Top of page

Collection Georgia O'Keeffe and Alfred Stieglitz Correspondence

Alfred Stieglitz: Impresario of Art, 1864-1946

A timeline of the life and career of fine art photographer, critic, art promoter, and gallery director Alfred Stieglitz (1864-1946) and the artist-intellectuals of his circle.

Alfred Stieglitz (1864-1946)

  1. 1864, Jan. 1

    Alfred Stieglitz born in Hoboken, N.J., the eldest of six children of German-Jewish immigrants Ephraim (Edward) Stieglitz and Hedwig Werner Stieglitz.

    [Alfred Stieglitz] by Gertrude Kasebier, 1902. Prints and Photographs Division, Library of Congress
  2. 1871-1890

    Stieglitz family moved to Manhattan and began a long-term pattern of summering upstate at Lake George in the Adirondacks. Educated in New York and Berlin, Stieglitz experimented with and exhibited photography and did freelance work as a writer and translator in Germany. He returned to the United States with a portfolio of photographs.

  3. 1891

    Formed Photochrome Engraving Company with business partners. Presented a lantern slide display of photography and became active in the Society of Amateur Photographers in New York. Exhibited in Vienna.

  4. 1891-1895

    Co-editor, American Amateur Photographer.

  5. 1893-1896

    Took Winter--Fifth Avenue and The Terminal, which in reproduction received international distribution. Continued experimenting with photographs taken in snow, rain, and at night.

  6. 1893, Nov. 16

    Married Emmeline “Emmy” Obermeyer, the sister of a business partner in his photochrome engraving business, in New York. The Obermeyer family owned breweries, and Emmy contributed to Stieglitz’s interests financially, but she had little intellectual sensibility for photography or the arts.

  7. 1894

    Incompatibility in the Stieglitz marriage evident during honeymoon in Europe.

  8. 1894-1899

    Elected to the Linked Ring group of English artistic photographers and exhibited at their salon until 1908. Exhibited in Paris, Munich, and at the Royal Photographic Society in London.

  9. 1896-1897

    Society of Amateur Photographers and the Camera Club merged to form the Camera Club of New York. Became vice president of publications and edited the quarterly Camera Notes. Published cityscapes.

  10. 1897-1899

    Created series of nocturnal pictorial images Reflections: Night---New York. Solo exhibition at The Camera Club.

  11. 1898, Sept.

    Daughter, Katharine “Kitty,” born. As a girl she became frequent subject matter for her father’s photography.

  12. 1900

    Through an introduction from fellow photographer Clarence H. White, met and befriended painter and photographer Eduard (Edward) Steichen, who became a close associate. Steichen was later celebrated for his fashion photography work for magazines, and from 1947 to 1961 he served as director of photography at the Museum of Modern Art and produced one of the most famous photography exhibitions there, Family of Man. His sister Lillian (known as Paula) became the wife of poet Carl Sandburg in 1908.

  13. 1902

    Founded Photo-Secession movement in New York to promote fine art photography, marked by American Pictorial Photography exhibition arranged at the National Arts Club. Associated photographers included F. Holland Day, Frank Eugene, Gertrude Käsebier, Joseph T. Keiley, Alvin Langdon Coburn, Eva Watson-Schütze, Steichen, Stieglitz, and White, with strong influence of European pictorialists and Frances Benjamin Johnston as an associate member.

  14. 1903-1917

    Arranged Photo-Secession shows internationally. Produced the seminal quarterly magazine of modern aesthetic photography, Camera Work, in New York. The inaugural issue released in December 1902 (but dated January 1903), profiled work by Käsebier, with Art Nouveau graphic design primarily by Steichen, who was strongly represented in the run of the periodical, which was produced with high quality photogravures.

  15. 1904

    Arthur Wesley Dow became head of the art department at Columbia University’s Teachers College, New York, and developed the school as a nationally known center of art teaching.

  16. 1905, Nov. 24

    Opened the Little Galleries of the Photo-Secession at 291 Fifth Avenue, New York.             

  17. 1907

    During a trip to Europe, took The Steerage. Mounted first nonphotographic art show, with the work of artist and spiritualist Pamela Colman Smith, which proved popular for gallery attendance and sales. Mexican artist Marius de Zayas and art patron Agnes Ernst (Meyer) involved at the gallery.

    Photographer and social reformer Lewis Hine brought his class from the Ethical Culture School of New York, including promising teenage student Paul Strand, to 291 to see a group show.  Inspired, Strand joined the Camera Club of New York after graduation in 1909 and pursued a career as a commercial and artistic photographer, working at first mainly in a pictorial style.

  18. 1908

    Stieglitz exhibited Marsden Hartley paintings for the first time. 

    Art student Georgia O’Keeffe visited gallery to see Rodin exhibit with Art Students League class.

  19. 1909

    Steichen scouted artists in Europe for Stieglitz and 291 and brought John Marin watercolors to New York for Stieglitz to review.  Stieglitz championed Marin and his work for the remainder of his life, promoting Marin in regular shows at 291 and subsequent galleries. Traveled to Europe and with Steichen met Marin, Henri Matisse, and Gertrude Stein in Paris. Became friends with Arthur Dove.

  20. 1910

    Mounted International Exhibition of Pictorial Photography, with 600 photographs spanning from the work of David Octavius Hill calotypes made in the 1840s to new works created in 1910, to celebrate photography as an art form. The show, commissioned by the Albright Art Gallery of Buffalo, N.Y., was criticized as biased toward members of his own Photo-Secession circle, and for omitting work by others, including Lewis Hine, Frances Benjamin Johnston, Eadweard Muybridge, and Carleton Watkins. Stieglitz later admitted to Paul Strand that there had been too much thought of art, and too little for photography.

  21. 1911

    Met with Rodin, Matisse, and Pablo Picasso in Paris. Published excerpts from Wassily Kandinsky’s new Concerning the Spiritual in Art or The Art of Spiritual Harmony in English translation in Camera Work.

  22. 1912

    Stieglitz’s illegitimate daughter, Elsa Bauschmied, who was born of an affair when he was a student in Germany in the 1880s, and whom he helped to support financially, died in childbirth. Published Gertrude Stein pieces on Matisse and Picasso in Camera Work.

  23. 1912-1913

    Did solo show of own work at 291 simultaneously with the pathbreaking Armory Show, which he helped to sponsor, and which marked a new era of modernism in American art.

    Introduced by Hutchins “Hutch” Hapgood, Stieglitz became friends with Mabel Dodge (Luhan), who maintained a salon at her Washington Square apartment in Greenwich Village. Dodge became a frequent visitor to 291 and formed many acquaintances there with artists and art critics, including Andrew Dasburg, Dove, Hartley, and Marin. Dodge was deeply impressed by the running dialogues Stieglitz presented to gallery visitors on issues of spirituality and art, and in her writing cited the great impact they had on her own philosophy.

  24. 1915-1916

    Urged by Stieglitz to abandon his soft-focus lens, Paul Strand turned to the sharp-focus style he used for the rest of his career, with early emphasis on cityscapes, realism, and abstraction. Stieglitz exhibited Strand photography and published selected images in Camera Work. Stand traveled on commercial photography assignments to the Grand Canyon and the West.

  25. 1915

    Encouraged by de Zayas and Meyer, Stieglitz began the 291 magazine, which de Zayas worked on extensively as a writer and artist during its 12-issue publication. Paul Rosenfeld became part of the Stieglitz circle through Waldo Frank.

  26. 1916, Jan. 1

    Anita Pollitzer showed O’Keeffe charcoal drawings to Stieglitz at 291, on his birthday.

  27. 1916, Mar.

    First solo exhibition of Paul Strand’s work at 291.  Assisted in Forum Exhibition of Modern American Painting at the Anderson Galleries and European and American Artists in New York at Bourgeois Gallery.

  28. 1916

    Regular gallery visitors of the era included Man Ray, Hapgood, and Abraham Walkowitz, as well as Marin and de Zayas. Marcel Duchamp also visited Stieglitz at the gallery in December. De Zayas published African Negro Art.

  29. 1916, April-May

    Showed O’Keeffe work at 291 and made first acquaintance with the artist, who visited New York from her teaching post in South Carolina.  The two soon became regular correspondents.

  30. 1917

    Mabel Dodge (Luhan) moved to Taos, N.M., with her then-husband, the sculptor Maurice Sterne.  Dodge soon divorced and married Taos local and member of the Taos Pueblo tribal community Anthony “Tony” Luhan. Formerly a sponsor of salons in Italy and New York, Mabel Dodge Luhan welcomed in the 1920s and following years many intellectuals, writers, poets, photographers, film makers and painters as guests and part of her Luhan Circle, including Mary Austin, Dorothy Brett, Willa Cather, Marie Tudor Garland, Martha Graham, Marsden Hartley, Aldous Huxley, Robinson Jeffers, Carl Jung, Frieda and D.H. Lawrence, Georgia O’Keeffe, Henwar Rodakiewicz, and Paul and Rebecca Strand.

  31. 1917, April

    Closed 291 with a solo show of O’Keeffe, and prepared to cease publication of Camera Work, as the United States became involved in World War I and anti-German sentiment filtered into cultural and intellectual circles of New York. Stock market fluctuation and Prohibition effected his wife’s and own family’s finances, and the lease for the gallery space ended in the summer. During the gallery’s existence hosted eighty shows.

  32. 1917, June

    Final issue of Camera Work (nos. 49-50) published, devoted largely to new work by Paul Strand.

  33. 1918

    Marsden Hartley traveled to Taos, N.M., at invitation of Mable Dodge (Luhan) and spent eighteen months painting in the Southwest.   Hartley moved to Berlin in 1921, after war’s end, and continued to paint the Southwest from memory.

  34. 1918, Mar.

    Stieglitz organized Exhibition of Pictorial Photographs, American and European, emphasizing work of the Photo-Secessionists, at the Young Women’s Hebrew Association in New York.

  35. 1918, June 9

    Stieglitz met the train bringing an ailing O’Keeffe, accompanied by Paul Strand, from her art teaching position in Texas to take up residence in New York.

  36. 1918, Summer

    Separated from his wife Emmy and began living with O’Keeffe. Began one of the most fruitful periods of his career as a photographer.

  37. 1918, Aug.

    Stieglitz brought O’Keeffe to his family’s home at Lake George and introduced her to his mother and family members.

  38. 1918-1919

    Strand reported to military service at Camp Greenleaf, Georgia, in September and served stateside in the Army Medical Corps as a hospital X-ray technician until July 1919. Honorably discharged after surviving a life-threatening bout of influenza.

  39. 1918-1927

    O’Keeffe and Stieglitz split their residential lives between Lake George in summers and Manhattan in winter.

  40. 1919

    Waldo Frank published Our America.

    Strand became romantically involved with fellow Ethical School of New York attendee Rebecca “Beck” Salsbury. He made serial intimate portraits of her similar to those Stieglitz made of O’Keeffe. Beck, who worked as a typist-secretary, was the daughter of celebrated Wild West showman Nate Salsbury, manager of Buffalo Bill’s Wild West show.

  41. 1920-1922

    Stieglitz family sold Oaklawn estate but retained a smaller farmhouse and outbuildings at Lake George, which were renovated and known as “The Hill.”

  42. 1921

    Strand made his first film, New York the Magnificent (retitled Manhatta), with Charles Sheeler. Worked as an Akeley motion picture camera specialist and cameraman until 1932.

    Stieglitz borrowed rooms in the Anderson Galleries building in Manhattan for exhibition of his own and O’Keeffe’s work. Strand introduced Salsbury to Stieglitz there. She would develop close friendships with both Stieglitz and O’Keeffe.

    Retrospective of photographs displayed at Anderson Galleries. The show includes 45 portraits of O’Keeffe, causing critical and public sensation and adding dimension and fame to her as a celebrity figure---the subject matter or object of art, as well as a maker of it.

  43. 1922, Jan.

    Salsbury and Strand married. While Strand worked on assignment, Rebecca became a frequent summer visitor at the Stieglitz property at Lake George, where Stieglitz regularly photographed her.

  44. 1922

    Stieglitz began photographing clouds in abstract association with music at Lake George, naming one sequence of prints Clouds in Ten Movements. Edward Weston traveled from California to New York to show Stieglitz his photographs but did not receive the encouragement he anticipated.

  45. 1923

    Exhibited one hundred works by O’Keeffe created at Lake George, and a show including his first cloud series, at the Anderson Galleries. Corresponded with D. H. Lawrence regarding Studies in Classic American Literature. Published Manuscripts with Paul Rosenfeld and Herbert J. Seligmann. Deepened his friendships with Sherwood Anderson and Hart Crane, who shared similar aesthetic theories about American art. Continued cloud sequences with Songs of the Sky, in possible homage to Walt Whitman and the use of song and music in American literary and artistic expression.

  46. 1923, June

    Daughter Kitty, who married in 1922, hospitalized with post-partum dementia after birth of a son. Diagnosed with schizophrenia, she remained institutionalized until her death in 1971.

  47. 1923, Nov.

    Photographed images of buildings in the snowy landscape at Lake George.

  48. 1924

    Rosenfeld published Port of New York: Essays on Fourteen American Modernists. Rebecca Strand transcribed the manuscript from handwritten notes using a typewriter. Seligmann published D. H. Lawrence: An American Interpretation, and Anderson dedicated his new book, A Story Teller’s Story, to Stieglitz.

  49. 1924, Sept.

    Stieglitz divorce finalized.

  50. 1924, Nov.

    Moved to apartment on East 58th Street with O’Keeffe.

  51. 1924, Dec. 11

    Married O’Keeffe in a small unpublicized non-religious civil ceremony at the home of John Marin at Cliffside Park, N.J., with Marin and brother-in-law George Herbert Engelhard as witnesses.

  52. 1925-1936

    Lived at the Shelton Hotel, New York, with O’Keeffe.

  53. 1925

    D. H. Lawrence, Frieda Lawrence, and English artist Dorothy Brett traveled from England to Taos, where they become part of the Luhan Circle. In 1926, they moved to Luhan’s Kiowa Ranch property on the side of Mount Lobo.

  54. 1925, Mar. 9-28

    Sponsored group show Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Before Publicly Shown at the Anderson Galleries, featuring works by Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, Georgia O’Keeffe, Arthur Stieglitz, and Paul Strand. The catalog included essays by Stieglitz Circle member Sherwood Anderson and sculptor Arnold Ronnebeck, and a poem by Dove. O’Keeffe’s work pinpointed by Edmund Wilson in a review in The New Republic.

  55. 1925, Summer

    Guests of Stieglitz and O’Keeffe at Lake George include the writer Jean Toomer and his lover Margaret Naumburg, formerly the wife of Waldo Frank. Worked with cloud images as abstract “Equivalents” of spiritual and emotional states of feeling and perception.

  56. 1925, Dec.-1929

    With financial help from family members, wealthy patrons, and friends, Stieglitz operated The Intimate Gallery in Manhattan, located in rented space in the Anderson Galleries building at 489 Park Avenue, New York. Popularly known as “The Room,” the small gallery was used to promote the Stieglitz Circle of artists and became the new venue for Stieglitz’s verbal treatises on the nature of art.  The broader Stieglitz Circle in that period included writers, artists, and critics Anderson, Crane, Arthur Dove, Henry McBride, Louis Kalonyme, Rosenfeld, Seligmann, Florine and Ettie Stettheimer, and Jean Toomer.

  57. 1926

    Paul and Rebecca Strand visited Colorado and New Mexico and wrote to Stieglitz about their experiences. Paul Strand photographed Pueblo Indian ruins at Mesa Verde in Colorado and the couple spent time in Taos. Rebecca Strand joked to Stieglitz that being in New Mexico was like being in an exhibition of Hartleys.

  58. 1927

    Ansel Adams, an accomplished pianist with a growing interest in photography, visited Taos and returned in 1929. Rosenfeld made his first trip to Taos and Santa Fe and returned to New York in enthusiasm. C. Kay Scott, who had recently founded a school for artists in Santa Fe, visited O’Keeffe at Lake George.

  59. 1927, Jan.-Apr.

    Dorothy Norman, aged 21, a Smith College graduate, the daughter of a wealthy German-Jewish clothing manufacturer and newlywed wife of the son of the founder of Sears, Roebuck, Co., visited The Intimate Gallery to see the art and was introduced for the first time to the work of Stieglitz and Marin. Norman was mesmerized by Stieglitz holding court to visitors at the gallery and returned often during the Room’s season of shows.

  60. 1928

    Relationship with gallery assistant Dorothy Norman became more intimate. Suffered severe angina or heart attack that signaled declining health. Metropolitan Museum of Art acquired Stieglitz photographs.

  61. 1928, Winter

    Mabel Dodge Luhan and Dorothy Brett visited New York from New Mexico.  Stieglitz declined showing Brett’s paintings of Pueblo Indian ceremonial dances. D. H. Lawrence’s new novel Lady Chatterley’s Lover created controversy for alleged obscenity.  Ideas of Stieglitz showing Lawrence’s paintings in New York did not materialize.

  62. 1929

    Marin invited by Mabel Dodge Luhan to come to paint in the Southwest, and O’Keeffe increasingly intrigued by New Mexico as a mecca for artists.

  63. 1929, Mar. 19-Apr. 7

    Stieglitz featured Paul Strand: Forty New Photographs at The Intimate Gallery, emphasizing Strand’s images the Southwest and of nature. 

  64. 1929, Summer

    Rebecca Strand and O’Keeffe traveled together to New Mexico and lived as guests of Mabel Dodge Luhan and Tony Luhan in Taos while each pursued their separate path of art. Adams and painters Andrew Dasburg and Marin were also guests that summer. O’Keeffe formed close friendships with filmmaker Henwar Rodakiewicz and his poet-writer wife, the heiress Marie Tudor Garland, who were part of the Luhan Circle. O’Keeffe and Adams created images of St. Francis Church in Ranchos de Taos, and Paul Strand and Marin did so as well in the following year.

  65. 1929, June

    Closed the Intimate Gallery in Manhattan. Ended its last season with a Charles Demuth show and faced impending demolition of the building at 489 Park Avenue.

  66. 1929, Fall

    Paul Strand, Rebecca Strand, and Dorothy Norman collaborated in Manhattan to raise pledge funds for a new gallery for Stieglitz. Paul Strand’s father, Jacob, a businessman, was a major donor.

  67. 1929, Oct. 24

    Stock market crisis effected financing of art galleries and art patronage in New York and across the country.

  68. 1929, Fall-Winter

    O’Keeffe and Stieglitz worked on their art at “The Hill,” the family farmhouse at Lake George.  She reported to Rodakiewicz that she was glad to return to Stieglitz and the lake environment and was anticipating showing her new Southwestern work for the first time in New York.

  69. 1929-1946

    Directed An American Place gallery at 509 Madison Avenue, New York.

  70. 1930, Jan.-Mar.

    Featured Georgia O’Keeffe: 27 New Paintings: New Mexico, New York, Lake George, Etc. at the newly opened An American Place gallery, known to those who frequented it as “The Place.”

  71. 1930, Summer

    Marin, O’Keeffe, and Paul and Rebecca Strand all summer in New Mexico, where they pursued their artwork.  Marin produced over 100 watercolors of the region. Adams met with Paul Strand and was inspired by Strand’s work to concentrate on photography as his own professional career.

  72. 1930, Summer

    At Lake George, guest Rosenfeld read aloud to Stieglitz the published correspondence of Vincent van Gogh and his brother.

  73. 1930

    Norman helped to manage the daily operations at An American Place and like O’Keeffe and Rebecca Strand before her, became the subject of Stieglitz’s photography.  Stieglitz began to teach Norman photography and darkroom techniques. He returned to earlier interest in photographing New York City and made cityscape images from the window of 291 and of buildings in a state of construction.

    Adams and Mary Austin published Taos Pueblo.

  74. 1931-1946

    Rodakiewicz finished his experimental film Portrait of a Young Man in Three Movements, which he began in 1925.O’Keeffe promoted the film to Stieglitz, who showed it at An American Place. Rodakiewicz became a good friend and a correspondent of both Stieglitz and O’Keeffe through the end of Stieglitz’s life.

  75. 1931, May

    Frieda Lawrence visited Stieglitz in New York.

  76. 1931, Summer

    O’Keeffe separated herself from the sometimes overly meddlesome culture of the Luhan Circle in Taos and worked instead from lodging at the H&M ranch of Garland and Rodakiewicz.

    Paul Strand befriended art critic Elizabeth McCausland and painter Gina Knee in Taos.

  77. 1932

    Stieglitz presented a joint exhibit of Paul Strand photographs and Rebecca Strand paintings on glass. The show had a splintering effect both for the Strand marriage and the father-son-style mentorship Strand had long enjoyed with Stieglitz. Strand’s politics and ideas of art were also becoming increasingly more progressive than those of his wife or his mentor.

  78. 1932, Summer

    Paul Strand photographed Cornelia Thompson and her daughter, Nancy, in his final summer in Taos.  Barbara “Bobby” Hawk, who was part of an influential area ranching family, became an especially close companion. She joined Strand the following year and worked on set when he was filmmaking in Mexico. Mabel Dodge Luhan published Lorenzo in Taos.

  79. 1932-1933

    Stieglitz produced Twenty-Five Years of John Marin exhibition and retrospective of shows that had appeared at 291 from 1908 to 1932, for An American Place, with thirty-three Marin watercolors and works by Cezanne, Dove, Matisse, O’Keeffe, Picasso, Rodin, and other artists. He sent an invitation to Rodakiewicz and Strand in Mexico.

    Rebecca and Paul Strand quietly obtained a divorce in Mexico. Rebecca returned to New Mexico, where she later married regional businessman and banker William “Bill” James and remained a resident for the rest of her life. Paul Strand appointed chief of photography and cinematography in the Department of Education in Mexico, with help from his friend, the composer Carlos Chavez.  Rumors of the Strand divorce spread by Mabel Dodge Luhan reached Stieglitz in New York.

  80. 1933

    Norman published Dualities, advertised in a limited edition with an original photograph of Norman by Stieglitz, as An American Place Publication No. 2 (No. 1 was the Letters of John Marin).  Adams met with Stieglitz in New York and was encouraged in new directions in his photography.  Metropolitan Museum of Art acquired Stieglitz collection of work by other photographers.

  81. 1933, Feb.

    Paul Strand exhibited a solo show, including photographs of New Mexico and of Rebecca Strand, in Mexico City at the Sala de Arte. 

  82. 1933, Nov.

    Stieglitz wrote Rodakiewicz that “I finally got the Place going full blast.”

  83. 1934-1937

    The experimental film Redes filmed and produced in Mexico and released first in Mexico and then in the United States. Cinematographer Paul Strand, photographer Ned Scott, screen writer and assistant director Henwar Rodakiewicz, and directors Emilio Gomez Muriel and Fred Zinneman collaborated in creating the beautifully photographed semi-documentary art film about labor and capital in the Veracruz fishing village of Alvarado. The film was distributed in the United States as The Wave.  Shown at the Cannes Film Festival, it continued to be critically acclaimed among students of film history. The score for the film was composed by Silvestre Revueltas.

  84. 1934

    Exhibition Paintings by Rebecca Strand, featuring paintings on glass, at the Museum of New Mexico.  Rebecca Salsbury Strand James continued to exhibit in New Mexico in the 1950s and in New York in 1954 in a one-woman show at the Martha Jackson Gallery. The Museum of International Folk Art in Santa Fe exhibited Embroideries by Rebecca James, in 1963, featuring James’s adaptation of traditional Colcha needlework, and O’Keeffe attended the opening. Widowed in 1967, James organized and donated the James’s joint collections of manuscripts and art, and then died by suicide in Taos on July 8, 1968. Her ashes were spread in the nearby landscape.

    Frieda Lawrence published Not I, But the Wind, in Santa Fe. Marjorie Content and Jean Toomer married in Taos.

  85. 1934, May 10

    Stieglitz wrote Rodakiewicz telling of the severe disability he experienced due to his heart condition but said he remained dedicated to the gallery: “The Place comes before all—And Georgia is of The Place.”

  86. 1934, Oct.-Dec.

    Lacking sufficient new work from O’Keeffe to plan the usual annual show, and unable to reach Marin, Stieglitz revisited his own negatives from storage and printed a selection to display at the Place. Reported to Rodakiewicz that the book America and Alfred Stieglitz: A Collective Portrait, with essays by Waldo Frank, Lewis Mumford, Norman, Rosenfeld, and Harold Rugg had “finally found a publisher with a vengeance.” The book was published by Doubleday/The Literary Guild in December.

  87. 1935

    Rodakiewicz co-authored screenplay with Fred Zinneman, Bonanza. Sold to MGM, the film about an indigenous Mexican boy was never produced.

  88. 1935-1942

    Strand made The Plow that Broke the Plains (U.S. Resettlement Administration, 1935), Heart of Spain (1938), and Native Land (1942).  His 1936 marriage to theater actor Virginia Stevens ended in divorce. He married again, in 1951, to Hazel Kingsbury, and lived most of the rest of his life internationally. He died in France March 31, 1976.

  89. 1936

    O’Keeffe invited Adams to stay at the Shelton Hotel when he came to New York, as Brett had before him. Stieglitz expressed intent to display western work of Adams, O’Keeffe, and Rebecca Strand as a joint show for the 1936-1937 season.

    Rodakiewicz married Margaret “Peggy” Bok. Stieglitz wrote Rodakiewicz in August to express his and O’Keeffe’s shared enthusiasm about the suitability of the match, and both were friends to the Bok-Rodakiewicz family.

  90. 1936, Oct.-Nov.

    Stieglitz exhibit director for solo show of Marin at the Museum of Modern Art, with installation by O’Keeffe and William Einstein.  Showed Adams photographs at An American Place.

  91. 1936-1942

    Lived with O’Keeffe in penthouse apartment at 405 East 54th Street, New York.

  92. 1937

    Solo show at the Cleveland Museum of Art, which had acquired Stieglitz images in 1935. Stopped making photography due to his health condition.

  93. 1937, May

    Praised Redes/The Wave to Rodakiewicz when he saw it in the United States for the first time and observed “there is some grand photography in it.”

  94. 1938

    Norman produced the magazine Twice a Year: A Semi-Annual Journal of Literature, the Arts, and Civil Liberties. She made portraits of Stieglitz, including of his gnarled hands. Stieglitz told Rodakiewicz that he understood O’Keeffe to be “in her real element in the Southwest.”

  95. 1939

    Paul Strand’s anti-fascist photograph of a skeleton crucified on a swastika appeared on the cover of TAC, the Theatre Arts Committee magazine. Stieglitz confessed to Rodakiewicz that O’Keeffe’s “breakdown has been a great source of worry to me. She seems to be mending very slowly” and was seeing a doctor whose name he does not know.

  96. 1940-1941

    Beaumont Newhall and Museum of Modern Art acquired Stieglitz photographs.  Stieglitz image Night—New York reproduced on the catalog cover for the museum’s inaugural exhibition, Sixty Photographs: A Survey of Camera Esthetics. Stieglitz and O’Keeffe attended the show’s opening.

  97. 1940-Aug.

    Rodakiewicz co-produced and worked as cameraman for One Tenth of Our Nation. He lived at the Stieglitz-O’Keeffe apartment in Manhattan while Stieglitz was at Lake George.  He was editor and producer for Adventure in the Bronx. Stieglitz wrote encouragingly to him that “you are working at Film II. And Film I is nearly ready---music and all. I’m sure the work is good.”

  98. 1941, Summer

    Rodakiewicz again a guest of Stieglitz and O’Keeffe, using their Manhattan apartment while Stieglitz was at Lake George. Brett and others visited there from New Mexico. Stieglitz read Gerald Heard’s work and noted Aldous Huxley’s latest project.  

  99. 1941-1946

    Rodakiewicz helped look after Stieglitz’s well-being while employed on documentary film projects in New York.

  100. 1941, Oct.

    Adams made his renowned photograph Moonrise, Hernandez, in New Mexico.

  101. 1941, Oct. 17

    The season at An American Place opened with a show of Dove, Marin, O’Keeffe, Picasso, and Stieglitz.

  102. 1942

    Rodakiewicz directed It’s Up to You.

  103. 1942, Summer

    Rodakiewicz again a resident of the Shelton Hotel and guest at the Stieglitz and O’Keeffe apartment in New York, while Stieglitz was at Lake George and O’Keeffe in New Mexico. Rodakiewicz continued to work as a screenwriter, cameraman, and producer of documentary films on commission in the 1940s and 1950s. He made films on social justice, race, social class, and opportunity themes, including Roots of Happiness (1953) and The Search: Tulane (1955), on mental health care, and Puerto Rico: The Peaceful Revolution (1962), as well as the New Mexico tourism film, Land of Enchantment (1947) that led to a lasting rift with O’Keeffe.

  104. 1942-1946

    Lived at 59 East 54th Street, New York.

  105. 1943

    Marsden Hartley died. Stieglitz commented that his friend was fortunate to pass at the zenith in his career.

  106. 1944

    Alfred Stieglitz “291” and After, retrospective exhibition, Philadelphia Museum of Art.

  107. 1946, May

    Stieglitz praised the Museum of Modern Art’s installation of O’Keefe’s art in the institution’s first solo show for a woman artist. O’Keeffe and Stieglitz attended the opening.

  108. 1946, July 13

    Stieglitz died at Doctors Hospital in New York, after suffering a massive stroke. He had been preparing to depart soon for Lake George. O’Keeffe rushed by plane from New Mexico to be with him. After his death, she hand-sewed the white linen lining for his pine coffin in preparation for a small private gathering and cremation. With the help of longtime friend and art patron David McAlpin as driver, she scattered Stieglitz’s ashes at the base of a large tree at the edge of Lake George.