Edward Stieglitz, father of Alfred, was born in Germany in 1833. He grew up on a farm, loved nature, and was an artist at heart. Legend has it that, independent and strong willed, Edward Stieglitz ran away from home at the age of sixteen because his mother insisted on upon starching his shirt after he had begged her not to . Edward would later meet Hedwig Warner and they would have their first son, Alfred. Alfred was the first of six born to his dad Edward and mom Hedwig. As a child Alfred was remembered as a boy with thick black hair, large dark eyes, pale fine skin, a delicately modeled mouth with a strong chin . In 1871 the Stieglitz family lived at 14 East 60th street in Manha

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In 1917 when Stieglitz was 54 years old Georgia O'Keeffe arrived in New York . This event would change Stieglitz's life forever. Stieglitz at first didn't know Georgia personally but showed her pictures at his gallery "291". They would later meet during one of Georgia's shows. Soon after they meet, Alfred took Georgia up to the Stieglitz home at Lake George in the Adirondack Mountains. Soon Stieglitz was one of Georgia's most eager supporters, arranging shows even selling some of her paintings. Buying an O'Keffe was not only expensive, but a collector needed to meet Stieglitz's standards for owning one . In 1925 she and Stieglitz moved into the Shelton Hotel in New York, taking an apartment on the 30th floor of the building. They would live there for 12 years. With a spectacular view, Georgia would begin to paint the city while Stieglitz photographed New York.

What his art says: Alfred Stieglitz's involvement in photography dated from 1883, the year he purchased a camera and enrolled in a photochemistry course, to the year he died in 1946. When Stieglitz returned to America from England, he found that photography, as he understood it, hardly existed. An instrument had been put on the market shortly before, called Kodak. The slogan sent out to advertisers reading, "You press the button and we'll do with the rest". This idea sickened Stieglitz. To Stieglitz it seemed like rotten sportsmanship . Stieglitz wanted to make photography an art so Stieglitz decided, to do something about it. Camera Notes was the most significant American photographic journal of its time . Published monthly by the Camera Club of New York and edited for most of its life by Alfred Stieglitz, the journal embodied major changes for american photography in general and to Stieglitz' s career in particular. Camera Notes signaled the beginning of the movement of ar!

. At the turn of the century, a new class of creative individuals, called painter- photographer emerged. This group fulfilled Stieglitz' s dream for pictorial photography. Its presence provided the movement with individuals who were trained in the established arts and who legitimized the artistic claims of pictorial photography by the fact that they were willing to use the photographic medium. The very term painter photographer was made up in reference to Frank Eugene who worked simultaneously with Stieglitz in media for a decade. Eugene attended a German fine arts academy, and painted theatrical portraits of the United States. In 1889 he mounted a solo exhibition of pictorial photographs at the Camera Club of New York, which, pointedly, was reviewed in Camera Notes as painting photography.

By 1902 Stieglitz had become the authority in his chosen field. Stieglitz found that

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Approximate Word count = 1892
Approximate Pages = 8 (250 words per page double spaced)