Alfred Stieglitz - Photo of the artist, 1934 - Image via 291 - 291 museum

Alfred Stieglitz

United States 1864 - 1946


Alfred Stieglitz
Alfred Stieglitz
United States
October 25, 2016
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Although he is mainly regarded to be a vital force in the development of modern photography in America, Alfred Stieglitz‘s significance can just as much be attributed to his work as an art dealer, exhibition organizer, publisher and editor. Hell-bent on proving his medium of choice deserves to be considered a fine art form, Alfred’s own work showed great technical mastery of tone and texture, underlined by a strong ability of atmospheric explorations. Through a broad list of duties and roles, Stieglitz grew into an important modernist figure of America’s early photography art and is responsible for introducing many European modernist painters and sculptors to his fellow Americans[1]. The photographer was feverishly devoted to his creative mission and produced thousands of pictures in his lifetime, covering numerous themes that captured different periods of rapid transition in American society.

Every New York secession museum and photo gallery must have some steichen o'keeffe works
Alfred Stieglitz – Untitled – Image via

Alfred Stieglitz and his Childhood in Hoboken

Alfred Stieglitz was born in the famous neighborhood of Hoboken, New Jersey, during the year of 1864. He was the first son of a German-Jewish couple whose names were Edward Stieglitz and Hedwig Ann Werner. In the moment of Alfred’s birth, his father was a retiring lieutenant in the Union Army. To put it more precisely, after three years of fighting as an officer, his impressive salary allowed him to literally buy an exemption from future fighting. This allowed Edward Stieglitz to stay near home during his first son’s childhood and to have an active role in seeing that he was well-educated, nicely mannered and brought up right. Over the course of the next seven years, Stieglitz family had five new arrivals. The children’s names were Flora (1865–1890), the two twins Julius (1867–1937) and Leopold (1867–1956), Agnes (1869–1952) and Selma (1871–1957). By his own admission, Alfred was said to have been very jealous of the closeness between the two twins and, as a result, spent much of his youth wishing for a soul mate of his own. During the year of 1871, young Stieglitz was sent to the Charlier Institute, which was the best private school New York could offer at that time. Alfred rather enjoyed his studies but rarely felt challenged by them as he was usually able to cope with the demands quite well. In the meantime, Edward Stieglitz started investing his money into stockings and managed to get a hold of a promising young firm dealing in various markets.

Total of 291 pages of history can be found in the o'keeffe secession gallery
Alfred Stieglitz – Untitled – Image via

A German Education

About a year time prior to his graduation, Stieglitz’s parents sent him to a public high school so he would qualify for admission to the City College CCNY. This was done in order for young Alfred to end up under his uncle’s wings who worked as a professor at the said college. However, both he and his father considered the classes at the high school far too easy to challenge the young man’s mind and came to an agreement that the only way Stieglitz Jr. would be able to get a proper pre-college education was to enroll him in the rigorous schools of his German homeland. This was a well-timed decision, no doubt, as Edward just sold his company for about 400,000$ and was more than able to afford his son’s education. Furthermore, Edward had his entire family moved to Europe for the next several years as Alfred attended classes at the Realgymnasium in Karlsruhe. In the meantime, his younger brothers and sisters studied in Weimar whilst Alfred’s parents toured around Europe, going to museums, spas and theaters. At one point, Alfred Stieglitz began studying mechanical engineering at the Technische Hochschule in Berlin. In his spare time, he would spend his lavish allowance and discuss intellectual theories with similar minded fellow colleagues[2].

Alfred Stieglitz - The Terminal, 1893 - Image via metmuseumorg
Alfred Stieglitz – The Terminal, 1893 – Image via

Witnessing Photography for the First Time

While he was still a student in Berlin, Stieglitz met German artists Adolf von Menzel and Wilhelm Hasemann. The new duo of friends introduced Alfred to a completely new idea – the concept of making art directly from nature. This was, of course, Stieglitz first contact with photography. Fascinated by the possibilities which seemed virtually limitless, he bought his first camera and traveled through the German countryside, taking many photographs of landscapes and peasants. His photographic explorations even took him as far as Italy and Netherlands at one point. In 1884, Edward Stieglitz and Hedwig Ann Werner grew tired of Germany and decided they would return to America. However, they left their 20-year-old son as Alfred remained in Berlin for the rest of the decade. During this time, the young photographer began gathering the first books of what would become a very large library about photographers in Europe and the United States. In 1887, Stieglitz wrote his very first article, titled A Word or Two about Amateur Photography in Germany. It was published by the avant-garde magazine called The Amateur Photographer, a newspaper which soon decided letting Alfred write for them on regular basis might not be such a bad idea. Additionally, the year of 1887 was another milestone for the young artist – he submitted some of his photographs to the annual holiday competition and several German and British photographic magazines began publishing his images[3]. It was during this first personal peak that Stieglitz received a grim news from home as the word reached him that his sister Flora died while giving birth. Subsequently, Alfred returned to New York despite not being comfortable with coming back to a place he described as highly uncultured at that time.

Appearing first in the milieu of Pictorial photography, Alfred Stieglitz sought to gain recognition for his chosen medium by producing effects that paralleled those found in other fine arts such as painting

Alfred Stieglitz - Untitled - Image via pinterest
Alfred Stieglitz – Untitled – Image via

Alfred Stieglitz Takes New York by Storm

By this time Stieglitz returned to The Big Apple, he already considered himself a top artist with a camera and actually refused to seek employment doing anything else. His father was extremely disappointed, to say the least, as he had much higher goals in mind for his first born than to have him snapping images. However, Edward did buy out a small photography business where Alfred could indulge in his interests and perhaps even earn a living on his own as much as possible. However, Stieglitz demanded such high quality in the production of his tiny firm’s images that he was forced to pay his chosen employee very high wages. This, naturally, reflected heavily on the company’s profits which were rather rare at this point. In the meantime, Alfred continued to win awards for his photographs at various exhibitions. During the year of 1892, Stieglitz bought his first hand-held equipment – a Folmer and Schwing 4×5 plate film camera. This was a nice change from his regular 8×10 plate film camera that always required a tripod and was difficult to carry around. Invigorated by the freedom provided by the new camera, Stieglitz made two of his best-known images: Winter, Fifth Avenue and The Terminal. Soon, the rising American artist society noticed Alfred for both his images and essays, declaring him to be the leading figure of the continental photography medium. In the spring of 1893, he was offered the job of a co-editor for The American Amateur Photographer, which Stieglitz quickly accepted. It was during that same year that Alfred married Emmeline Obermeyer, a sister of his close friend and business associate Joe Obermeyer. Stieglitz did not love the particular young woman in question but was pressured by his father into marriage. Stieglitz biographer Richard Whelan summed up the relationship between the newlyweds as extremely bad, stating that Alfred resented her bitterly for not becoming his twin in an artistic and cultural sense of the word.

Alfred Stieglitz’s early work often balances depictions of soft, ephemeral, natural processes with motifs drawn from American industry

Alfred Stieglitz - Untitled - Image via 291 museum works
Alfred Stieglitz – Untitled – Image via

Camera Notes

During the year of 1896, Stieglitz crowned his all-consuming creative endeavors by joining two separate organizations into a newly formed Camera Club of New York. Although he was a vice-president of the new club, Alfred was literally in charge of running all aspects of the organization. Additionally, he also turned the Camera Club‘s current newsletter into a greatly expanded magazine that would set a new standard for excellence both in the photos it published and in the writing about photography. The new paper was titled Camera Notes and it soon became revered as the finest photographic magazine in the world by its contemporaries. Stieglitz’s goal, and by extent the Camera Notes‘ aim as well, was to promote photography to the rank of fine art, placing it alongside painting and sculpture. By being in charge of such a fine magazine and due to the fact he authored what can easily be described as the best photos of the era in question, Alfred became the leading figure of the youngest art medium on a worldwide level[4]. European avant-garde scene picked up on the photographer’s work as well, often presenting Stieglitz’s pictures alongside works of Edvard Munch and Henri Toulouse-Lautrec. Because of the Secessionists whose pieces often accompanied Alfred’s exhibitions, the young photographer star was regularly attached to the new movement – which was more than fine for him, apparently, as he agreed with the social views on the world shared by these artists. And while all of this was going on, his wife Emmy led a completely separate life as the two obviously agreed that the only reason for their relationship was getting the wealthy parents of their back.

Alfred Stieglitz can be described as a true pioneer of a dedicated photographer, evidenced by the image bellow for which the artist stood still in a blizzard for over three hours in order to get the perfect shot

Every New York modern gallery has a secession history photo series titled O'Keeffe and Steichen
Alfred Stieglitz – Untitled – Image via

First Issues of Camera Work

Stimulated by all the positive responses coming his way, Stieglitz began formulating a plan for the next big move of his artistic career – to publish a completely independent magazine of pictorial photography. This new edition would be an upgraded version of Alfred’s previous journals, dedicated to carrying forth the same fine artistic standards of photography. He resigned his role as an editor of Camera Notes, and one month later he published a prospectus for a new journal, giving it the name of Camera Work[5]. It was supposed to be the best and most sumptuous of photographic publications and it actually lived up to those high ideals. The first issue was printed in December of 1902 and it contained beautiful hand-pulled photogravures, critical writings on photography, aesthetics and art. It also featured reviews and commentaries on photographers and exhibitions. Camera Work was the most obvious reflection of Alfred’s perfection as an artist and a writer[6]. Of course, he held true to his ever-lasting high standards for the prints deemed worthy of publishing. He, of course, continued to attend and assemble exhibitions. Countless shows were held under his name as Alfred literally created a bridge between the United States of America and Europe. All exhibitions were driven by one single aim and that was proving photography as aa valid fine art form. As the artist himself explained at one point, the goal was the following: The intention was to set up a dialogue that would enable visitors to see, discuss and ponder the differences and similarities between artists of all ranks and types: between painters, draftsmen, sculptors and photographers; between European and American artists; between older or more established figures and younger, newer practitioners. Unfortunately, the high pace and overwhelming duties that came with running an entire magazine, making photographies, tending to family problems and both holding and visiting exhibitions took it’s toll on Stieglitz. He once again became mentally and physically exhausted. The problems only worsened as Stieglitz’s father Edward died in May 1909. However, Alfred managed to do what he always wanted – making the public aware of the photography’s artistic potential.

Alfred Stieglitz relied more on compositional effects and mastery of tone then elaborate retouchings of an image, concentrating on natural effects to create qualities similar to those of the Impressionists

291 Photo series from 1946 is the best analysis of museum history in the world
Alfred Stieglitz – A Snapshot, 1911- Image via

Alfred Stieglitz and Georgia O’Keeffe

At one point of January in 1916, Stieglitz was presented with a portfolio of drawings authored by a young artist named Georgia O’Keeffe. Alfred was instantly attracted to her pieces and decided to include her work in one of his shows. Georgia O’Keeffe did not approve such an exhibition and was furious about Stieglitz’s unauthorized presentation of her work[7]. The two exchanged angry letters and met in order for the young painter to express her anger. However, the moment he saw her, Stieglitz fell in love with Georgia O’Keeffe. Eventually, the two began a relationship and the painter moved to New York City after Alfred promised to provide her with a studio in which she can paint without anything bothering her. The two lovers were inseparable from the moment she arrived. After Emmy found out her husband Alfred had no problem with bringing his girlfriend into her home, she decided to kick Stieglitz out and finally divorce him after all the loveless years. The photographer was pleased with such a turn of events as he was handed a new freedom for his relationship with O’Keeffe. One of the most significant things that Georgia O’Keeffe provided for Stieglitz was the muse he had always wanted – in other words, he had finally found his artistic twin he always sought. He photographed her constantly and obsessively between the years of 1918 and 1925 which can be described as the most prolific period in his entire life[8]. Alfred produced more than 350 images of O’Keeffe in various settings, portraying a wide range of her character, moods and overall beauty. Their relationship can easily be considered as one of the most passionate and active duos modern art has in its arsenal.

In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art that had ever been assembled. The title of the show pretty much sums up its entire content: Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe and Alfred Stieglitz. This iconic exhibition was a true milestone in American modern art. The next decade of his life was marked by financial struggles, a few new lovers who could never truly live up to O’Keeffe’s standards and experimentation which blended photography with avant-garde concepts. However, Stieglitz was well aware that his creative peak was long gone despite not being able to cope with that fact. He did continue to arrange various exhibitions and arranging quality shows was one of his aspects he never truly lost. In early 1938, Alfred was struck by a serious heart attack. Unfortunately, this will only be the first of at least six coronary or angina attacks he would suffer in the remaining years of his life. He spent most of his later days attending to his own gallery, called An American Place. During this time, O’Keeffe was mostly in her Southwest home with her own family, being with her lover only during the summer and spring. In the summertime of 1946, Stieglitz suffered a fatal stroke and fell into a coma state. As luck would have it in such a dire situation, he managed to stay alive ling enough for O’Keeffe to arrive and see him breathing for one last time. Georgia took over An American Place and dedicated it to assembling the best and most complete set of photographs Stieglitz made in his lifetime.

Steichen O'Keeffe gallery of modern American art in New York has the best secession works
Alfred Stieglitz – Untitled – Image via

A Genuine Legend of the Medium

However one decided to articulate it, there is no disputing the undeniable fact that Alfred Stieglitz spearheaded the rise of modern photography. And we do not only mean he did this just in the United States of America – due to his incredible talent and vision, Stieglitz’s art exploded beyond the USA borders[9]. His images set the stage of European photography as well, especially the development of the street photography. Alfred influenced countless generations on a worldwide level, showing them that photography can be just as easily utilized as painting in fine art making. Ultimately, his mission was a successful one – Stieglitz’s imagery and writing were instrumental in establishing photography as a recognized fine art form. Stieglitz achieved his goal to have photography shown alongside painting and, due to such efforts and achievements, is also known as an important proponent of early modernism and not just as a promoter of photography.


  1. Innes Homer, W., Alfred Stieglitz and the American avant-garde, New York Graphic Society , 1979
  2. Bry, D., Alfred Stieglitz Photographer, Little Brown & Co, 1965
  3. Stieglitz, A., Alfred Stieglitz: Masters of Photography Series (Aperture Masters of Photography), Aperture, 1997
  4. O’Keeffe, G., Stieglitz, A., Two Lives: A Conversation in Paintings and Photographs, Harpercollins, 1992
  5. Roberts, P., Stieglitz: Camera Work, Taschen, 2013
  6. Hamilton, J., Greenough, S., Alfred Stieglitz: Photographs and Writings, National Gallery of Art, 1999
  7. Hoffman, K., Alfred Stieglitz: A Legacy of Light, Yale University Press, 2011
  8. Whelan, R., Josephy, J., Alfred Stieglitz: A 291 Biography, Little Brown & Co, 1995
  9. Waldo, F., Stieglitz, A., America And Alfred Stieglitz: A Collective Portrait (A Collective Portrait), Doubleday, Doran & Company, Inc, 1934

Featured image: Alfred Stieglitz – Photo of the artist, 1934 – Image via
All images used for illustrative purposes only.

YearExhibition TitleGallery/MuseumSolo/Group
2016 Make Light of ItPace Macgill Gallery, New York City, NY Group
2016Songs and the Sky: An Exhibition of Art and MusicBruce Silverstein Gallery, New York City, NY Group
2016Borrowed Light: Selections from the Jack Shear CollectionThe Frances Young Tang Teaching Museum, Saratoga Springs, NY Group
2015Alfred Stieglitz and the 19th CenturyThe Art Institute of Chicago, Chicago, IL Solo
2015Masterpieces & Curiosities: Alfred Stieglitz’s The SteerageThe Jewish Museum, New York City, NY Solo
2015SpacedEdward Thorp Gallery, New York City, NY Group
2015Georgia O'Keeffe et ses amis photographesMusee de Grenoble, Grenoble Group
2015An Eye for Excellence: Twenty Years of CollectingThe Clark Art Institute, Williamstown, MA Group
2015An American ModernismNew Mexico Museum of Art, Santa Fe, NM Group
2015Shadows and Dreams: Pictorialist Photography in AmericaThe Cleveland Museum of Art, Cleveland, OH Group
2015Night Vision:nocturnes In American Art, 1860-1960Bowdoin College Museum of Art, Brunswick, ME Group
2015America Is Hard to SeeWhitney Museum of American Art, New York City, NY Group
2014The Plot ThickensFraenkel Gallery, San Francisco, CA Group
2014New York Photographs from the CollectionBoca Museum of Art, Boca Raton, FL Group
2014The Rise Of American ModernismIndianapolis Museum of Art (IMA), Indianapolis, IN Group
2014Looks Good on Paper: Masterworks and FavoritesToledo Museum of Art, Toledo, OH Group
2014Manifesto! An Alternative History of PhotographyFotomuseum Winterthur, Winterthur Group
2014Back Grounds: Impressions Photographiques (2)Andrea Rosen Gallery, New York City, NY Group
2014CrossroadsLillehammer Art Museum, Lillehammer Group
2013A Family Album: Alfred Stieglitz and Lake GeorgeThe Hyde Collection, Glens Falls, NY Solo
2013Alfred StieglitzCharles A. Hartman Fine Art, Portland, CO Solo
2013Decisive MomentsThe Contemporary Museum Honolulu, Honolulu, HI Group
2013At the Window: The Photographer's ViewThe Getty Center, Los Angeles, CA Group
2013The King CollectionEl Paso Museum of Art (EPMA), El Paso, TX Group
2013ShowstoppersRobert Klein Gallery, Boston, MA Group
2013Unconsciousness of the CityNational Museum of Modern Art Tokyo (MOMAT), Tokyo Group
2013Back to Earth. Die Wiederentdeckung der Keramik in der Kunst.Herbert-Gerisch Stiftung, Neumünster Group
2013In Tribute to the MastersArt Space gallery, Beijing Group
2013[blv] 5, Finir En BeautéMusée Nicéphore Niépce, Chalon sur Saône Group
2013Light SensitiveDuke University, Durham, NC Group
2013The UnphotographableFraenkel Gallery, San Francisco, CA Group
2012Picture This: Photographic Portraits Of PlacePalm Springs Art Museum, Palm Springs, CA Group
2012Société Anonyme: Modernism for AmericaYale University Art Gallery, New Haven, CT Group
2012Made in America: 1900–1950 Photographs from the National Gallery of CanadaArt Gallery of Windsor, Windsor, Ontario Group
2012Starstruck: The Fine Art of AstrophotographyBates College Museum of Arts, Lewiston, ME Group
2012Image and After-Image: Whistler and PhotographySmith College Museum of Art, Northampton, MA Group
2012Refraction ReflectionToledo Museum of Art, Toledo, OH Group
2012Fixed Images: Photographs from the Baker Pisano CollectionChazen Museum of Art, Madison, WI Group
2012Youth and Beauty: Art of the American TwentiesDallas Museum of Art, Dallas, TX Group
2012Conversations: Photography from the Bank of America CollectionIrish Museum of Modern Art, Dublin Group
2012Reconsidering the Photographic MasterpieceUniversity of New Mexico, Albuquerque, NM Group
2012A New Vision: Modernist PhotographyCurrier Museum of Art, Manchester, NH Group
2012O’Keeffe CountryScheinbaum & Russek LTD, Santa Fe, NM Group
2012Picturing New YorkArt Gallery of Western Australia, Perth, WA Group
2011Youth and Beauty: Art of the American TwentiesBrooklyn Museum of Art, New York City, NYGroup
2011Camera Works Masters in PhotographyGibbes Museum of Art, Charleston, SC Group
2011Panopticon GalleryHotel Commonwealth, Boston, MA Group
2011The Life and Death of BuildingsPrinceton University Art Museum, Princeton, NJ Group
2011SmallLuise Ross Gallery, New York City, NY Group
2011Shared Intelligence: American Painting and the PhotographGeorgia O'Keeffe Museum, Santa Fe, NM Group
2011The Original Copy: Photography of Sculpture, 1839 to TodayKunsthaus Zürich, Zurich Group
2011Zwischen Ideal und MoralKunsthalle Vogelmann, Heilbronn Group
2011Shared Intelligence: American Painting and the PhotographColumbus Museum of Art, Columbus, OH Group
2010Alfred Stieglitz: the Lake George yearsArt Gallery of New South Wales, Sydney, NSW Solo
2010Stieglitz, Steichen, StrandThe Metropolitan Museum of Art, New York City, NY Group
2010Modern Life: Edward Hopper and His TimeWhitney Museum of American Art, New York City, NY Group
2010GiantsDriscoll Babcock Galleries, New York City, NY Group
2010From the Collection of Randi and Bob FisherPier 24 Photography, San Francisco, CAGroup
2010Shadows: Works from the National Museums of ArtThe National Art Center Tokyo, Tokyo Group
2010Portrait PhotographsWorcester Art Museum, Worcester, MA Group
2010Cézanne and American ModernismPhoenix Art Museum, Phoenix, AZ Group
2010Cézanne and American ModernismThe Baltimore Museum of Art, Baltimore, MD Group
2009High Modernism: Alfred Stieglitz and His LegacyAmon Carter Museum, Fort Worth, TX Solo
2009MOCA´s First Thirty YearsMOCA Grand Avenue, Los Angeles, CA Group
20092009 Benefit Auction Of Photographic PrintsSF Camerawork, San Francisco, CA Group
2009Silver AnniversaryHans P. Kraus Jr., Inc., New York City, NY Group
2009Scheinbaum & Russek Presents: Spring 2010Scheinbaum & Russek LTD, Santa Fe, NM Group
2009Icons of American PhotographieFrick Art & Historical Center, Pittsburg, PA Group
2009Summer's Almost GoneScheinbaum & Russek LTD, Santa Fe, NM Group
2009Paired PhotographsIndianapolis Museum of Art (IMA), Indianapolis, IN Group
2009Right through the very Heart of itRobert Mann Gallery, New York City, NY Group
2009Photography on Display: Modern TreasuresThe Art Institute of Chicago, Chicago, IL Group
2009Modern Life Edward Hopper und seine ZeitBucerius Kunst Forum, Hamburg Group
2009The Eternal FeminineScheinbaum & Russek LTD, Santa Fe, NM Group
2009RARITIESCorkin Gallery, Toronto, ON Group
2009Seeing OurselvesPhilbrook Museum of Art, Tulsa, OKGroup
2008Photogravures from the Wichita Art Museum Permanent CollectionWichita Art Museum WAM, Wichita, KS Solo
2007Alfred Stieglitz and the Philadelphia Museum of ArtPhiladelphia Museum of Art, Philadelphia, PA Solo
2007Alfred Steiglitz, NautilusColumbia Museum of Art, Columbia, SC Solo
2005Alfred StieglitzSaint Louis Art Museum, Saint Louis, MO Solo
2005Alfred StieglitzGalerie Lumiere, Seoul Solo
2003Alfred StieglitzVictoria & Albert Museum, London Solo
2003Photographs by Alfred StieglitzGeorgia O'Keeffe Museum, Santa Fe, NM Solo
2003Some Things Worth Looking Into: Alfred Stieglitz's Camera WorkDavison Art Center, Wesleyan University, MiddletownSolo
2002Alfred Stieglitz: Known and UnknownMuseum of Fine Arts Houston, Houston, TX Solo
2002The Photography of Alfred StieglitzThe Museum of Photographic Arts, San Diego, CA Solo
2002The Photography of Alfred Stieglitz: Georgia O'Keeffe's Enduring LegacyHeckscher Museum of Art, Huntington, NY Solo
2002Alfred Stieglitz e i fotografi di Camera WorkPalazzo delle Esposizioni, Rome Solo
2001The Photography of Alfred Stieglitz: Georgia O'Keeffe's Enduring GiftJames A. Michener Art Museum, Doylestown, PA Solo
2001 Modern art and America: Alfred Stieglitz and his New York galleriesThe National Gallery of Art, Washington, DC Solo
2000Alfred Stieglitz: Foto's uit de voormalige collectie Georgia O'KeeffeKunsthal Rotterdam, Rotterdam Solo
1999American PictorialismCatherine Edelman Gallery, Chicago, IL Solo
1998Alfred Stieglitz: known and unknownThe National Gallery of Art, Washington, DC Solo
1997Georgia O’Keeffe: A Portrait by Alfred StieglitzThe Metropolitan Museum of Art, New York City, NY Solo
1996Alfred Stieglitz: Photografien 1914-1936Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn Solo
1995Alfred Stieglitz at Lake GeorgeMuseum of Modern Art, New York City, NY Solo
1995Alfred Stieglitz’s Legacy: Photography into ArtHerbert F. Johnson Museum of Art, Ithaca, NY Solo
1994Alfred Stieglitz's Camera NotesPhoenix Art Museum, Phoenix, AZ Solo
1994Alfred Stieglitz's Camera NotesWichita Art Museum WAM, Wichita, KS Solo
1993Alfred Stieglitz's Camera NotesThe Minneapolis Institute of Arts, Minneapolis, MN Solo
1992Stieglitz in the DarkroomThe National Gallery of Art, Washington, DC Solo
1988Georgia O'Keeffe: The Stieglitz Portraits, 1918-1922The Art Institute of Chicago, Chicago, IL Solo
1983Alfred StieglitzThe Art Institute of Chicago, Chicago, IL Solo
1983Alfred StieglitzThe Metropolitan Museum of Art, New York City, NY Solo
1983Photographs by Alfred StieglitzThe National Gallery of Art, Washington, DC Solo
1982Alfred StieglitzBlaffer Gallery, The Art Museum of the University of Houston, Houston, TX Solo
1980Spirit of an American Place: Photographs by Alfred StieglitzPhiladelphia Museum of Art, Philadelphia, PA Solo
1978Georgia O’Keefe by Alfred StieglitzThe Metropolitan Museum of Art, New York City, NY Solo
1971Alfred Stieglitz: The Camera Work YearsThe Art Institute of Chicago, Chicago, IL Solo
1971Alfred Stieglitz: Photographs from the Permanent CollectionSan Francisco Museum of Modern Art, San Francisco, CA Solo
1968Photographs by Alfred Stieglitz from the Alfred Stieglitz Collection of the National Gallery of ArtThe National Gallery of Art, Washington, DC Solo
1958Photographs by Alfred StieglitzThe National Gallery of Art, Washington, DC Solo
1952Photographs by Alfred StieglitzSan Francisco Museum of Modern Art, San Francisco, CA Solo
1951Alfred StieglitzThe Art Institute of Chicago, Chicago, IL Solo
1947Alfred Stieglitz Exhibition: His PhotographsMuseum of Modern Art, New York City, NY Solo
1934Alfred StieglitzAn American Place, New York City, NY Solo
1932127 Photographs by Alfred StieglitzAn American Place, New York City, NY Solo
1924Alfred Stieglitz Presents Fifty-One Recent PicturesAnderson Galleries, Inc, New York City, NY Solo
1913Photographs by Alfred Stieglitz291 Gallery, New York City, NY Solo