Alfred Stieglitz ：摄影本身就是一门艺术，理应被当作艺术来对待

日期：2021-9-15 作者：Aipunyc 分类： 2021 浏览：271

Portrait of Alfred Stieglitz

阿尔弗雷德·斯蒂格利茨是 20 世纪艺术行业最重要的支持者之一。他出生在新泽西州，是德国移民的儿子。原打算成为一名机械工程师，但在柏林学习时，在Hermann Wilhelm Vogel 教授的化学课上接触到了摄影，Hermann Wilhelm Vogel当时正在研究处于发展中的摄影化学。学习完毕后，斯蒂格利茨购买了他的第一台相机（8×10 底片相机），并前往欧洲乡村拍照，他很快就觉得摄影比做工程师更有趣。

Alfred Stieglitz was the most important proponent of the art field in the 20th century. He was a son of German immigrants born in New Jersey. He originally planned to be an engineer, but when he was studying in Berlin, he got into contact with photography in Professor Hermann Wilhelm Vogel's chemistry class. At the time, Hermann Wilhelm Vogel was researching the chemistry of photography that was still in development. After he finished his studies, Stieglitz bought his first camera(8 x 10 film camera) and went to the European countryside to shoot. He quickly discovered that being a photographer is more interesting than being an engineer.

阿尔弗雷德·斯蒂格利茨26岁回到美国发现摄影非常受欢迎，他因此很高兴，但同时，他也对缺乏出版物和画廊来将摄影作为艺术推广感到失望。在后来的50多年里，他便致力于改变这种情况。作为摄影师、出版商和画廊主，斯蒂格利茨努力将摄影确立为得到公认的艺术形式，在此过程中他拍摄了一些历史上最好的照片。

Alfred Stieglitz returned to the U.S.at the age of 26 and found that photography was very popular, for this, he was very happy but was also disappointed with the lack of published works and galleries that will enable him to promote photography as art. In the next 50 years, he was dedicated to change this situation. As a photographer, publisher, and owner of a gallery, Stieglitz worked hard to make photography a widely accepted art form, during this process, he took some best photos in history.

阿尔弗雷德·斯蒂格利茨在很多方面都称得上是第一位“现代”摄影师。尽管他早期的摄影作品是在精心模仿绘画，但他很快就认识到摄影本身就是一门艺术——理应被当作一门艺术来对待。他意识到将摄影从绘画的常规和限制中分离出来的必要性，于是，推动了少做或不做裁剪、润饰以及其他改动，后来被称为“直接”的摄影印刷。

Alfred Stieglitz was in many ways the first "modern" photographer. Although his early photography works imitated paintings, he quickly realized that photography itself is a kind of art --- it should reasonably be treated as an art. He noticed the necessity to separate photography from the conventions and restrictions of paintings. Therefore, he promoted little to no cropping, retouching, and other alterations, and this was later called "straight" photography-making prints.

当摄影刚被发明的时候，它是科学上的一种新奇事物。不久，便演变成了一种极好的记录工具。摄影师可以对人物、地点或事件进行持久的记录。到 1800 年代，摄影师努力将他们的手艺提升为公认的艺术。他们采用模仿绘画的内容和视觉效果来做到这一点。而斯蒂格利茨的伟大成就在于把了摄影带进了一个完整的循环:摄影的艺术潜力与记录事实的能力相结合。他带着真正艺术家的洞察力和信心回到了早期摄影师的“直截了当”的方式。

When photography was just invented, it was a novel item in science. Soon, it became a great recording tool. Photographers can record people, places, and events. In the 1800s, photographers contributed great efforts to elevate their ability to widely accepted art. They did this by simulating the painting's contents and visual effects. However, what is so achieved about Stieglitz was that he brought photography into a complete cycle: the combination of photography's artistic potential and the ability to record facts. He went back to the "straight-forward" approach of early photographers with true artist's insight and confidence.

斯蒂格利茨是第一批创作出即使在今天来看作品也不“过时”的摄影师之一。虽然他那个时代的服装和建筑风格已经发生了很大的变化，但他最好的作品看起来仍然非常现代。能做到这点，主要原因是他和我们使用相机是一样——用熟悉的工具来探索现实。

Stieglitz was one of the first to create immortal works that do not seem "outdated" even today. Although the clothing and architectural style is different from his time, his best works still look very contemporary. The main reason why he was able to do this was that he used the camera as we use it today --- using familiar tools to explore the world.

斯蒂格利茨的作品通过一种自然、浪漫的感觉来软化美国工业的野蛮。当时的大多数摄影师都是通过后期处理来达到这种效果的，而斯蒂格利茨则是依靠敏锐的构图感、技术能力和元素，经常选择在恶劣的天气和恶劣的光照条件下进行拍摄。

Stieglitz's works soften the brutality of American Industry via a natural, romantic feel. A lot of photographers during that time achieve this kind of effect by editing, but Stieglitz did this by relying on the sharp sense of composition and technical ability and elements, he often choose to shoot under bad weather and lighting.

斯蒂格利茨是“摄影分离派”的创始成员和领袖，这些摄影师决心要摆脱摄影的过去，规划摄影的未来。斯蒂格里茨成为了“摄影分离派”的《相机作品》杂志的编辑和出版人，这是第一本严肃地把摄影作为一种独立艺术形式的出版物。

Stieglitz was a founding member and leader of "Photo-Secession", these photographers were determined to break off from the photography in the past and to plan for its future. Stieglitz became the editor and publisher of " Photo-Secession" magazine "Camera Work“， this was the first published item that seriously made photography an independent art.

在欧洲生活期间，斯蒂格利茨就奠定了将摄影作为一种艺术形式的思想基础。一回到纽约，他就沉浸在各种摄影俱乐部里，促成了纽约摄影俱乐部(Camera Club of New York)的成立，作为副总裁，他把俱乐部的时事通讯变成了一本扩大版的杂志《摄影笔记》(Camera Notes)，通过介绍全美和欧洲优秀摄影师成为了一本先进的摄影艺术杂志。

While he was still living in Europe, Stieglitz had established the basic thinking of photography as art. Once he got back to New York, he was immersed in various photography clubs, and encouraged the formation of the Camera Club of New York, as the vice-CEO, he made the communication of the club into a bigger magazine "Camera Notes". By introducing awesome photographers from America and Europe, it became an advanced photography art magazine.

斯蒂格利茨和他颇具影响力的画廊以及举办的展览被认为是为美国艺术创造了一种前所未有的新鉴赏和新市场。1936年，他首次展出了崭露头角的摄影师安塞尔·亚当斯的作品。

Stieglitz, his influential galleries, and exhibitions were recognized as an unprecedented new appreciation and market of American art. In 1936, he first exhibited the new photographer Ansel Adams' work.

1916年，斯蒂格利茨在展出年轻画家乔治娅·奥基夫（O’Keeffe）的作品时认识了她，他们后来成为了20世纪最杰出的一对夫妻。斯蒂格利茨为奥基夫拍摄过350多幅肖像，展现了她各种各样的特征和美丽。2006年，他的照片《双手》以147万美元的高价成交。这一系列的作品被认为是斯蒂格利茨最有创意的作品，体现了他从画派到现代主义的转变。

In 1916, Stieglitz exhibited the young painter Georgia P'Keeffe's work and met her. They then became the most remarkable couple of the 20th century. Stieglitz had shot more than 350 portraits for O'Keeffe, showing different kinds of characteristics and beauty. In 2006, his photo "Hands" sold for $1.47 million. This series of images was known as Stieglitz's most creative works, showing the transition from Pictorialism to Modernism.

斯蒂格利茨的作品遍布世界各地，包括乔治·伊士曼博物馆，大都会艺术博物馆，维多利亚和阿尔伯特博物馆。

Stieglitz's works are everywhere, including The George Eastman Museum, Metropolitan Museum of Art, and Victoria and Albert Museum.