420:
838:
581:
722:
432:
33:
345:. Käsebier selected one Indian, Iron Tail, to approach for a photograph without regalia. "He did not object. The resulting photograph was exactly what Käsebier had envisioned: a relaxed, intimate, quiet, and beautiful portrait of the man, devoid of decoration and finery, presenting himself to her and the camera without barriers." Several days later, Chief Iron Tail was given the photograph and he immediately tore it up, stating that it was too dark. Käsebier photographed him again, this time in his full regalia. Iron Tail was an international celebrity. He appeared with his fine regalia as the lead with Buffalo Bill at the
780:
363:
245:
858:
320:
877:
545:
enjoyed commercial success, the more
Stieglitz felt she was going against what he felt a true artist should emulate. In May 1906, Käsebier joined the Professional Photographers of New York, a newly formed organization that Stieglitz saw as standing for everything he disliked: commercialism and the selling of photographs commercially rather than for love of the art. After this, he began distancing himself from Käsebier. Their relationship never regained its previous status of mutual artistic admiration.
105:
741:
967:
554:
984:
950:
913:
182:
818:
760:
700:
933:
894:
799:
1443:
452:, a photographer who was her contemporary, Käsebier focused more on the expression and individuality of the person than their costumes and customs. While Curtis is known to have added elements to his photographs to emphasize his personal vision, Käsebier did the opposite, sometimes removing genuine ceremonial articles from a sitter to concentrate on the face or stature of the person.
1109:"Käsebier seated the Indians one by one in her posing chair, and treated the Sioux performers as friends. While on the road with Buffalo Bill's Wild West, they were treated like celebrities." Delaney, "Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Käsebier", Smithsonian National Museum of American History (2007), at p. 16.
225:, a 19th-century scholar whose ideas about learning, play, and education led to the development of the first kindergarten. His concepts about the importance of motherhood in child development greatly influenced Käsebier, and many of her later photographs emphasized the bond between mother and child. She was also influenced by the
1401:
544:
When Käsebier returned to New York an unexpected conflict with
Stieglitz developed. Käsebier's strong interest in the commercial side of photography, driven by her need to support her husband and family, was directly at odds with Stieglitz's idealistic and antimaterialistic nature. The more Käsebier
472:
In 1900, Käsebier continued to gather accolades and professional praise. In the catalog for the Newark (Ohio) Photography Salon, she was called "the foremost professional photographer in the United States". In recognition of her artistic accomplishments and her stature, later that year, Käsebier was
410:
with
Buffalo Bill's Wild West. Flying Hawk regularly circulated show grounds in full regalia and sold his "cast card" picture postcards for a penny to promote the show and to supplement his meager income. After the death of Iron Tail on May 28, 1916, Flying Hawk was chosen as his successor by all of
274:
The success of these shows led to another at the
Photographic Society of Philadelphia in 1897. She also lectured on her work there and encouraged other women to take up photography as a career, saying "I earnestly advise women of artistic tastes to train for the unworked field of modern photography.
201:
Käsebier later wrote that she was miserable throughout most of her marriage. She said "If my husband has gone to Heaven, I want to go to Hell. He was terrible... Nothing was ever good enough for him." At that time, divorce was considered scandalous, and the two remained married while living separate
599:
Part of Käsebier's alienation from
Stieglitz was due to his stubborn resistance to the idea of gaining financial success from artistic photography. If he felt a buyer truly appreciated the art, he often sold original prints by Käsebier and others at far less than their market value, and when he did
193:
On her 22nd birthday, in 1874, she married 28-year-old Eduard Käsebier, a financially comfortable and socially well-placed businessman in
Brooklyn. The couple soon had three children, Frederick William (1875–1935), Gertrude Elizabeth (1878–?), and Hermine Mathilde (1880–?). In 1884, they moved to a
232:
She formally studied drawing and painting, but she quickly became obsessed with photography. Like many art students of that time, Käsebier decided to travel to Europe to further her education. She began 1894 by spending several weeks studying the chemistry of photography in
Germany, where she was
561:
Eduard Käsebier died in 1910, finally leaving his wife free to pursue her interests as she saw fit. She continued to follow a separate course from that of
Stieglitz and helped to establish the Women's Professional Photographers Association of America. In turn, Stieglitz began to publicly speak
303:
culture and maintained friendships with the Sioux. Cody quickly approved Käsebier's request and she began her project on Sunday morning, April 14, 1898. Käsebier's project was purely artistic and her images were not made for commercial purposes. They never were used in
Buffalo Bill's Wild West
340:
was her only recorded story: "Preparing for their visit to Käsebier's photography studio, the Sioux at
Buffalo Bill's Wild West Camp met to distribute their finest clothing and accessories to those chosen to be photographed." Käsebier admired their efforts, but desired to, in her own words,
209:
In spite of their differences, her husband supported her financially when she began to attend art school at the age of 37, a time when most women of her day were well-settled in their social positions. Käsebier never indicated what motivated her to study art, but she devoted herself to it
149:
of 1859, and he prospered from the building boom that followed. In 1860, eight-year-old Stanton traveled with her mother and younger brother to join her father in Colorado. That same year, her father was elected the first mayor of Golden, which was then the capital of the
615:
During this time, many young women starting in photography sought Käsebier, both for her photographic artistry and for inspiration as an independent woman. Among those who were inspired by Käsebier and who went on to have successful careers of their own were
382:, his glare is the most startling image among those portraits by Käsebier, quite contrary to the others who were shown as relaxed, smiling, or making a "noble pose". Flying Hawk was a combatant in nearly all of the fights with United States troops during the
258:
In 1895, she returned to Brooklyn. In part because her husband had become quite ill and her family's finances were strained, she determined to become a professional photographer. A year later, she became an assistant to Brooklyn portrait photographer
469:, who wrote "a year ago Käsebier's name was practically unknown in the photographic world... Today that names stands first and unrivaled...". That same year her print of "The Manger" sold for $ 100, the most ever paid for a photograph at that time.
607:
found the group Pictorial Photographers of America, which was seen by Stieglitz as a direct challenge to his artistic leadership. By this time, however, Stieglitz's tactics had offended many of his former friends, including White and
492:
and devoted an entire chapter to the work of Käsebier ("Gertrude Käsebier and the Artistic Commercial Portrait"). Due to demand for her artistic opinions in Europe, Käsebier spent most of the year in Britain and France visiting with
837:
600:
sell prints, he took many months before paying the photographer of the work. After several years of protesting these practices, in 1912, Käsebier became the first member to resign from the Photo-Secession.
537:, which had the effect of distancing her from the New York artistic center. In response, she returned to Europe where, through connections provided by Steichen, she was able to photograph the reclusive
70:
1490:
402:
of 1890. In 1898, when the portrait was taken, Flying Hawk was new to show business and he was unable to hide his anger and frustration about having to imitate battle scenes from the
359:. Käsebier believed all the portraits were a "revelation of Indian character", showing the strength and individual character of the Native Americans in "new phases for the Sioux".
533:
The strain of balancing her professional life with her personal one began to take a toll on Käsebier at this time. The stress was exacerbated by her husband's decision to move to
2276:
2271:
419:
685:
639:
Throughout the late 1910s and most of the 1920s, Käsebier continued to expand her portrait business, taking photographs of many important people of the time, including
218:, a highly influential artist and art educator. He later helped promote her career by writing about her work and by introducing her to other photographers and patrons.
721:
154:. During her four years in Colorado, she developed an interest in and affection for Native Americans. She would visit with them, and then be returned to her home.
1127:
Delaney, "Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Käsebier", Smithsonian National Museum of American History (2007), at p. 16.
1091:
Delaney, "Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Käsebier", Smithsonian National Museum of American History (2007), at p. 13.
406:
for Buffalo Bill's Wild West in order to escape the constraints and poverty of the Indian reservation. Soon, Flying Hawk learned to appreciate the benefits of a
1145:
Delaney, "Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Käsebier", Smithsonian National Museum of American History (2007), p. 17.
1118:
Delaney, "Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Käsebier", Smithsonian National Museum of American History (2007), cover page.
2266:
2261:
1483:
857:
562:
against her contemporary work, but he still thought enough of her earlier images to include 22 of them in the landmark exhibition of pictorialists at the
1982:
876:
353:
of Rome. Iron Tail was a superb showman and disliked the photograph of him relaxed, but Käsebier chose it as the frontispiece for an article in the 1901
202:
lives after 1880. This unhappy situation later served as an inspiration for one of her most strikingly titled photographs – two constrained oxen, titled
1771:
465:, declaring her "beyond dispute, the leading artistic portrait photographer of the day". Her rapid rise to fame was noted by photographer and critic
2241:
267:
for example. Clearly, however, by this time, she had an extensive mastery of photography. Just one year later, she exhibited 150 photographs at the
1100:
Delaney, "Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Käsebier", Smithsonian National Museum of American History (2007).
912:
779:
1449:
Early photographs taken by Gertrude in 1894, while visiting Normandy France, alongside her article 'Peasant life in Normandy' with self portrait.
1360:
Gertrude Käsebier, the complexity of light and shade : photographs and papers of Gertrude Käsebier in the University of Delaware Collections
2256:
1476:
1448:
740:
121:
817:
445:
Over the next decade, she took dozens of photographs of the Indians in the show. Some of those photographs become her more famous images.
287:
troupe parade past her Fifth Avenue studio in New York City, toward Madison Square Garden. Her memories of affection and respect for the
1430:
313:
300:
271:, an enormous number for an individual artist at the time. These same photographs were shown in February 1897 at the Pratt Institute.
1367:
1270:
1163:
Chief Flying Hawk replaces Chief Iron Tail who was stricken and died a fortnight ago. He was chosen by all of the braves yesterday.
210:
wholeheartedly. Over the objections of her husband, in 1889, she moved the family back to Brooklyn to attend the newly established
431:
666:
In 1929, Käsebier gave up photography altogether and liquidated the contents of her studio. The same year, she was given a major
341:
photograph a "real raw Indian, the kind I used to see when I was a child", referring to her early years in Colorado and on the
346:
120:; May 18, 1852 – October 12, 1934) was an American photographer. She was known for her images of motherhood, her portraits of
1975:
1385:
699:
275:
It seems to be especially adapted to them, and the few who have entered it are meeting a gratifying and profitable success."
161:, where her mother, Muncy Boone Stanton, opened a boarding house to support the family. From 1866 to 1870, Stanton lived in
966:
949:
1417:
1258:
759:
395:
577:. Why Keiley suddenly changed his opinion of her is unknown, but Käsebier suspected that Stieglitz had put him up to it.
2205:
1827:
1154:
M.I. McCreight, "Firewater and Forked Tongues: A Sioux Chief Interprets U.S. History", (1947), p. 123-124, 131-139.
748:
1851:
2079:
2071:
1923:
983:
580:
244:
2054:
1810:
1708:
1577:
893:
362:
2030:
2022:
1968:
1552:
1438:
932:
563:
515:
424:
304:
program booklets or promotional posters. Käsebier took classic photographs of the Sioux while they were relaxed.
166:
1622:
372:
330:
319:
226:
195:
32:
146:
2006:
1627:
1617:
592:
588:
439:
383:
355:
312:
were among Käsebier's most challenging and revealing portraits. Käsebier's photographs are preserved at the
162:
584:
248:
2190:
1803:
1602:
1582:
681:
534:
522:, and the following year, Stieglitz presented an exhibition of Käsebier photographs (along with those of
411:
the braves of Buffalo Bill's Wild West and he led the gala processions as the head Chief of the Indians.
299:
tribe traveling with the show in her studio. Cody and Käsebier were similar in their abiding respect for
2153:
1911:
1662:
1468:
845:
729:
399:
264:
798:
141:). Her mother was Muncy Boone Stanton and her father was John W. Stanton. He transported a saw mill to
2251:
2246:
2210:
2014:
1779:
1677:
1457:
865:
403:
104:
2148:
2138:
1930:
1918:
1846:
1733:
1672:
1612:
1516:
1511:
1453:
222:
170:
478:
2061:
1881:
1592:
1244:
268:
158:
151:
1521:
553:
2220:
2143:
1874:
1834:
1723:
1381:
1363:
1276:
1266:
644:
633:
604:
527:
523:
485:
215:
263:, where she learned how to run a studio and expand her knowledge of printing techniques. See
252:
1991:
1857:
1682:
1647:
1642:
1607:
1597:
1547:
1537:
1406:
768:
652:
648:
629:
456:
181:
142:
138:
2215:
2195:
2038:
1761:
1738:
1687:
1567:
1421:
671:
667:
621:
505:
498:
260:
211:
1657:
901:
1238:
2133:
2118:
1935:
1744:
1728:
1632:
1557:
1542:
660:
617:
609:
494:
38:
2235:
2185:
2123:
1862:
1667:
1652:
1562:
1426:
806:
787:
711:
570:
538:
466:
449:
288:
89:
1295:
1200:
Joseph T. Keily (January 1899). "The Philadelphia Salon: Its Origin and Influence".
2200:
2170:
2046:
1947:
1899:
1869:
1839:
1815:
1692:
1637:
1587:
1572:
921:
640:
625:
461:
407:
391:
342:
292:
284:
238:
1414:
508:. The following year, Stieglitz published six of her images in the first issue of
253:
Department of Image Collections, National Gallery of Art Library, Washington, D.C.
1077:
2178:
2098:
1942:
1891:
1822:
1798:
1751:
1718:
1329:
826:
656:
510:
474:
387:
379:
366:
309:
677:
Käsebier died on October 12, 1934, at the home of her daughter Hermine Turner.
514:. They were accompanied by highly complementary articles by Charles Caffin and
1713:
1396:
1378:
Buffalo Bill's Wild West Warriors: A Photographic History by Gertrude Käsebier
1280:
1499:
663:. In 1924, her daughter Hermine Turner joined her in her portrait business.
350:
337:
324:
305:
234:
137:
Käsebier was born Gertrude Stanton on May 18, 1852, in Fort Des Moines (now
237:. She spent the rest of the year in France, studying with American painter
1906:
1756:
1064:
Ambassadors of Progress: American Women Photographers in Paris, 1900–1901
1224:
The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography
569:
The next year, Käsebier was shocked by a highly critical attack made by
1895:
1462:
427:
and Gertrude Käsebier on the patio of a hotel in Venice, Italy, 1905
398:
in 1876. He was present at the death of Crazy Horse in 1877 and the
1960:
316:'s Photographic History Collection at the Smithsonian Institution.
157:
Her father died suddenly in 1864 and afterward the family moved to
612:, and a year later, he was forced to disband the Photo-Secession.
579:
552:
430:
418:
361:
318:
296:
243:
180:
504:
In 1902, Stieglitz included Käsebier as a founding member of the
1049:
A pictorial heritage : the photographs of Gertrude Käsebier
198:, for a healthier environment in which to raise their children.
1964:
1472:
249:
Gertrude Käsebier, c. 1900, platinum print by Samuel H. Lifshey
1066:. Hanover: University Press of New England. pp. 157–158.
1051:. Wilmington, DE: University of Delaware/Delaware Art Museum.
124:, and her promotion of photography as a career for women.
573:, her former admirer, that was published in Stieglitz's
1036:. NY: Abrams. pp. 13–14, 26, 28–30, 42, 44, 46–60.
1034:
Gertrude Käsebier, The Photographer and Her Photographs
295:
requesting permission to photograph the members of the
221:
While at Pratt, Käsebier learned about the theories of
1315:
Hall, Michael W. "The Gertrude Kasebier Collection."
165:, with her maternal grandmother and she attended the
1358:
Tomlinson, Janis A. (2013). Stephen Petersen (ed.).
2162:
2109:
2090:
1998:
1788:
1770:
1701:
1530:
518:. In 1905 six more of her images were published in
97:
78:
52:
23:
1226:. NY: Metropolitan Museum of Art. pp. 387–88.
1415:Paul Cava Fine Art Photographs, Gertrude Kasebier
686:International Photography Hall of Fame and Museum
473:one of the first two women elected to Britain's
189:a manipulated self-portrait by Gertrude Käsebier
1431:Smithsonian National Museum of American History
173:). Little else is known about her early years.
680:A major collection of her work is held by the
1976:
1484:
8:
459:published five of Käsebier's photographs in
233:able to leave her daughters with in-laws in
1983:
1969:
1961:
1491:
1477:
1469:
684:. In 1979, Käsebier was inducted into the
31:
20:
2277:19th-century American women photographers
2272:20th-century American women photographers
214:full-time. One of her teachers there was
291:people inspired her to send a letter to
1217:
1215:
1005:
695:
672:Brooklyn Institute of Arts and Sciences
585:Gertrude Käsebier with hand-held camera
528:Little Galleries of the Photo-Secession
1334:International Photography Hall of Fame
1027:
1025:
1023:
1021:
1019:
1017:
1015:
1013:
1011:
1009:
549:Professional independence (1910–1934)
7:
1456:Prints and Photographs Reading Room
1079:Photographers of Genius at the Getty
477:(the other was British pictorialist
2267:20th-century American photographers
2262:19th-century American photographers
1294:Heilbrunn Timeline of Art History.
314:National Museum of American History
177:Becoming a photographer (1874–1897)
1500:New Woman of the late 19th century
1082:, Getty Publications, p. 76.
846:The Clarence White Family in Maine
386:. He fought along with his cousin
14:
1434:(Photographic History collection)
1263:Camera Work: A Critical Anthology
212:Pratt Institute of Art and Design
16:American photographer (1852–1934)
1399:
982:
965:
948:
931:
925:(American painter), c. 1907
911:
892:
875:
856:
836:
830:(American painter), c. 1910
816:
797:
778:
758:
739:
720:
698:
587:, 1907, gelatin print postcard,
415:Height of her career (1898–1909)
103:
2242:American portrait photographers
1177:Alfred Stieglitz (July 1899). "
1062:Bronwyn A. E. Griffith (2001).
589:Department of Image Collections
279:Gertrude Käsebier and the Sioux
1:
2257:Artists from Des Moines, Iowa
1747:(Mary Chavelita Dunne Bright)
1265:. NY: Aperture. p. 338.
1047:Homer, William Innes (1979).
850:(American photographer), 1913
396:Battle of the Little Big Horn
186:Portrait of the Photographer,
42:
2206:Readymades of Marcel Duchamp
1886:The Case of Rebellious Susan
1427:Gertrude Käsebier collection
1362:. : University of Delaware.
1319:3 no. 1 (Fall 1993): page 4.
1032:Barbara L. Michaels (1992).
749:Blessed Art Thou Among Women
488:published his landmark book
204:Yoked and Muzzled – Marriage
1852:The Story of a Modern Woman
1444:Museum of Fine Arts, Boston
371:, Gertrude Kasebier, 1898,
293:William "Buffalo Bill" Cody
2293:
2055:From the Back Window - 291
1709:Elizabeth Barrett Browning
1578:Jennie Augusta Brownscombe
1237:Charles H. Caffin (1901).
884:Yoked and Muzzled Marriage
423:Portrait of photographers
283:In 1898, Käsebier watched
2031:Spring Showers, the Coach
1553:Sophie Gengembre Anderson
1507:
1296:"Pictorialism in America"
1240:Photography as a Fine Art
603:In 1916, Käsebier helped
595:Library, Washington, D.C.
564:Albright-Knox Art Gallery
516:Frances Benjamin Johnston
490:Photography as a Fine Art
425:Frances Benjamin Johnston
349:in Paris, France and the
347:Avenue des Champs-Élysées
329:Gertrude Kasebier, 1898,
167:Bethlehem Female Seminary
102:
30:
2080:Georgia O'Keeffe - Hands
2072:Georgia O'Keeffe - Torso
1924:Mrs. Warren's Profession
1623:Wilhelmina Weber Furlong
1136:Delaney, 2007 p. 16
394:and Black Fox II in the
373:U.S. Library of Congress
336:Käsebier's session with
331:U.S. Library of Congress
285:Buffalo Bill's Wild West
227:Arts and Crafts movement
2007:The Last Joke, Bellagio
1628:Elizabeth Shippen Green
1618:Susan Stuart Frackelton
1076:Weston J. Naef (2004),
593:National Gallery of Art
440:National Gallery of Art
384:Great Sioux War of 1876
163:Bethlehem, Pennsylvania
2191:Nude photography (art)
1804:The Portrait of a Lady
1603:Alice Brown Chittenden
1583:Julia Margaret Cameron
682:University of Delaware
596:
558:
535:Oceanside, Long Island
442:
428:
375:
333:
255:
196:New Durham, New Jersey
190:
145:, at the start of the
133:Early life (1852–1873)
2154:Clarence Hudson White
1912:The Romance of a Shop
1663:Elizabeth Okie Paxton
1512:19th-century feminism
1420:July 7, 2020, at the
1380:. Smithsonian, 2007.
583:
556:
434:
422:
400:Wounded Knee Massacre
378:In her photograph of
365:
322:
247:
184:
147:Pike's Peak Gold Rush
2211:Straight photography
2015:Winter, Fifth Avenue
1807:(serialized 1880–81)
1780:Alice Freeman Palmer
1678:Jessie Willcox Smith
1463:Museum of Modern Art
1222:Weston Naef (1978).
866:John Murray Anderson
356:Everybody's Magazine
2149:Katherine Stieglitz
1931:George Bernard Shaw
1919:George Bernard Shaw
1847:Ella Hepworth Dixon
1734:Ella Hepworth Dixon
1673:Pamela Colman Smith
1613:Emma Lampert Cooper
1517:First-wave feminism
1454:Library of Congress
1376:Delaney, Michelle.
1330:"Gertrude Käsebier"
869:, c. 1914–1916
2091:Photography series
1882:Henry Arthur Jones
1593:Minerva J. Chapman
1502:(born before 1880)
1352:Additional reading
730:Clarence White Sr.
597:
559:
443:
429:
376:
334:
269:Boston Camera Club
256:
191:
159:Brooklyn, New York
152:Colorado Territory
2229:
2228:
2221:291 (art gallery)
2144:Katharine Rhoades
2129:Gertrude Käsebier
1958:
1957:
1903:(serialized 1878)
1811:Elizabeth Barrett
1797:Isabel Archer in
1724:Annie Sophie Cory
1179:Our Illustrations
634:Imogen Cunningham
605:Clarence H. White
566:later that year.
524:Clarence H. White
486:Charles H. Caffin
404:Great Plains Wars
390:and his brothers
380:Chief Flying Hawk
368:Chief Flying Hawk
310:Chief Flying Hawk
261:Samuel H. Lifshey
216:Arthur Wesley Dow
114:Gertrude Käsebier
111:
110:
25:Gertrude Käsebier
2284:
2139:Georgia O'Keeffe
1992:Alfred Stieglitz
1985:
1978:
1971:
1962:
1858:Gustave Flaubert
1789:Literature about
1748:
1683:Annie Swynnerton
1648:Elizabeth Nourse
1643:Anna Lea Merritt
1608:Elizabeth Coffin
1548:Nina E. Allender
1493:
1486:
1479:
1470:
1409:
1407:Biography portal
1404:
1403:
1402:
1373:
1345:
1344:
1342:
1340:
1326:
1320:
1313:
1307:
1306:
1304:
1302:
1291:
1285:
1284:
1255:
1249:
1248:
1234:
1228:
1227:
1219:
1210:
1209:
1197:
1191:
1190:
1174:
1168:
1167:, June 12, 1916.
1161:
1155:
1152:
1146:
1143:
1137:
1134:
1128:
1125:
1119:
1116:
1110:
1107:
1101:
1098:
1092:
1089:
1083:
1074:
1068:
1067:
1059:
1053:
1052:
1044:
1038:
1037:
1029:
986:
969:
952:
935:
915:
896:
879:
860:
840:
820:
801:
782:
769:Alfred Stieglitz
762:
743:
724:
702:
653:Arthur B. Davies
649:William Glackens
630:Florence Maynard
571:Joseph T. Keiley
557:Käsebier in 1908
457:Alfred Stieglitz
438:, c. 1900,
223:Friedrich Fröbel
206:(c. 1915).
171:Moravian College
143:Golden, Colorado
139:Des Moines, Iowa
122:Native Americans
107:
92:, New York, U.S.
85:
82:October 12, 1934
71:Des Moines, Iowa
66:
64:
57:Gertrude Stanton
47:
44:
35:
21:
2292:
2291:
2287:
2286:
2285:
2283:
2282:
2281:
2232:
2231:
2230:
2225:
2216:The Linked Ring
2196:Photo-Secession
2158:
2111:
2105:
2086:
2039:The Hand of Man
1994:
1989:
1959:
1954:
1790:
1784:
1766:
1762:Olive Schreiner
1743:
1739:Maria Edgeworth
1697:
1688:Candace Wheeler
1568:Enella Benedict
1526:
1522:Women's history
1503:
1497:
1422:Wayback Machine
1405:
1400:
1398:
1395:
1370:
1357:
1354:
1349:
1348:
1338:
1336:
1328:
1327:
1323:
1314:
1310:
1300:
1298:
1293:
1292:
1288:
1273:
1257:
1256:
1252:
1243:. NY. pp.
1236:
1235:
1231:
1221:
1220:
1213:
1199:
1198:
1194:
1176:
1175:
1171:
1162:
1158:
1153:
1149:
1144:
1140:
1135:
1131:
1126:
1122:
1117:
1113:
1108:
1104:
1099:
1095:
1090:
1086:
1075:
1071:
1061:
1060:
1056:
1046:
1045:
1041:
1031:
1030:
1007:
1002:
995:
994:
987:
978:
977:
970:
961:
960:
953:
944:
943:
936:
927:
926:
916:
907:
906:
897:
888:
887:
880:
871:
870:
861:
852:
851:
849:
841:
832:
831:
821:
812:
811:
802:
793:
792:
783:
774:
773:
763:
754:
753:
744:
735:
734:
725:
716:
715:
709:
703:
694:
668:solo exhibition
622:Consuelo Kanaga
551:
506:Photo-Secession
499:Edward Steichen
484:The next year,
417:
325:Chief Iron Tail
306:Chief Iron Tail
301:Native American
281:
188:
179:
135:
130:
93:
87:
83:
74:
68:
62:
60:
59:
58:
48:
45:
26:
17:
12:
11:
5:
2290:
2288:
2280:
2279:
2274:
2269:
2264:
2259:
2254:
2249:
2244:
2234:
2233:
2227:
2226:
2224:
2223:
2218:
2213:
2208:
2203:
2198:
2193:
2188:
2183:
2175:
2166:
2164:
2160:
2159:
2157:
2156:
2151:
2146:
2141:
2136:
2134:Dorothy Norman
2131:
2126:
2121:
2119:Alice Boughton
2115:
2113:
2107:
2106:
2104:
2103:
2094:
2092:
2088:
2087:
2085:
2084:
2076:
2068:
2059:
2051:
2043:
2035:
2027:
2019:
2011:
2002:
2000:
1996:
1995:
1990:
1988:
1987:
1980:
1973:
1965:
1956:
1955:
1953:
1952:
1940:
1928:
1916:
1904:
1889:
1879:
1875:A Doll's House
1867:
1855:
1844:
1835:Victoria Cross
1832:
1820:
1808:
1794:
1792:
1786:
1785:
1783:
1782:
1776:
1774:
1768:
1767:
1765:
1764:
1759:
1754:
1749:
1745:George Egerton
1741:
1736:
1731:
1726:
1721:
1716:
1711:
1705:
1703:
1699:
1698:
1696:
1695:
1690:
1685:
1680:
1675:
1670:
1665:
1660:
1655:
1650:
1645:
1640:
1635:
1633:Ellen Day Hale
1630:
1625:
1620:
1615:
1610:
1605:
1600:
1595:
1590:
1585:
1580:
1575:
1570:
1565:
1560:
1558:Cornelia Barns
1555:
1550:
1545:
1543:Elenore Abbott
1540:
1534:
1532:
1528:
1527:
1525:
1524:
1519:
1514:
1508:
1505:
1504:
1498:
1496:
1495:
1488:
1481:
1473:
1467:
1466:
1460:
1458:resources page
1451:
1446:
1441:
1436:
1424:
1411:
1410:
1394:
1393:External links
1391:
1390:
1389:
1374:
1368:
1353:
1350:
1347:
1346:
1321:
1308:
1286:
1271:
1259:Jonathan Green
1250:
1229:
1211:
1192:
1169:
1156:
1147:
1138:
1129:
1120:
1111:
1102:
1093:
1084:
1069:
1054:
1039:
1004:
1003:
1001:
998:
997:
996:
989:
988:
981:
979:
976:, c. 1899
972:
971:
964:
962:
959:, c. 1901
955:
954:
947:
945:
942:, c. 1900
938:
937:
930:
928:
918:
917:
910:
908:
905:, c. 1907
899:
898:
891:
889:
886:, c. 1915
882:
881:
874:
872:
863:
862:
855:
853:
843:
842:
835:
833:
823:
822:
815:
813:
804:
803:
796:
794:
785:
784:
777:
775:
765:
764:
757:
755:
752:, c. 1899
746:
745:
738:
736:
727:
726:
719:
717:
705:
704:
697:
693:
690:
661:Stanford White
618:Clara Sipprell
610:Robert Demachy
550:
547:
495:F. Holland Day
455:In July 1899,
416:
413:
280:
277:
178:
175:
134:
131:
129:
126:
109:
108:
100:
99:
95:
94:
88:
86:(aged 82)
80:
76:
75:
69:
56:
54:
50:
49:
39:Adolf de Meyer
36:
28:
27:
24:
15:
13:
10:
9:
6:
4:
3:
2:
2289:
2278:
2275:
2273:
2270:
2268:
2265:
2263:
2260:
2258:
2255:
2253:
2250:
2248:
2245:
2243:
2240:
2239:
2237:
2222:
2219:
2217:
2214:
2212:
2209:
2207:
2204:
2202:
2199:
2197:
2194:
2192:
2189:
2187:
2186:New York Dada
2184:
2181:
2180:
2176:
2173:
2172:
2168:
2167:
2165:
2161:
2155:
2152:
2150:
2147:
2145:
2142:
2140:
2137:
2135:
2132:
2130:
2127:
2125:
2124:Paul Haviland
2122:
2120:
2117:
2116:
2114:
2112:relationships
2108:
2101:
2100:
2096:
2095:
2093:
2089:
2082:
2081:
2077:
2074:
2073:
2069:
2066:
2064:
2060:
2057:
2056:
2052:
2049:
2048:
2044:
2041:
2040:
2036:
2033:
2032:
2028:
2025:
2024:
2020:
2017:
2016:
2012:
2009:
2008:
2004:
2003:
2001:
1997:
1993:
1986:
1981:
1979:
1974:
1972:
1967:
1966:
1963:
1950:
1949:
1944:
1941:
1938:
1937:
1932:
1929:
1926:
1925:
1920:
1917:
1914:
1913:
1908:
1905:
1902:
1901:
1897:
1893:
1890:
1887:
1883:
1880:
1877:
1876:
1871:
1868:
1865:
1864:
1863:Madame Bovary
1859:
1856:
1854:
1853:
1848:
1845:
1842:
1841:
1836:
1833:
1830:
1829:
1828:The Awakening
1824:
1821:
1818:
1817:
1812:
1809:
1806:
1805:
1800:
1796:
1795:
1793:
1791:the New Woman
1787:
1781:
1778:
1777:
1775:
1773:
1769:
1763:
1760:
1758:
1755:
1753:
1750:
1746:
1742:
1740:
1737:
1735:
1732:
1730:
1727:
1725:
1722:
1720:
1717:
1715:
1712:
1710:
1707:
1706:
1704:
1700:
1694:
1691:
1689:
1686:
1684:
1681:
1679:
1676:
1674:
1671:
1669:
1668:Emily Sartain
1666:
1664:
1661:
1659:
1656:
1654:
1653:Violet Oakley
1651:
1649:
1646:
1644:
1641:
1639:
1636:
1634:
1631:
1629:
1626:
1624:
1621:
1619:
1616:
1614:
1611:
1609:
1606:
1604:
1601:
1599:
1598:Émilie Charmy
1596:
1594:
1591:
1589:
1586:
1584:
1581:
1579:
1576:
1574:
1571:
1569:
1566:
1564:
1563:Cecilia Beaux
1561:
1559:
1556:
1554:
1551:
1549:
1546:
1544:
1541:
1539:
1538:Louise Abbéma
1536:
1535:
1533:
1529:
1523:
1520:
1518:
1515:
1513:
1510:
1509:
1506:
1501:
1494:
1489:
1487:
1482:
1480:
1475:
1474:
1471:
1464:
1461:
1459:
1455:
1452:
1450:
1447:
1445:
1442:
1440:
1437:
1435:
1432:
1428:
1425:
1423:
1419:
1416:
1413:
1412:
1408:
1397:
1392:
1387:
1383:
1379:
1375:
1371:
1369:9780615735450
1365:
1361:
1356:
1355:
1351:
1335:
1331:
1325:
1322:
1318:
1312:
1309:
1297:
1290:
1287:
1282:
1278:
1274:
1272:9780912334479
1268:
1264:
1260:
1254:
1251:
1246:
1242:
1241:
1233:
1230:
1225:
1218:
1216:
1212:
1207:
1203:
1196:
1193:
1188:
1184:
1180:
1173:
1170:
1166:
1160:
1157:
1151:
1148:
1142:
1139:
1133:
1130:
1124:
1121:
1115:
1112:
1106:
1103:
1097:
1094:
1088:
1085:
1081:
1080:
1073:
1070:
1065:
1058:
1055:
1050:
1043:
1040:
1035:
1028:
1026:
1024:
1022:
1020:
1018:
1016:
1014:
1012:
1010:
1006:
999:
992:
985:
980:
975:
968:
963:
958:
951:
946:
941:
934:
929:
924:
923:
914:
909:
904:
903:
895:
890:
885:
878:
873:
868:
867:
859:
854:
848:
847:
839:
834:
829:
828:
819:
814:
809:
808:
807:Chester Beach
800:
795:
790:
789:
788:Auguste Rodin
781:
776:
771:
770:
761:
756:
751:
750:
742:
737:
732:
731:
723:
718:
713:
712:Evelyn Nesbit
710:(Portrait of
708:
701:
696:
691:
689:
687:
683:
678:
675:
673:
669:
664:
662:
658:
654:
650:
646:
642:
637:
635:
631:
627:
623:
619:
613:
611:
606:
601:
594:
590:
586:
582:
578:
576:
572:
567:
565:
555:
548:
546:
542:
540:
539:Auguste Rodin
536:
531:
529:
525:
521:
517:
513:
512:
507:
502:
500:
496:
491:
487:
482:
480:
476:
470:
468:
467:Joseph Keiley
464:
463:
458:
453:
451:
450:Edward Curtis
446:
441:
437:
433:
426:
421:
414:
412:
409:
405:
401:
397:
393:
389:
385:
381:
374:
370:
369:
364:
360:
358:
357:
352:
348:
344:
339:
332:
328:
326:
321:
317:
315:
311:
307:
302:
298:
294:
290:
286:
278:
276:
272:
270:
266:
262:
254:
250:
246:
242:
240:
236:
230:
228:
224:
219:
217:
213:
207:
205:
199:
197:
187:
183:
176:
174:
172:
168:
164:
160:
155:
153:
148:
144:
140:
132:
127:
125:
123:
119:
115:
106:
101:
96:
91:
90:New York City
81:
77:
72:
55:
51:
40:
34:
29:
22:
19:
2201:Pictorialism
2177:
2171:Camera Notes
2169:
2128:
2097:
2078:
2070:
2062:
2053:
2047:The Steerage
2045:
2037:
2029:
2023:The Terminal
2021:
2013:
2005:
1948:Ann Veronica
1946:
1934:
1922:
1910:
1900:Daisy Miller
1898:
1885:
1873:
1870:Henrik Ibsen
1861:
1850:
1840:Anna Lombard
1838:
1826:
1816:Aurora Leigh
1814:
1802:
1693:Anne Whitney
1658:Rose O'Neill
1638:Laura Knight
1588:Mary Cassatt
1573:Rosa Bonheur
1433:
1377:
1359:
1337:. Retrieved
1333:
1324:
1316:
1311:
1299:. Retrieved
1289:
1262:
1253:
1239:
1232:
1223:
1205:
1202:Camera Notes
1201:
1195:
1186:
1183:Camera Notes
1182:
1178:
1172:
1165:Boston Globe
1164:
1159:
1150:
1141:
1132:
1123:
1114:
1105:
1096:
1087:
1078:
1072:
1063:
1057:
1048:
1042:
1033:
990:
973:
957:Indian Chief
956:
939:
922:Robert Henri
920:Portrait of
919:
902:Rose O'Neill
900:
883:
864:
844:
825:Portrait of
824:
805:
786:
767:Portrait of
766:
747:
728:
706:
679:
676:
665:
641:Robert Henri
638:
626:Laura Gilpin
614:
602:
598:
574:
568:
560:
543:
532:
519:
509:
503:
489:
483:
479:Carine Cadby
471:
462:Camera Notes
460:
454:
447:
444:
435:
392:Kicking Bear
377:
367:
354:
343:Great Plains
335:
323:
282:
273:
257:
239:Frank DuMond
231:
220:
208:
203:
200:
192:
185:
156:
136:
117:
113:
112:
84:(1934-10-12)
67:May 18, 1852
37:Portrait by
18:
2252:1934 deaths
2247:1852 births
2182:(1903-1917)
2179:Camera Work
2174:(1897-1903)
2102:(1925-1934)
2099:Equivalents
2034:(1899-1900)
1999:Photographs
1943:H. G. Wells
1892:Henry James
1823:Kate Chopin
1799:Henry James
1752:Sarah Grand
1729:Ella D'Arcy
1719:Kate Chopin
1439:Lee Gallery
991:The Red Man
827:George Luks
733:, 1897–1910
657:Mabel Dodge
575:Camera Work
520:Camera Work
511:Camera Work
475:Linked Ring
408:Show Indian
388:Crazy Horse
46: 1900
2236:Categories
2110:Family and
1714:Mona Caird
1465:, New York
1386:0061129771
1301:October 3,
1000:References
974:The Manger
645:John Sloan
436:The Manger
63:1852-05-18
2065:(Duchamp)
1772:Educators
1317:Messenger
1281:263320288
1208:(3): 126.
526:) at his
351:Colosseum
338:Iron Tail
235:Wiesbaden
128:Biography
98:Signature
2063:Fountain
1907:Amy Levy
1757:Amy Levy
1418:Archived
1339:July 23,
1261:(1973).
1189:(1): 24.
194:farm in
2163:Related
1936:Candida
1896:novella
1702:Writers
1531:Artists
1429:at the
940:Dorothy
714:), 1903
692:Gallery
670:at the
448:Unlike
169:(later
118:Stanton
2083:(1919)
2075:(1918)
2067:(1917)
2058:(1915)
2050:(1907)
2042:(1902)
2026:(1893)
2018:(1893)
2010:(1887)
1951:(1909)
1939:(1898)
1927:(1893)
1915:(1888)
1888:(1894)
1878:(1879)
1866:(1856)
1843:(1901)
1831:(1899)
1819:(1856)
1384:
1366:
1279:
1269:
993:, 1903
810:, 1910
791:, 1905
772:, 1902
707:Miss N
659:, and
632:, and
289:Lakota
116:(born
73:, U.S.
297:Sioux
1382:ISBN
1364:ISBN
1341:2022
1303:2008
1277:OCLC
1267:ISBN
1247:–81.
497:and
308:and
265:here
79:Died
53:Born
1933:'s
1921:'s
1909:'s
1884:'s
1872:'s
1860:'s
1849:'s
1825:'s
1813:'s
1801:'s
1181:".
481:).
2238::
1945:'
1894:'
1837:'
1332:.
1275:.
1245:51
1214:^
1204:.
1185:.
1008:^
688:.
674:.
655:,
651:,
647:,
643:,
636:.
628:,
624:,
620:,
591:,
541:.
530:.
501:.
251:,
241:.
229:.
43:c.
41:,
1984:e
1977:t
1970:v
1492:e
1485:t
1478:v
1388:.
1372:.
1343:.
1305:.
1283:.
1206:1
1187:3
327:,
65:)
61:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
