Stieglitz was born the eldest of six children in Hoboken, New Jersey and raised in a brownstone on Manhattan's Upper East Side. His father moved with his family to Germany in 1881. The next year, Stieglitz began studying mechanical engineering at the Technische Hochschule in Berlin and soon switched to photography. Travelling through the European countryside with his camera, he took many photographs of peasants working on the Dutch seacoast and undisturbed nature within Germany's Black Forest and throughtout the 1880s won prizes and attention throughout Europe.
Throughout his life, Stieglitz would become infatuated with younger women in concert with bursts of photographic work. He married Emmeline Obermeyer in 1893 after he returned to New York and they had one child, Kitty, in 1898. Allowances from Emmeline's father and his own enabled Stieglitz to not have to work for a living. From 1893 to 1896, Stieglitz was also editor of American Amateur Photographer magazine; however, his editorial style proved to be brusque, autocratic, and alienating to many subscribers. After being forced to resign, Stieglitz turned to the New York Camera Club and retooled its newsletter into a serious art periodical known as Camera Notes. He announced that every published image would be a picture, not a photograph -- a statement that allowed Stieglitz to determine which was which by his scientific method.
Big camera clubs that were the vogue in America then did not satisfy him; in 1902 he organized an invitation-only group he dubbed the Photo-Secession to force the art world to recognize photography "as a distinctive medium of individual expression". Among its other members were Edward Steichen, Gertrude Kasebier, Clarence White, and Alvin Langdon Coburn. Photo-Secession held its own exhibitions and published Camera Work, a preeminent quarterly photographic journal, until 1917.
From 1905 to 1917, Stieglitz managed gratis the Photo-Secession's exhibition space at 291 Fifth Avenue (which came to be known solely by its number). In 1910, Stieglitz was invited to organize a show at Buffalo's Albright Art Gallery that set attendance records. He was insistent that "photographs look like photographs", so that their realism would allow painting to become more abstract. This shift to abstract art mystified Camera Work subscribers and the viewing public as well, since Stieglitz with Steichen's help had exhibited modernism instead of photography at 291 since 1908.
Stieglitz divorced his wife Emmeline in 1918 soon after she threw him out of their house when she came home and found him photographing Georgia O'Keeffe, whom he moved in with shortly thereafter. They married in 1924 and were both successful, he in photography (he would take hundreds of pictures of her throughout his life), she as an artist who'd received notoriety from Stieglitz at 291 years before. However, their marriage became strained as she had to care more for Stieglitz's health due to a prevailing heart condition and his hypochondria. By the 1930s, she would spend six months out of the year away from him in New Mexico.
In the 1930s Stieglitz took a series of photographs, some nude of him fingering her, of heiress Dorothy Norman, who became in O'Keeffe's mind a serious rival in Stieglitz's affections. Both these photos and those of O'Keeffe are often recognized as the first photographs to recognize the potential of isolated parts of the human body. In these years he also presided over two non-commercial New York City galleries, The Intimate Gallery and An American Place.
Stieglitz's camera work was ended in 1937 due to heart disease. Over the last ten years, he'd summered at Lake George, New York and worked in a shed he converted into a darkroom and wintered with O'Keeffe in Manhattan's Shelton, the first skyscraper hotel in that city. He died in 1946 at 82, still a staunch supporter of O'Keeffe, and he of him. this page is stupid and so dumb he was a player. he had sex over and over again cheating
Pictures by Stieglitz: