48/14, La revue du musée d'Orsay, issue # 19, Autumn 2004

48/14, La revue du musée d'Orsay (1995-2011)
Collectif, Serge Lemoine, direction
Alfred Stieglitz
Musée d'Orsay / Réunion des musées nationaux - 2004
soft cover
€ 11 - available

Actualités (News)


  • New York and Modern Art: Alfred Stieglitz and His Circle (1905-1930)
  • Alfred Stieglitz (1864-1946), Gift of the Georgia O'Keeffe Foundation
  • Movements of Air, Etienne-Jules Marey (1830-1904), Photographer of Fluids
  • Correspondences Musée d'Orsay / Contemporary Art
  • The De Wendel Company, Three Centuries of Industry in Lorraine (1704-2004)
  • Turner Whistler Monet
  • The Toilet Chest of the Duchess of Parma photographed by Le Gray


  • Pierre Puvis de Chavannes, View of the Château de Versailles and the Orangerie
    Félix Vallotton, Misia Sert
  • Alfred Stieglitz, donation of twenty two photographic prints by the Georgia O'Keeffe Foundation
  • Jules Desbois, Destitution
  • Auguste Delaherche, eleven ceramics.
  • Jan Kastner and Prague School of Decorative Arts, pair of chairs
  • Henri Evenepoel, album of photographs of a trip in North Africa
  • Ratel, Archive and photographic fund

Etudes (Research)

Pictorialist Photography
by Peter Bunnell
In order to be recognised as an artistic discipline in its own right, photography has long been confronted or submitted to the uses of painting in its motifs, compositions, framing and lighting. Pictorialism was the finest expression of this trend of which Stieglitz stood out as one of the most original proponents in the 1890's.

Stieglitz and New York
by Joël Smith
Even before distancing himself from Pictorialism, Stieglitz had opted for resolutely modern subjects. New York was to symbolise this choice at a time when the photographer was denouncing the "conformism" of his colleagues and their overused motifs. But the city and its skyscrapers also helped him structure his vision and gave momentum to his aesthetic evolution.

Alfred Stieglitz and the female nude
by Anne Mc Cauley
Unlike that of his contemporaries and close colleagues, Stiglitz's production included remarkably few female nudes until the summer of 1918 and its series of photographs with his new companion, Georgia O'Keeffe, as suggestive model. The female body that suddenly appeared was in return the object of a fragmented, fetish-like representation.


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