Literature

Alfred Stieglitz, Camera Work, New York, no. 1, January 1903, p. 47 & no. 36,October 1911, pl. XIII; Waldo Frank et al. (eds), America & Alfred Stieglitz: A Collective Portrait (Garden City: Doubleday, Doran & Company, 1934) pl. XXV, B; Robert Doty, Photo-Secession: Photography as a Fine Art (Rochester: George Eastman House, 1960) pl. 7; Doris Bry, Alfred Stieglitz: Photographer (Boston: Museum of Fine Arts, Boston, 1965) pl. 7; Dorothy Norman, Alfred Stieglitz: An American Seer (New York: Aperture, 1973), pl. X, p. 54; Robert Doty, Photography in America (New York: Whitney Museum of American Art, 1974) p. 99; William Innes Homer, Stieglitz and the American Avant-Garde (Boston, 1977), pl. 8; Karen Tsujimoto, Images of America: Precisionist Painting and Modern Photography (San Francisco: San Francisco Museum of Modern Art, 1982) p. 91; Sarah Greenough and Juan Hamilton, Alfred Stieglitz: Photographs and Writings (Washington, D.C.: National Gallery of Art, 1983, in conjunction with the exhibition), pl. 15; Maria Morris Hambourg and Christopher Phillips, The New Vision: Photography Between the World Wars, Ford Motor Company Collection at the Metropolitan Museum of Art (New York: The Metropolitan Museum of Art, 1989), p. 6; John Walsh et al., In Focus: Alfred Stieglitz, Photographs from the J. Paul Getty Museum (Malibu: The J. Paul Getty Museum, 1995) pl. 4, p. 16; Richard Whelan, ed., Stieglitz on Photography: His Selected Essays and Notes (New York: Aperture, 2000), p. 187; Therese Mulligan, ed., The Photography of Alfred Stieglitz: Georgia O’Keeffe’s Enduring Legacy (Rochester: George Eastman House, 2000) fig. 17 and pl. 6; Sarah Greenough, Alfred Stieglitz: The Key Set, Volume One 1886-1922 (Washington, D.C.: Abrams/National Gallery of Art, 2002) pp. 164-66, cat. nos. 277-280; Britt Salvesen,
See the Light: Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection (Los Angeles: Los Angeles County Museum of Art; New York: DelMonico Books/Prestel 2013) np.