Photo-Secession was a movement that promoted photography as a fine art especially pictorialism. Pictorialism was the idea that art photography needed to be better than the painting and etching of that time. They believed that just as a painting is distinctive because of how the artist would manipulate the tools they used, in the same way the photographer should be able to manipulate their photograph. The photo-secession movement was led by Alfred Stieglitz and F. Holland Day in the early 1900s they believed that it wasn’t what was in front of the camera that was art but was what the artist could do with the picture. They aimed to raise standards and the awareness of art photography. The reason Stieglitz formed the group is because he was asked to put together an exhibition of the best in contemporary American photography for the National Arts Club. While organizing the show he had a disagreement with some of the more conservative members of the club about which artists should be included in the show, so Stieglitz formed a group that was invitation only and he had called that group The Photo-Secession. He strongly believed that the pictoral photograph needed to be judged on its work separately without including the fact that it has been produced by a camera.
List of members of the Photosecession found in camera work, no 3, july 1903
John G. Bullock - Philadelphia
William. B Dyer. - Chicago
Dallett Fuguet - New York
Gertrude Käsebier - New York
Joseph T. Keiley - New York
Robert S. Redfield - Philadelphia
Eva Watson-Schütze - Chicago
Eduard J. Steichen - New York
Alfred Stieglitz - New York.
Edmund Stirling - Philadelphia
John F. Strauss - New York
Clarence H. White - Newark, Ohio
part b)
Alfred Stieglitz - New York.
Gertrude Käsebier - New York
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