The Photo‑Secession (also written Photo Secession or Photo-Secession movement) was an early‑20th‑century American photographic organization that advocated the recognition of photography as a fine art. Founded in New York City in 1902 by photographer Alfred Stieglitz, the group sought to break away from the prevailing Pictorialist conventions of the time and to promote original, artistic expression through photographic practice.
Founding and Purpose
- Founder: Alfred Stieglitz, an influential photographer, gallery owner, and editor.
- Year Established: 1902.
- Stated Goal: To “secure” a place for photography within the broader visual arts, emphasizing aesthetic quality, individual vision, and experimental techniques. The term “Secession” echoes contemporary European art movements (e.g., Vienna Secession) that broke from academic traditions.
Key Activities
- Exhibitions: The Photo‑Secession organized a series of public shows, most notably at Stieglitz’s Little Galleries of the Photo‑Secession (often called “291”) in New York. These exhibitions featured members’ works alongside modernist paintings and sculptures, reinforcing the claim that photography could stand alongside other fine arts.
- Publications: The group published Camera Work (1903–1917), a quarterly journal edited by Stieglitz that displayed high‑quality photogravures, essays on art theory, and reviews. The journal was instrumental in disseminating the movement’s aesthetic ideas internationally.
- Membership: Membership was selective; artists were elected based on the quality of their work as judged by Stieglitz and his peers. Notable members included:
- Edward Steichen
- Paul Strand
- Gertrude Käsebier
- Alfred Stieglitz (founder)
- Charles DeMolay and others.
Philosophical Orientation
- The Photo‑Secession emphasized Pictorialism, a style that treated photographs as artistic compositions akin to paintings, often employing soft focus, manipulation of tone, and alternative printing processes (e.g., gum bichromate, platinum/palladium).
- While embracing Pictorialist aesthetics, the movement also encouraged innovation, leading some members to explore straight‑ahead, unmanipulated photography, foreshadowing later modernist trends.
Decline and Legacy
- By the late 1910s, internal disagreements and the rise of differing photographic philosophies (e.g., the “straight photography” advocated by the Group of Ten) led to the dissolution of the Photo‑Secession Society.
- The influence of the movement persisted through:
- The continued operation of Stieglitz’s gallery (which later became the Intimate Gallery).
- The lasting reputation of Camera Work as a historic record of early 20th‑century photographic art.
- The establishment of photography collections in major art museums, many of which began acquiring works through Photo‑Secession exhibitions.
Historical Significance
The Photo‑Secession played a pivotal role in repositioning photography from a documentary or commercial medium to an accepted form of artistic expression in the United States and abroad. Its organizational model and advocacy set precedents for later photographic societies and contributed to the eventual inclusion of photography in major art institutions.
