
Picnic in the Snow
[Photo By: KPA]
Stieglitz himself became editor and publisher of Camera Work (1902-17), Photo-Secession's high-quality magazine - which rapidly became an important forum of modern art - and also staged numerous exhibitions in partnership with Steichen, with whom he set up the venue "Little Galleries of the Photo-Secession", in 1905. It soon became known as "291" after its address on Fifth Avenue. Through his writing, exhibitions, and other social networking, Stieglitz became a strong supporter of creative photography, as well as avant-garde art generally, and went to great efforts to inform modern artists in America, about the latest modern art movements, notably Cubism (1908-14), Futurism (c.1909-14), Dada (1916-24), as well as works by modernist 20th century sculptors. Indeed, during the decade 1905-1914, "291" metamorphosed from being an outlet for exhibiting Photo-Secessionist photography, to being the foremost centre for modern European and American artists. With the advice of Steichen, Marius de Zayas, and Max Weber, all of whom had contacts with artists in France, "291" became the first place in America to showcase works by the Fauvist Henri Matisse (1869-1954), the Post-Impressionist Cezanne (1839-1906), the naif painter Henri Rousseau (Le Douanier) (1844-1910), the Cubists Pablo Picasso (1881-1973) and Francis Picabia (1879-1953), as well as the famous sculptors Auguste Rodin (1840-1917) and Constantin Brancusi (1876-1957). In addition, he also promoted representational and abstract paintings by modernist American artists including the master watercolourist John Marin (1870-1953), as well as Marsden Hartley (1877-1943), Arthur Dove (1880-1946), Alfred H Maurer (1868-1932), Abraham Walkowitz (1878-1965), Charles Demuth (1883-1935), and others. [text source]