achieved international acclaim for both his artistic style and his writing.
Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915. There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism.
Georgia E. Engelhard Cromwell was an American mountaineer in the Canadian Rockies and the Selkirk and Purcell ranges. She was the first female climber to ascend many of the peaks in the Rockies and was the leading female amateur climber of her day. She was also an accomplished painter and photographer.
From the Back Window - 291 is a black and white photograph taken by Alfred Stieglitz in 1915. The picture was taken at night from a back window of his 291 gallery in New York. Its one of the several that he took that year from that window, including at a snowy Winter.
Georgia O'Keeffe - Torso, also known as Georgia O'Keeffe - Nude, is a black and white photograph taken by Alfred Stieglitz in 1918. It is one of the more than 300 photographs that he took of his future wife, the painter Georgia O'Keeffe.
Bowls, also known as Abstraction, Bowls, is a black and white photograph taken by Paul Strand in 1916. The photograph has elements of cubism and abstractionism, and exemplifies his style at the time.