Abstract
The art of Alfred Stieglitz has suffered neglect because of the notoriety of the man himself. His photographs certainly have not been forgotten, but studies of Stieglitz have concentrated on the artists and photographers he supported, on the magazines he edited, and finally, and somewhat in passing, on his photographs. He has, of course, been accorded an important position in the history of photography, but his photographs have never been carefully and objectively analyzed—and what has been most neglected is their meaning.
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