Tuesday, December 20, 2022 – THE VIEWS WERE UNLIMITED SUBJECTS FOR ART
FROM THE ARCHIVES
TUESDAY, DECEMBER 20, 2022
THE 865th EDITION
ALFRED STIEGLITZ
&
GEORGIA O’KEEFE
Two married artists,
two similar views
looking outside their
East Side hotel window
EPHEMERAL NEW YORK
Two married artists, two similar views looking
outside their East Side hotel window
When Alfred Stieglitz met Georgia O’Keeffe in 1916, the 52-year-old photographer and 28-year-old painter began a passionate love affair that led to their marriage in 1924 and an artistic adventure of ups and downs until Stieglitz’s death in 1946.
At the time, Stieglitz was already part of the New York City art establishment. In the early 1900s he founded the Photo-Secession, a movement to accept photography as an art form. His own work, particularly his city scenes, won praise for its softness and depth.
He also established his own gallery, where he exhibited O’Keeffe’s early abstract drawings before falling in love with her and considering her his muse.
After the couple wed, they moved into the Shelton Hotel (bottom image in 1929). A 31-story residential hotel that opened just a year earlier on Lexington Avenue between 48th and 49th Streets, it billed itself as the tallest hotel in the world at the time, with commanding views of the East Side of Manhattan.
“The wedding, one of the largest and most fashionable of the season, brought out New York society—Astors, Belmonts, Havemeyers, Cooper-Hewitts, and others,” wrote Folpe. “Lungren seems to have observed the scene from the doorstep of his lodgings at 3 Washington Square, a row house converted into artists’ studios in 1879.”
After the swirl and excitement of this much-anticipated wedding, the couple mostly stayed out of the newspapers. Early on, they secured their own house on Washington Square. At some point they took up residence at Four East 86th Street.
And then, in 1909, came the split. “Sydney Smith’s Wife Sues for Absolute Divorce,” one front-page headline screamed. “Mrs. Smith did not take her usual place in the fashionable life of Newport last summer, but lived quietly with her children at a boarding house, and stories of marital unhappiness were revived in August when she and her husband [were part of] different parties at the Casino tennis matches, and did not speak to each other,” the story explained.
Stieglitz and O’Keeffe took advantage of these views. From their apartment on the 30th floor, O’Keeffe painted several images of what she saw outside her window in the 1920s—industry along the East River, the lit-up windows of skyscrapers lining the business corridors of East Midtown after dark.But one from 1928 struck me the most, and it’s simply titled “East River From the Shelton Hotel” (top image). Though the couple had very different styles and worked in different mediums, the painting feels very similar to a 1927 Stieglitz photo.“From Room 3003—the Shelton, New York, Looking Northeast” captures the same expansive cityscape of neat and uniform low-rise tenement blocks and belching smoke along the riverfront. |
Both works seem to hint that the East Side which came of age in the late 19th century would soon give way to the tall, sleek city of the Machine Age that Stieglitz and O’Keeffe were currently part of. |
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Text by Judith Berdy
Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS
Thanks to Deborah Dorff for maintaining our website
Edited by Melanie Colter and Deborah Dorff
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
Sources
First image: Metropolitan Museum of Art; Second image: Art Institute of Chicago; third image: MCNY, X2010.29.218]
Tags: Alfred Stieglitz From the Shelton Hotel, Alfred Stieglitz Georgia O’Keeffe, Georgia O’Keeffe From the Shelton Hotel, Photo-Secession Alfred Stieglitz, Shelton Hotel Georgia O’Keeffe Alfred Stieglitz, Shelton Hotel Lexington Avenue
Posted in art, Beekman/Turtle Bay, Queens, Sketchy hotels |
EPHEMERAL NEW YORK
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