After a year of exhibiting American and European photographs at 291, Stieglitz and Steichen believed they needed an invigorating influx of new ideas. Steichen, at the time, was living in Paris and had befriended many artists. Acting as Stieglitz's European agent, he sent over exhibitions of such artists as Henri Matisse, Paul Cézanne, Pablo Picasso, and Auguste Rodin, whose drawing
Hell was exhibited at 291 in 1910. Many of these early exhibitions, frequently the first presentations of these artists' works in this country, included innovati
ve ways of portraying the human form that often shocked 291's audience with frank depictions of sensuality and challenges to conventional notions of beauty. Stieglitz's aim, however, was not to sensationalize, but to instruct artists and the American public about the fundamentals of the new art and to provoke serious discussion. Although modern art received greater attention after the Armory Show, few New York galleries showed American works. Deeply committed to American artists, Stieglitz made them the focus of his activities after 1915. In 1916 and 1917 he presented a series of exhibitions of the painters Marsden Hartley and Georgia O'Keeffe, and the photographer Paul Strand, that summarized the dramatic changes that had occurred in American art in the past decade. Each artist had integrated the latest developments in modern European art with their own experience and constructed a pow
erful new vocabulary of form and color. Despite these innovative exhibitions, Stieglitz was forced to close 291 in June 1917. For more than twelve years he had supported the gallery with his own or his first wife's personal income, yet mounting financial difficulties, caused in large part by the United States' entry into World War I, made it impossible for him to continue to do so.
After a year of exhibiting American and European photographs at 291, Stieglitz and Steichen believed they needed an invigorating influx of new ideas. Steichen, at the time, was living in Paris and had befriended many artists. Acting as Stieglitz's European agent, he sent over exhibitions of such artists as Henri Matisse, Paul Cézanne, Pablo Picasso, and Auguste Rodin, whose drawing Hell was exhibited at 291 in 1910. Many of these early exhibitions, frequently the first presentations of these artists' works in this country, included innovati
ve ways of portraying the human form that often shocked 291's audience with frank depictions of sensuality and challenges to conventional notions of beauty. Stieglitz's aim, however, was not to sensationalize, but to instruct artists and the American public about the fundamentals of the new art and to provoke serious discussion. Although modern art received greater attention after the Armory Show, few New York galleries showed American works. Deeply committed to American artists, Stieglitz made them the focus of his activities after 1915. In 1916 and 1917 he presented a series of exhibitions of the painters Marsden Hartley and Georgia O'Keeffe, and the photographer Paul Strand, that summarized the dramatic changes that had occurred in American art in the past decade. Each artist had integrated the latest developments in modern European art with their own experience and constructed a pow
erful new vocabulary of form and color. Despite these innovative exhibitions, Stieglitz was forced to close 291 in June 1917. For more than twelve years he had supported the gallery with his own or his first wife's personal income, yet mounting financial difficulties, caused in large part by the United States' entry into World War I, made it impossible for him to continue to do so.
