291 (art gallery) - Knowledge

347:

over. The chief purpose for which the Photo-Secession was established has been accomplished – the serious recognition of photography as an additional medium of pictorial expression." Ironically, Stieglitz began to feel that he had succeeded in transforming the Photo-Secession into something he once disliked – an established institution, set in its ways and complacent in its approach to art. If there was any truth to this statement it reflected directly back at Stieglitz since he was known for his authoritarian control of the Photo-Secession and in selecting what was exhibited at the gallery. Until now Stieglitz's discomfort was held in check by Steichen's more conservative nature, but in the summer of 1906 Steichen decided to move to Paris in order to devote more of his time to his photography and painting. Without Steichen's business eye watching over him, Stieglitz began to reclaim some of his radical roots.

403:

Clarence H. White saw it as the last straw in a series of autocratic moves by Stieglitz, and soon a series of increasingly bitter arguments broke out among the three of them. At one point Stieglitz wrote "To my dismay, jealousies soon became rampant among photographers around me, an exact repetition of the situation I rebelled against at the Camera Club. Various Secessionists were in danger of harming not only each other but what I was attempting to build and demonstrate. I found, too, that the very institutionalism, commercialism and self-seeking I most opposed were actually favored by certain members." These differences of opinion were to increase over the next two years, exacerbated in part by Stieglitz's stubbornness and his refusal to include many of his long-time photographer friends in decisions about the direction of the new gallery.

407:

assembled the prints for a show in the new space. It was the first show of any work by Matisse in the United States and the first one-man show for the artist outside of Paris, and it marked the turning point in the focus of the gallery. After this show, 291 was known much less for photography and much more as a leading force for modern art in America. Moreover, Stieglitz continued to make sure that the gallery was not just an exhibition space; he strongly believed in its original mission as being an educational facility and meeting place for those with avant-garde ideas. Describing the Matisse exhibition, he wrote "Here was the work of a new man, with new ideas – a very anarchist, it seemed, in art. The exhibition led to many heated controversies; it proved stimulating."

570:. In the early years of their relationship O'Keeffe was an inspiration for Stieglitz's photography and a source of creative energy. Other male gallery owners at this time did not commonly seek out or display women's artwork, however, Stieglitz's believed in the legitimacy of females as artists and included Georgia's work in many group exhibitions, and in individual exhibition of her work on April 3, 1917. However his advertisement of O'Keeffe's work at his gallery and his representation of her as an artist was in a large part for her femininity and its presence in her work. 296:

convinced Stieglitz that they would make a perfect space to exhibit photography and in particular the works of the Photo-Secession. Stieglitz, who was still dejected from his trip to Europe, was reluctant at first, but Steichen persisted. By summer Stieglitz signed a one-year lease for three small rooms that would soon become one of the most famous art galleries in the world. The two of them began planning how to use the new space most effectively, not only as a gallery but as an educational facility for artists and photographers and as a meeting place for art lovers.

520: 280: 316:

a much better business sense, and over the years it became a point of contention between the two men. Stieglitz believed that it was better for an exhibited work to go to someone who appreciated it for its artistic merit rather than its investment potential, and he was known to have quoted wildly inconsistent prices for the same piece depending on what he perceived as the true interest of the potential purchaser.

308:

be shown continuous fortnightly exhibitions of from thirty to forty prints each. These small but very select shows will consist not only of American pictures never before publicly shown in any city in this country, but also Austrian, German, British, French and Belgian photographs as well as such other art productions, other than photographic, as the Council of the Photo-Secession can from time to time secure.

374:

and commissions would support the gallery had not been realized. Although he appealed to those members that he knew, the economy was in a significant downturn and no offers of assistance appeared. Since there was no other source of income, Stieglitz sadly went about closing the gallery. By April of that year the original gallery space had been emptied. It was immediately taken over by a ladies' tailor shop.

581:(National Gallery of Art, Alfred Stieglitz Collection) which symbolized his feelings at the time. It depicts a model of a young soldier, armed with a sword and a broom, protecting works of art behind him. To his side is an older, bandaged warrior looking on, possibly representing Stieglitz himself as someone who had been wounded in the battle to protect the art that must now be guarded by a new generation. 528: 416: 213:, who had been trained as a painter but who had also taken up photography. Steichen shared the enthusiasm and passion of Stieglitz, and soon the two were planning how to change the course of photography in America. By the following year they had conceived of a great exhibition of photography, the first to be judged by photographers themselves, and had found a venue at the 544:

Stieglitz was especially troubled because his parents came from Germany, and he still had many close friends there. While he did not sympathize with the German war efforts, he "could not see Germany as all wrong and the Allies as all right.". At the same time, because of the depressed economy attendance at the gallery sharply declined and subscriptions to

271:, who was an avid amateur photographer, about ways to promote photography as an art form. Stieglitz took ill before any of these conversations led to anything, and he had to return home. He was tired, frustrated and seeking a definitive new way to carry out his mission of promoting photography for photography's sake – independent of any other art form. 395:

to be about more than photography. Later, Stieglitz would write "We are dealing, not with a society, not with an organization, as much as with a movement. The Secession is not so much a school or a following as an attitude towards life; and its motto seems to be: 'Give every man who claims to have a message for the world a chance of being heard.

476:, and he introduced Stieglitz to some of the newest European artists by serving as a guide and interpreter when Stieglitz would travel to Europe. His interest in African tribal art and admiration for Picasso's Cubist work convinced Stieglitz to hold groundbreaking exhibitions of these subjects at 291. 435:

The new art and the public's reactions to it were very vitalizing to Stieglitz; it gave him a brand new set of admirers and followers at a time when he was feeling less and less connected to his old colleagues at the Photo-Secession. From then on, the course of the gallery was set. From 1909 until it

390:

The new gallery space, which measured only fifteen feet square, was actually located in the next building on the block at 293 Fifth Avenue. The wall between the two buildings had been removed during a previous renovation, however, so by all appearances the new gallery seemed to share the same address

346:

After a highly successful first year, Stieglitz and Steichen felt that they had made their point about the stature of fine art photography. So confident were they of their success that their colleague Joseph Keily wrote "today in America the real battle for the recognition of pictorial photography is

205:

Stieglitz had hoped to elevate the position of photography by convincing the New York Camera Club to allow him to put together a panel of photographers who would then be the sole judges of a photography competition. After more than a year of arguing with the directors of the Camera Club, many of whom

201:

At the beginning of the 20th century photography's place in the world of fine art was still very indefinite. Although there had been major exhibitions of photography in the Europe and in the U.S., all of them had been judged by painters and sculptors. Photographers were not considered "real" artists,

394:

Perhaps to save money on printing and perhaps because of his affection for the old gallery, Stieglitz wanted the new address to remain "291". Both Haviland and he, however, agreed that the previous name of "Little Galleries of the Photo-Secession" was no longer appropriate. They wanted the new space

386:

emerged from studies at Harvard, learned about the closure of the gallery, and used some of his family's wealth to sign a three-year lease for a small space directly across the hall from the old gallery. After some convincing by Haviland that the new space was workable, Stieglitz gathered some other

315:

Stieglitz and Steichen had planned the gallery as a commercial space, saying that it would "negotiate sales in behalf of owners of picture exhibited, charging a commission of 15 percent for the benefit of the Photo-Secession treasury." This premise is thought to have been pushed by Steichen, who had

551:

Once again it was Haviland who came to the rescue. In early 1915 he told Stieglitz that 291 was in a rut, and something bold was needed to bring it back again. He assembled a close circle of relatively well-off friends, including Agnes Meyer and Dorothy Norman, and together with Stieglitz they came

483:

In fact, the more an artist confounded the public the more Stieglitz felt justified in his efforts. When he presented Picasso's first exhibit in this country in 1911, Stieglitz delighted in telling critics that the works they called “the gibberings of a lunatic” he found to be “as perfect as a Bach

479:

For historical context, virtually no other galleries in the United States were showing works with such abstract and dynamic content at that time. Whether it was already controversial European artists like Picasso, Matisse or Cézanne, or relatively unknown but soon-to-be-famous Americans like Marin,

431:

In addition to marking the beginning of a new path for 291, 1909 was significant for Stieglitz due to the death of his father in May. The two had not been particularly close, but in his will, Stieglitz's father left him the then substantial amount of $ 10,000. Stieglitz drew on this amount over the

307:

The Photo-Secession, for the present thus unable to hold the proposed big exhibition, has determined to present in detail some of the work which had already been selected and which would have been embraced therein, and for that purpose has leased rooms at 291 Fifth Avenue, New York City, where will

402:

From thenceforth Stieglitz referred to the gallery as "291", without the street name or other descriptive title. However, some of the original members of the Photo-Secession did not appreciate the name change and especially the thinking that led to it. Stieglitz's old friends Gertrude Käsebier and

373:

Soon after that show ended Stieglitz was notified that the landlord wanted to double the rent and would require a four-year lease. At that time the Photo-Secession as a group had only a small income, no more than US$ 400 per year. In spite of minor successes, the original plan that membership fees

303:

The Council of the Photo-Secession had planned to hold in the City of New York, early next spring, an exhibition consisting of the very best that has been accomplished in pictorial photography throughout the world, from the time of Hill, the father of pictorial photography, up to date. Many of the

439:

The change in the focus of the gallery led to a coalescence of group of intellectuals and artists who both sympathized with Stieglitz's aims and who themselves were invigorated by the atmosphere there. After the artistic success of the Matisse exhibit, the gallery took on a new life. On any given

319:

On November 24, 1905, the Little Galleries of the Photo-Secession formally opened its doors, with almost no public notice. The opening was attended mainly by those members of the Photo-Secession who were in New York at the time. The first exhibit consisted of one hundred prints by Photo-Secession

242:

By the end of 1904 Stieglitz was in a difficult position. Curtis Bell, president of the American Federation of Photography and an outspoken critic of Stieglitz, organized an exhibition called "The First American Photographic Salon" at the Clausen Galleries in New York. It was judged by a jury of

543:

Starting in 1913 Stieglitz began to express an increasing amount of frustration over the changes that were happening in the world at that time. He wrote "Much of the enthusiasm that had existed at 291 gradually disappeared because of the coming war. Close friends seemed to fall by the wayside."

369:

In the meantime, Steichen had become friends with the famous sculptor Auguste Rodin in Paris, and he convinced Rodin to lend him some of his drawings for a show at the gallery in New York. The 1908 gallery season started with the show "Drawings by Auguste Rodin", the first exhibit in the United

295:

When Stieglitz returned to New York in 1905 Edward Steichen was living in a studio apartment on the top (fifth) floor of a small building at 291 Fifth Avenue, between 30th and 31st Streets on the East side of the avenue. Steichen noticed that some rooms across from him were vacant, and he soon

406:

Meanwhile, Steichen returned to the U.S. in February 1908 with a new group of photos for a show to be held at the gallery the following month. More importantly, he brought with him a group of prints lent to him by Henri Matisse, who at that time little known outside France. Stieglitz promptly

238:

would soon not only be funded completely by its subscribers but that additional income from the sales of the journal would allow him to further promote "photography as a medium of individual expression." While the journal give him a respected forum for showcasing pictorial photography and for

239:

publishing his viewpoints, it was not a financial success. Rather than be daunted by this setback, Stieglitz became even more convinced that he would succeed in convincing the art world of the rightful place of photography if he could only find the right platform for his message.

552:

up with the idea of publishing a new magazine. They decided that this time it would be not only a magazine about art but a work of art itself, printed in a limited edition with very high quality paper and reproductions. The new magazine, which they all agreed should be called

350:

Stieglitz decided to shake things up, and he did so by mounting the first non-photography show at the gallery in January, 1907. This is notable because it signaled the beginning of Stieglitz's role as a pioneer promoter of modern art in America. The show, drawings by artist

355:, initially attracted little attention, but after a prominent critic praised the work it became the best attended exhibition to date. A substantial number of the works were sold, and interest in the show was so strong that it had to be extended eight days. 471:

De Zayas had both a passion and a vision that matched with Stieglitz's personality, and soon he was helping define what the aesthetics of this new generation of art would be. His work was exhibited at the gallery, he wrote several articles for

662:: "I have visited 291 very often and to me it is a wonderful living place palpitating with red blood – a place to which people bring their finest and that brings out the finest that is within all those that come into actual contact with it." 221:" opened to critical acclaim. Moreover, Stieglitz had met his goal of having a show judged by photographers since, in spite of the title of the show, by all accounts he was the sole person responsible for selecting the exhibitors. 343:. Four more exhibitions were held in 1906, including one of British photographers, early prints by Steichen, a show devoted to German and Austrian photographers, and another exhibition of prints by members of the Photo-Secession. 565:

The magazine did little to revive the status of the gallery. Stieglitz continued to present some outstanding shows, but the overall effect of the mounting war tension on the economy could not be overcome. In 1916 Stieglitz met

254:

Stieglitz countered this move by trying to get some of the best known photographers of Europe to join him as part of a united front. He traveled to London to meet with some of the founders of the important photographic group

320:

members, selected entirely by Stieglitz. Over the next few weeks hundreds of New Yorkers came to the gallery, and Stieglitz was once again elevated to the position of standard bearer of artistic photographer in America.

2474: 137:

The gallery is recognized for two achievements: First, its exhibitions helped bring art photography to the same stature in America as painting and sculpture. Pioneering artistic photographers such as Stieglitz,

655:

J. B. Kerfoot: "291 is greater than the sum of all its definitions. For it is a living force, working for both good and evil. To me, 291 has meant an intellectual antidote to the nineteenth century...":

304:

prints had been selected for this purpose, but owing to the impossibility of securing at any price adequate gallery accommodations during the desirable New York season, this exhibition must be deferred.

2449: 548:

dropped off. To make matters even worse, the small corps of volunteer workers at the gallery all but disappeared as people joined the armed forces or had to take on other jobs to help make ends meet.

370:

States of his works on paper. The show caused a significant amount of controversy in the press, with one critic saying "they are not the sort of thing to offer to public view even in a gallery."

584:

Later Stieglitz would return to New York to run two more galleries. From 1925 until 1929 he directed the Intimate Gallery, showcasing the work of American artists, including Marsden Hartley,

2479: 2459: 251:, which gave it considerable standing in the art world. Stieglitz and other photographers saw it as a direct challenge to Stieglitz's reputation, which it was clearly intended to be. 2464: 2139: 2489: 480:

Weber, Dove or Hartley, Stieglitz had both the aesthetic sense and the nerve to showcase individuals who are now acknowledged to have been at the forefront of modern art.

668:: "A pure instrument is certainly sure to give forth pure sound. So has this instrument of 291 kept itself pure as possible that it thereby gives out pure expression." 267:

and Alfred Horley Hinton. He was hoping to convince them to start a chapter of the Linked Ring in the United States, which he would direct. He also met with playwright

2454: 2484: 1590:

Water colors and drawings by Georgia S. Engelhard of New York, a child ten years old; paintings and drawings by Hartley, Marin, Walkowitz, Wright and O'Keeffe

202:

even though many photographers had won awards in international salons. Stieglitz himself had won over 150 awards throughout the world by the end of the 1890s.

2494: 154:

all gained critical recognition through exhibitions at 291. Equally important, Stieglitz used this space to introduce to the United States some of the most

2190: 2126: 358:

Stieglitz began planning for future non-photography shows, but for the remainder of 1907 the walls were filled with exhibits by such photographers as

1992: 2083: 224:

The following year Stieglitz further cemented his reputation as the leading proponent of fine art photography by launching the famed journal

676:

Over the gallery's 13-year existence, the exhibitions held there included an impressive list of firsts in both photography and modern art.

2117: 2183: 2133:, written by the U.S. National Gallery of Art (with an emphasis towards the 291's role in painting rather than photography) 468:; financial supporters Paul Haviland and Agnes Ernst Meyer; and editors and collaborators Joseph Keiley and John Kerfoot. 2413: 2287: 2279: 2262: 2238: 2230: 2176: 1083: 562:

were printed over the next fourteen months, showcasing some of the most avant-garde art and design of the times.

420: 311:

It is planned to make these rooms headquarters for all Secessionists and to open them to the public generally".

179: 1645: 604:, who by then had become his wife. In 1929 he opened "An American Place", where he presented the work of the 2214: 1186: 2398: 920: 2361: 2056: 1931: 1859: 1822: 1771: 340: 244: 151: 206:

did not have any passion for photography as art, Stieglitz gave up and began looking for other forums.

2469: 2418: 2336: 2222: 781: 465: 363: 336: 284: 264: 147: 143: 2093: 287:

and Clarence H. White exhibition at the Little Galleries of the Photo Secession, 1906 (published in

2356: 2346: 1577: 1019: 836: 601: 567: 488: 352: 268: 519: 436:

closed in 1917, 291 featured only six shows of photography out of a total of 61 exhibitions held.

2269: 573:

In June, 1917, only two months after the United States declared war on Germany, Stieglitz closed

461: 445: 260: 214: 2010: 616:

In 1914 Stieglitz published a series of responses to the question "What is 291?" in an issue of

382:

Stieglitz thought that his gallery was finished, but unknown to him a recent acquaintance named

743:

The definitive source book for 291 and the exhibitions held there is Sarah Greenough's massive

2351: 1473: 1327: 217:

in New York. In March 1902, an exhibition of "American Pictorial Photography, arranged by The

119: 631:

A sturdy Islet of enduring independence in the besetting seas of Commercialism and Convention

2199: 1264: 907: 849: 131: 67: 2423: 2403: 2246: 2130: 2088: 2069: 1944: 1872: 1835: 1784: 1371: 1155: 1050: 965: 722: 665: 496: 487:

Among the significant exhibitions that took place during this period were first shows for

457: 453: 323:

The opening show was followed in January, 1906, by one of French photographers, including

256: 218: 210: 190: 139: 702: 387:

friends and came up with additional funds for utilities, supplies, printing and framing.

299:

In October, 1905, Stieglitz sent a letter to all members of the Photo-Secession, saying:

171: 118:

is the commonly known name for an internationally famous art gallery that was located in

608:(Hartley, Marin, Dove, Demuth, O'Keeffe, Strand and Stieglitz) until his death in 1946. 279: 2341: 2326: 1507: 1240: 862: 727: 659: 597: 554: 359: 332: 324: 183: 167: 2443: 2393: 2331: 1632: 1520: 747:(Washington: National Gallery of Art, 2000). This list is found on pp. 543–547. 712: 695: 688: 532: 500: 383: 328: 231: 175: 163: 159: 101: 1175:, and Toulouse-Lautrec; drawings by Rodin; paintings and drawings by Henri Rousseau 2408: 2378: 2254: 2118:"Alfred Stieglitz and Gallery 291 – A Modern Art Revolution Before the Armory Show" 248: 123: 96: 2034: 1958:

Dorothy Norman, ed. (Fall–Winter 1938). "From the Writings of Alfred Stieglitz".

17: 2386: 2306: 2047: 1922: 1850: 1813: 1762: 1554: 1425: 1127: 618: 593: 585: 527: 504: 449: 415: 226: 155: 2123: 1451:; Archaic Mexican pottery and carvings; Kalogramas by Torres Palomar of Mexico 1023: 681: 589: 492: 441: 2154: 2141: 1131: 508: 499:, second shows of Rodin and Matisse, and important shows for newer artists 1975:

The Collection of Alfred Stieglitz – Fifty Pioneers of Modern Photography

1062:

Exhibition of Japanese Prints from the F. W. Hunter Collection, New York

625:

Eugene Meyer responded with a free-form poem. To him 291 represented:

1448: 1172: 2168: 1715:

Modern Art and America: Alfred Stieglitz and His New York Galleries

1678:

An American Lens: Scenes from Alfred Stieglitz's New York Secession

1306:

Drawings, water colors and pastels by children, aged two to eleven

745:

Modern Art and America: Alfred Stieglitz and His New York Galleries

1168: 526: 518: 414: 278: 1993:"'Untamable Texts': The Art of Georgia O'Keeffe and Eudora Welty" 1437:

African sculpture (titled "Statuary in Wood by African Savages")

923:, Etchings by D. S. McLauuhlan, Drawings by Pamela Coleman Smith 558:, appeared in March, 1915, to critical acclaim. Twelve issues of 1580:, water colors and drawings by C. Duncan, oils by René Lafferty 335:

process. This was followed by a two-person show of the works of

187: 2172: 943:

Drawings, lithographs, water colors, etchings by Henri Matisse

523:

291 Fifth Avenue (right), 293 Fifth Avenue (left), before 1913

2475:

Art museums and galleries disestablished in the 20th century

1229:

Early and recent drawings and water colors by Pablo Picasso

130:", the gallery was established and managed by photographer 126:

in New York City from 1905 to 1917. Originally called the "

1693:

Stieglitz on Photography: His Selected Essays and Writings

230:

with the assistance of his friend and fellow photographer

988:

Photographs in color and monochrome by Baron A. De Meyer

717:

1912: The world's first exhibition of Matisse's sculpture

331:

and René Le Bégue, all of whom showed prints made by the

1750:. Rochester, New York: George Eastman House. p. 43. 1486:

Oils, water colors. Etchings and drawings by John Marin

1732:. New Haven: Yale University Press Studio. p. 222. 1116:

Drawings and Photographs of paintings by Henri Matisse

275:

The Little Galleries of the Photo-Secession (1905–1908)

2450:

Photography museums and galleries in the United States

1717:. Washington: National Gallery of Art. pp. 26–53. 1854:(Reprint of a newspaper review) (22): 39. April 1908. 708:

1911: The first U.S. one-person exhibition of Cézanne

440:

day, Stieglitz might have been surrounded by artists

411:

At the forefront of modern art in New York (1909–12)

2370: 2317: 2298: 2206: 1383:Drawings, pastels and water colors by A. Walkowitz 998:Etchings, Dry-points and bookplates by Allen Lewis 91: 73: 63: 45: 37: 1360:Exhibition of New York studies by Francis Picabia 1106:Water colors, pastels, and etchings by John Marin 432:next several years to help keep 291 in business. 366:and, once again, members of the Photo-Secession. 2480:Educational organizations disestablished in 1917 1910:. Boston: Museum of Fine Arts. pp. 136–38. 1543:Drawings and water colors by Abraham Walkowitz 2460:Defunct art museums and galleries in Manhattan 711:1911: The first U.S. one-person exhibition of 2465:Art museums and galleries established in 1905 2184: 1072:Monotypes and drawings by Mr. Eugene Higgins 691:'s late pencil and watercolor figure drawings 8: 1695:. Millerton, New York: Aperture. p. 19. 32: 770:Exhibition of Work by French photographers 2490:1917 disestablishments in New York (state) 2191: 2177: 2169: 1276:Paintings and drawings by Marsden Hartley 794:First Exhibition of British photographers 701:1910: The first three lithographs made by 31: 1895:. New York: Random House. pp. 75–80. 1748:Photo-Secession: Photography as Fine Art 1496:Third exhibition of children's drawings 1296:Sculpture and drawings by Henri Matisse 1286:Paintings and pastels by Arthur G. Dove 1096:Color photographs by Edward J. Steichen 749: 158:European artists of the time, including 27:Art gallery in New York City (1905–1917) 1668: 128:Little Galleries of the Photo-Secession 2455:Art museums and galleries in Manhattan 2065: 2054: 1940: 1929: 1868: 1857: 1831: 1820: 1780: 1769: 1708: 1706: 1704: 1702: 1447:Drawings and paintings by Picasso and 698:'s work ever held in the United States 535:exhibition at 291, 1915 (published in 423:exhibition at 291, 1914 (published in 1986: 1984: 1886: 1884: 1882: 1404:Second exhibition of children's work 968:and autochromes by J. Nilsen Laurvik 865:, William B. Dyer, C. Yarnall Abbott 848:Photographs by Baron A. De Meyer and 243:eminent American painters, including 7: 2485:1905 establishments in New York City 1741: 1739: 1462:Recent paintings by Francis Picabia 1199:Drawings and paintings by Max Weber 1126:Younger American Painters (included 978:Photographs by Alvin Langdon Coburn 875:Photographs by Alvin Langdon Coburn 731:in Barcelona, the title inspired by 2495:20th-century American photographers 2084:"Melissa Seckora: Modern Champions" 1991:Claxton, Mae Miller (Spring 2003). 622:. Here are some of those writings: 1908:Stieglitz: A Memoir/Biography Seer 1893:Alfred Stieglitz: An American Seer 1730:Stieglitz : A Beginning Light 1680:. Cambridge, MIT Press. p. 2. 1533:Recent water colors by John Marin 1209:Recent water colors by John Marin 933:Photographs by Edward J. Steichen 814:Viennese and German photographers 804:Photographs by Edward J. Steichen 643:A Safety valve for repressed ideas 25: 1414:Sculpture by Constantin Brâncuși 1252:Photographs by Baron A. De Meyer 1008:Drawings by Pamela Coleman Smith 1999:: 315–30 – via EBSCO Host. 1977:. New York: Viking. p. 182. 1657:Recent work by Georgia O'Keeffe 1631:Paintings, drawings, pastels by 1350:Photographs by Alfred Stieglitz 641:A Forum for Wisdom and for Folly 1316:Caricatures by Alfred J. Frueh 2035:Alfred Stieglitz's Gallery 291 1611:Marsden Hartley – recent work 694:1908: The first exhibition of 577:. He made a photograph called 1: 1600:Water colors by A. Walkowitz 1566:Paintings by Marsden Hartley 1394:Paintings by Marsden Hartley 1370:Exhibition of caricatures by 2414:Readymades of Marcel Duchamp 1801:. October 1905. p. 147. 953:Exhibition of members' work 919:Etchings and Book Plates by 885:Exhibition of members' work 824:Exhibition of members' work 759:Exhibition of members' work 639:A Negation of Preconceptions 1644:Paintings and sculpture by 1621:Water colors by John Marin 1340:Water colors by John Marin 964:Caricatures in charcoal by 687:1908: The first showing of 684:prints in the United States 259:, including J. Crag Annan, 2511: 2263:From the Back Window - 291 2129:December 22, 2015, at the 1906:Sue Davidson Lowe (1983). 1728:Katherine Hoffman (2004). 1519:Sculpture and drawings by 1506:Drawings and paintings by 1424:Paintings and drawings by 1326:Drawings and paintings by 1144:Drawings Auguste by Rodin 896:Drawings by Auguste Rodin 460:; authors and art critics 2239:Spring Showers, the Coach 2155:40.7464472°N 73.9860528°W 1587:November 22 – December 20 1476:and Katherine N. Rhoades 1313:November 20 – December 12 1185:Drawings and etchings by 1084:Henri de Toulouse-Lautrec 1069:November 24 – December 17 882:November 18 – December 30 821:November 10 – December 30 635:A stimulant – when dulled 79: (107 years ago) 51: (119 years ago) 2288:Georgia O'Keeffe - Hands 2280:Georgia O'Keeffe - Torso 1713:Sarah Greenough (2000). 1646:Stanton Macdonald-Wright 1597:December 17 – January 17 1530:January 18 – February 12 1503:November 10 – December 7 1469:January 27 – February 22 1391:January 12 – February 14 1337:January 20 – February 15 1323:December 15 – January 14 1249:December 18 – January 15 1236:November 8 – December 17 1219:Water colors by Cézanne 1182:December 14 – January 12 1164:November 18 – December 8 1079:December 20 – January 14 845:January 25 – February 12 680:1907: The first show of 651:A Victim and an Avenger 629:An oasis of real freedom 2215:The Last Joke, Bellagio 2160:40.7464472; -73.9860528 2015:Georgia O'Keeffe Museum 1926:(25): 22. January 1909. 1891:Dorothy Norman (1973). 1817:(16): 51. October 1906. 1766:(12): 59. October 1905. 1691:Richard Whelan (2000). 1608:January 22 – February 7 1516:December 8 – January 19 1444:December 9 – January 11 1434:November 3 – December 8 1380:November 19 – January 3 1260:January 17 – February 3 1093:January 21 – February 5 1035:Photographs of Rodin's 975:January 18 – February 1 756:November 24 – January 4 515:Later years (1913–1917) 2399:Nude photography (art) 1540:February 14 – March 12 1483:February 23 – March 26 1401:February 18 – March 11 1347:February 24 – March 15 1283:February 27 – March 12 1039:by Edward J. Steichen 995:February 26 – March 10 916:February 26 – March 11 540: 524: 428: 313: 292: 2362:Clarence Hudson White 1997:Mississippi Quarterly 1618:February 14 – March 3 1134:and Edward Steichen) 1113:February 23 – March 8 858:February 19 – March 5 791:February 21 – March 7 725:founded the magazine 633:A rest – when wearied 530: 522: 418: 301: 282: 245:William Merritt Chase 2419:Straight photography 2223:Winter, Fifth Avenue 2051:(47): 40. July 1914. 1973:Weston Naef (1978). 1746:Robert Doty (1960). 1676:Jay Bochner (2005). 1022:and water colors by 579:The Last Days of 291 466:Benjamin De Casseres 364:Alvin Langdon Coburn 265:Alvin Langdon Coburn 209:In late 1900 he met 144:Alvin Langdon Coburn 2357:Katherine Stieglitz 2151: / 1493:March 27 – April 16 1226:March 28 – April 25 1141:March 21 – April 18 1018:Sketches in oil by 1015:March 30 – April 17 872:March 11 – April 10 837:Pamela Colman Smith 784:and Clarence White 739:List of exhibitions 421:Constantin Brâncuși 353:Pamela Colman Smith 269:George Bernard Shaw 234:. He expected that 180:Constantin Brâncuși 34: 2299:Photography series 2096:on October 1, 2009 1550:March 13 – April 3 1411:March 12 – April 4 1357:March 17 – April 5 1293:March 14 – April 6 930:March 12 – April 2 612:The Essence of 291 541: 525: 462:Sadakichi Hartmann 429: 378:291 is born (1908) 293: 261:Frederick H. Evans 215:National Arts Club 2437: 2436: 2429:291 (art gallery) 2352:Katharine Rhoades 2337:Gertrude Käsebier 2064:Missing or empty 1939:Missing or empty 1867:Missing or empty 1830:Missing or empty 1779:Missing or empty 1661: 1660: 1474:Marion H. Beckett 1328:Abraham Walkowitz 1303:April 11 – May 10 782:Gertrude Käsebier 341:Clarence H. White 337:Gertrude Käsebier 285:Gertrude Käsebier 152:Clarence H. White 148:Gertrude Käsebier 120:Midtown Manhattan 113: 112: 18:291 (Art Gallery) 16:(Redirected from 2502: 2347:Georgia O'Keeffe 2200:Alfred Stieglitz 2193: 2186: 2179: 2170: 2166: 2165: 2163: 2162: 2161: 2156: 2152: 2149: 2148: 2147: 2144: 2120:by Brooke Schieb 2106: 2105: 2103: 2101: 2092:. Archived from 2080: 2074: 2073: 2067: 2062: 2060: 2052: 2043: 2037: 2032: 2026: 2025: 2023: 2021: 2007: 2001: 2000: 1988: 1979: 1978: 1970: 1964: 1963: 1955: 1949: 1948: 1942: 1937: 1935: 1927: 1918: 1912: 1911: 1903: 1897: 1896: 1888: 1877: 1876: 1870: 1865: 1863: 1855: 1846: 1840: 1839: 1833: 1828: 1826: 1818: 1809: 1803: 1802: 1795: 1789: 1788: 1782: 1777: 1775: 1767: 1758: 1752: 1751: 1743: 1734: 1733: 1725: 1719: 1718: 1710: 1697: 1696: 1688: 1682: 1681: 1673: 1654:April 3 – May 14 1578:Georgia O'Keeffe 1563:April 4 – May 22 1367:April 8 – May 20 1265:Arthur B. Carles 1239:Water colors by 1032:April 21 – May 7 750: 602:Georgia O'Keeffe 568:Georgia O'Keeffe 398: 391:as the old one. 132:Alfred Stieglitz 87: 85: 80: 68:Alfred Stieglitz 59: 57: 52: 35: 21: 2510: 2509: 2505: 2504: 2503: 2501: 2500: 2499: 2440: 2439: 2438: 2433: 2424:The Linked Ring 2404:Photo-Secession 2366: 2319: 2313: 2294: 2247:The Hand of Man 2202: 2197: 2159: 2157: 2153: 2150: 2145: 2142: 2140: 2138: 2137: 2131:Wayback Machine 2114: 2109: 2099: 2097: 2089:National Review 2082: 2081: 2077: 2063: 2053: 2045: 2044: 2040: 2033: 2029: 2019: 2017: 2009: 2008: 2004: 1990: 1989: 1982: 1972: 1971: 1967: 1957: 1956: 1952: 1938: 1928: 1920: 1919: 1915: 1905: 1904: 1900: 1890: 1889: 1880: 1866: 1856: 1848: 1847: 1843: 1829: 1819: 1811: 1810: 1806: 1797: 1796: 1792: 1778: 1768: 1760: 1759: 1755: 1745: 1744: 1737: 1727: 1726: 1722: 1712: 1711: 1700: 1690: 1689: 1685: 1675: 1674: 1670: 1666: 1573:May 23 – July 5 1553:Photographs by 1459:January 12 – 26 1421:April 6 – May 6 1372:Marius de Zayas 1167:Lithographs by 1156:Marius de Zayas 1154:Caricatures by 1082:Lithographs by 1059:May 18 – June 2 1051:Marsden Hartley 966:Marius de Zayas 906:Photographs by 861:Photographs by 780:Photographs by 741: 723:Francis Picabia 674: 666:Marsden Hartley 653: 650: 648: 646: 644: 642: 640: 638: 636: 634: 632: 630: 614: 606:Seven Americans 539:, no. 48, 1916) 517: 497:Marsden Hartley 458:Marius de Zayas 454:Marsden Hartley 427:, no. 48, 1916) 413: 396: 380: 291:, No. 14, 1906) 277: 257:The Linked Ring 219:Photo-Secession 211:Edward Steichen 199: 191:Francis Picabia 140:Edward Steichen 109: 105: 83: 81: 78: 55: 53: 50: 28: 23: 22: 15: 12: 11: 5: 2508: 2506: 2498: 2497: 2492: 2487: 2482: 2477: 2472: 2467: 2462: 2457: 2452: 2442: 2441: 2435: 2434: 2432: 2431: 2426: 2421: 2416: 2411: 2406: 2401: 2396: 2391: 2383: 2374: 2372: 2368: 2367: 2365: 2364: 2359: 2354: 2349: 2344: 2342:Dorothy Norman 2339: 2334: 2329: 2327:Alice Boughton 2323: 2321: 2315: 2314: 2312: 2311: 2302: 2300: 2296: 2295: 2293: 2292: 2284: 2276: 2267: 2259: 2251: 2243: 2235: 2227: 2219: 2210: 2208: 2204: 2203: 2198: 2196: 2195: 2188: 2181: 2173: 2135: 2134: 2124:History of 291 2121: 2113: 2112:External links 2110: 2108: 2107: 2075: 2038: 2027: 2002: 1980: 1965: 1950: 1913: 1898: 1878: 1841: 1804: 1790: 1753: 1735: 1720: 1698: 1683: 1667: 1665: 1662: 1659: 1658: 1655: 1652: 1649: 1648: 1642: 1639: 1636: 1635: 1629: 1626: 1623: 1622: 1619: 1616: 1613: 1612: 1609: 1606: 1602: 1601: 1598: 1595: 1592: 1591: 1588: 1585: 1582: 1581: 1574: 1571: 1568: 1567: 1564: 1561: 1558: 1557: 1551: 1548: 1545: 1544: 1541: 1538: 1535: 1534: 1531: 1528: 1524: 1523: 1517: 1514: 1511: 1510: 1508:Oscar Bluemner 1504: 1501: 1498: 1497: 1494: 1491: 1488: 1487: 1484: 1481: 1478: 1477: 1470: 1467: 1464: 1463: 1460: 1457: 1453: 1452: 1445: 1442: 1439: 1438: 1435: 1432: 1429: 1428: 1422: 1419: 1416: 1415: 1412: 1409: 1406: 1405: 1402: 1399: 1396: 1395: 1392: 1389: 1385: 1384: 1381: 1378: 1375: 1374: 1368: 1365: 1362: 1361: 1358: 1355: 1352: 1351: 1348: 1345: 1342: 1341: 1338: 1335: 1331: 1330: 1324: 1321: 1318: 1317: 1314: 1311: 1308: 1307: 1304: 1301: 1298: 1297: 1294: 1291: 1288: 1287: 1284: 1281: 1278: 1277: 1274: 1271: 1268: 1267: 1261: 1258: 1254: 1253: 1250: 1247: 1244: 1243: 1241:Gelett Burgess 1237: 1234: 1231: 1230: 1227: 1224: 1221: 1220: 1217: 1214: 1211: 1210: 1207: 1204: 1201: 1200: 1197: 1194: 1190: 1189: 1183: 1180: 1177: 1176: 1165: 1162: 1159: 1158: 1152: 1151:April 26 – May 1149: 1146: 1145: 1142: 1139: 1136: 1135: 1130:, John Marin, 1124: 1121: 1118: 1117: 1114: 1111: 1108: 1107: 1104: 1101: 1098: 1097: 1094: 1091: 1087: 1086: 1080: 1077: 1074: 1073: 1070: 1067: 1064: 1063: 1060: 1057: 1054: 1053: 1047: 1046:May 8 – May 18 1044: 1041: 1040: 1033: 1030: 1027: 1026: 1016: 1013: 1010: 1009: 1006: 1003: 1000: 999: 996: 993: 990: 989: 986: 983: 980: 979: 976: 973: 970: 969: 962: 959: 955: 954: 951: 948: 945: 944: 941: 938: 935: 934: 931: 928: 925: 924: 917: 914: 911: 910: 904: 901: 898: 897: 894: 891: 887: 886: 883: 880: 877: 876: 873: 870: 867: 866: 863:Alice Boughton 859: 856: 853: 852: 846: 843: 840: 839: 833: 830: 826: 825: 822: 819: 816: 815: 812: 809: 806: 805: 802: 799: 796: 795: 792: 789: 786: 785: 778: 775: 772: 771: 768: 765: 761: 760: 757: 754: 740: 737: 719: 718: 715: 709: 706: 699: 692: 685: 673: 670: 660:William Zorach 627: 613: 610: 598:Charles Demuth 516: 513: 412: 409: 379: 376: 360:Adolf de Meyer 333:gum bichromate 325:Robert Demachy 276: 273: 198: 195: 184:Marcel Duchamp 168:Henri Rousseau 111: 110: 107: 100: 93: 89: 88: 75: 71: 70: 65: 61: 60: 47: 43: 42: 39: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 2507: 2496: 2493: 2491: 2488: 2486: 2483: 2481: 2478: 2476: 2473: 2471: 2468: 2466: 2463: 2461: 2458: 2456: 2453: 2451: 2448: 2447: 2445: 2430: 2427: 2425: 2422: 2420: 2417: 2415: 2412: 2410: 2407: 2405: 2402: 2400: 2397: 2395: 2394:New York Dada 2392: 2389: 2388: 2384: 2381: 2380: 2376: 2375: 2373: 2369: 2363: 2360: 2358: 2355: 2353: 2350: 2348: 2345: 2343: 2340: 2338: 2335: 2333: 2332:Paul Haviland 2330: 2328: 2325: 2324: 2322: 2320:relationships 2316: 2309: 2308: 2304: 2303: 2301: 2297: 2290: 2289: 2285: 2282: 2281: 2277: 2274: 2272: 2268: 2265: 2264: 2260: 2257: 2256: 2252: 2249: 2248: 2244: 2241: 2240: 2236: 2233: 2232: 2228: 2225: 2224: 2220: 2217: 2216: 2212: 2211: 2209: 2205: 2201: 2194: 2189: 2187: 2182: 2180: 2175: 2174: 2171: 2167: 2164: 2146:73°59′09.79″W 2143:40°44′47.21″N 2132: 2128: 2125: 2122: 2119: 2116: 2115: 2111: 2095: 2091: 2090: 2085: 2079: 2076: 2071: 2058: 2050: 2049: 2042: 2039: 2036: 2031: 2028: 2016: 2012: 2006: 2003: 1998: 1994: 1987: 1985: 1981: 1976: 1969: 1966: 1961: 1954: 1951: 1946: 1933: 1925: 1924: 1917: 1914: 1909: 1902: 1899: 1894: 1887: 1885: 1883: 1879: 1874: 1861: 1853: 1852: 1845: 1842: 1837: 1824: 1816: 1815: 1808: 1805: 1800: 1794: 1791: 1786: 1773: 1765: 1764: 1757: 1754: 1749: 1742: 1740: 1736: 1731: 1724: 1721: 1716: 1709: 1707: 1705: 1703: 1699: 1694: 1687: 1684: 1679: 1672: 1669: 1663: 1656: 1653: 1651: 1650: 1647: 1643: 1640: 1638: 1637: 1634: 1633:Gino Severini 1630: 1627: 1625: 1624: 1620: 1617: 1615: 1614: 1610: 1607: 1604: 1603: 1599: 1596: 1594: 1593: 1589: 1586: 1584: 1583: 1579: 1575: 1572: 1570: 1569: 1565: 1562: 1560: 1559: 1556: 1552: 1549: 1547: 1546: 1542: 1539: 1537: 1536: 1532: 1529: 1526: 1525: 1522: 1521:Elie Nadelman 1518: 1515: 1513: 1512: 1509: 1505: 1502: 1500: 1499: 1495: 1492: 1490: 1489: 1485: 1482: 1480: 1479: 1475: 1472:Paintings by 1471: 1468: 1466: 1465: 1461: 1458: 1455: 1454: 1450: 1446: 1443: 1441: 1440: 1436: 1433: 1431: 1430: 1427: 1423: 1420: 1418: 1417: 1413: 1410: 1408: 1407: 1403: 1400: 1398: 1397: 1393: 1390: 1387: 1386: 1382: 1379: 1377: 1376: 1373: 1369: 1366: 1364: 1363: 1359: 1356: 1354: 1353: 1349: 1346: 1344: 1343: 1339: 1336: 1333: 1332: 1329: 1325: 1322: 1320: 1319: 1315: 1312: 1310: 1309: 1305: 1302: 1300: 1299: 1295: 1292: 1290: 1289: 1285: 1282: 1280: 1279: 1275: 1273:February 7–26 1272: 1270: 1269: 1266: 1263:Paintings by 1262: 1259: 1256: 1255: 1251: 1248: 1246: 1245: 1242: 1238: 1235: 1233: 1232: 1228: 1225: 1223: 1222: 1218: 1215: 1213: 1212: 1208: 1206:February 2–22 1205: 1203: 1202: 1198: 1196:January 11–31 1195: 1192: 1191: 1188: 1184: 1181: 1179: 1178: 1174: 1170: 1166: 1163: 1161: 1160: 1157: 1153: 1150: 1148: 1147: 1143: 1140: 1138: 1137: 1133: 1129: 1125: 1122: 1120: 1119: 1115: 1112: 1110: 1109: 1105: 1103:February 7–19 1102: 1100: 1099: 1095: 1092: 1089: 1088: 1085: 1081: 1078: 1076: 1075: 1071: 1068: 1066: 1065: 1061: 1058: 1056: 1055: 1052: 1049:Paintings by 1048: 1045: 1043: 1042: 1038: 1034: 1031: 1029: 1028: 1025: 1021: 1020:Alfred Maurer 1017: 1014: 1012: 1011: 1007: 1005:March 17 – 27 1004: 1002: 1001: 997: 994: 992: 991: 987: 985:February 4–22 984: 982: 981: 977: 974: 972: 971: 967: 963: 960: 957: 956: 952: 950:December 8–30 949: 947: 946: 942: 939: 937: 936: 932: 929: 927: 926: 922: 918: 915: 913: 912: 909: 908:George Seeley 905: 903:February 7–25 902: 900: 899: 895: 892: 889: 888: 884: 881: 879: 878: 874: 871: 869: 868: 864: 860: 857: 855: 854: 851: 850:George Seeley 847: 844: 842: 841: 838: 834: 831: 828: 827: 823: 820: 818: 817: 813: 810: 808: 807: 803: 800: 798: 797: 793: 790: 788: 787: 783: 779: 777:February 5–19 776: 774: 773: 769: 767:January 10–24 766: 763: 762: 758: 755: 752: 751: 748: 746: 738: 736: 734: 730: 729: 724: 716: 714: 710: 707: 704: 700: 697: 693: 690: 686: 683: 679: 678: 677: 671: 669: 667: 663: 661: 657: 652: 645:An Eye Opener 626: 623: 621: 620: 611: 609: 607: 603: 599: 595: 591: 587: 582: 580: 576: 571: 569: 563: 561: 557: 556: 549: 547: 538: 534: 533:Elie Nadelman 529: 521: 514: 512: 510: 506: 502: 501:Arthur Carles 498: 494: 490: 489:Alfred Maurer 485: 481: 477: 475: 469: 467: 463: 459: 455: 451: 447: 443: 437: 433: 426: 422: 417: 410: 408: 404: 400: 392: 388: 385: 384:Paul Haviland 377: 375: 371: 367: 365: 361: 356: 354: 348: 344: 342: 338: 334: 330: 329:Constant Puyo 326: 321: 317: 312: 309: 305: 300: 297: 290: 286: 281: 274: 272: 270: 266: 262: 258: 252: 250: 246: 240: 237: 233: 232:Joseph Keiley 229: 228: 222: 220: 216: 212: 207: 203: 196: 194: 192: 189: 185: 181: 177: 176:Pablo Picasso 173: 169: 165: 164:Auguste Rodin 161: 160:Henri Matisse 157: 153: 149: 145: 141: 135: 133: 129: 125: 121: 117: 108:United States 103: 102:New York City 98: 94: 90: 76: 72: 69: 66: 62: 48: 44: 40: 36: 30: 19: 2428: 2409:Pictorialism 2385: 2379:Camera Notes 2377: 2305: 2286: 2278: 2270: 2261: 2255:The Steerage 2253: 2245: 2237: 2231:The Terminal 2229: 2221: 2213: 2136: 2098:. Retrieved 2094:the original 2087: 2078: 2066:|title= 2057:cite journal 2046: 2041: 2030: 2018:. Retrieved 2014: 2005: 1996: 1974: 1968: 1960:Twice a Year 1959: 1953: 1941:|title= 1932:cite journal 1921: 1916: 1907: 1901: 1892: 1869:|title= 1860:cite journal 1849: 1844: 1832:|title= 1823:cite journal 1812: 1807: 1798: 1793: 1781:|title= 1772:cite journal 1761: 1756: 1747: 1729: 1723: 1714: 1692: 1686: 1677: 1671: 1576:Drawings by 1187:Gordon Craig 1036: 961:January 4–16 921:Willi Geiger 893:January 2–21 835:Drawings by 832:January 5–24 744: 742: 732: 726: 720: 675: 664: 658: 654: 628: 624: 617: 615: 605: 583: 578: 574: 572: 564: 559: 553: 550: 545: 542: 536: 531:View of the 486: 482: 478: 473: 470: 438: 434: 430: 424: 419:View of the 405: 401: 393: 389: 381: 372: 368: 357: 349: 345: 322: 318: 314: 310: 306: 302: 298: 294: 288: 283:View of the 253: 249:Robert Henri 241: 235: 225: 223: 208: 204: 200: 172:Paul Cézanne 136: 127: 124:Fifth Avenue 115: 114: 97:Fifth Avenue 92:Headquarters 38:Company type 29: 2470:1917 in art 2390:(1903-1917) 2387:Camera Work 2382:(1897-1903) 2310:(1925-1934) 2307:Equivalents 2242:(1899-1900) 2207:Photographs 2158: / 2048:Camera Work 1923:Camera Work 1851:Camera Work 1814:Camera Work 1763:Camera Work 1641:March 20–31 1555:Paul Strand 1426:Frank Burty 1171:, Cézanne, 1128:Arthur Dove 619:Camera Work 594:Paul Strand 586:Arthur Dove 546:Camera Work 537:Camera Work 505:Arthur Dove 474:Camera Work 450:Arthur Dove 425:Camera Work 289:Camera Work 236:Camera Work 227:Camera Work 156:avant-garde 41:Art gallery 2444:Categories 2318:Family and 2100:August 21, 2011:"Timeline" 1664:References 1628:March 6–17 1216:March 1–25 1123:March 9–21 1024:John Marin 940:April 6–25 811:April 7–28 801:March 9–24 705:were shown 682:autochrome 590:John Marin 493:John Marin 442:John Marin 197:Background 186:, and the 2273:(Duchamp) 1799:Photo Era 1132:Max Weber 721:In 1917, 649:A Solvent 509:Max Weber 446:Max Weber 2271:Fountain 2127:Archived 1962:(1): 88. 647:A Test – 637:A Relief 484:fugue.” 2371:Related 713:Picasso 703:Cézanne 696:Matisse 188:Dadaist 122:at 291 82: ( 74:Defunct 64:Founder 54: ( 46:Founded 2291:(1919) 2283:(1918) 2275:(1917) 2266:(1915) 2258:(1907) 2250:(1902) 2234:(1893) 2226:(1893) 2218:(1887) 2020:May 2, 1449:Braque 1173:Renoir 1037:Balzac 672:Legacy 600:, and 1605:1917 1527:1916 1456:1915 1388:1914 1334:1913 1257:1912 1193:1911 1169:Manet 1090:1910 958:1909 890:1908 829:1907 764:1906 753:1905 689:Rodin 2102:2008 2070:help 2022:2019 1945:help 1873:help 1836:help 1785:help 507:and 495:and 464:and 339:and 247:and 150:and 95:291 84:1917 77:1917 56:1905 49:1905 733:291 728:391 575:291 560:291 555:291 456:or 116:291 33:291 2446:: 2086:. 2061:: 2059:}} 2055:{{ 2013:. 1995:. 1983:^ 1936:: 1934:}} 1930:{{ 1881:^ 1864:: 1862:}} 1858:{{ 1827:: 1825:}} 1821:{{ 1776:: 1774:}} 1770:{{ 1738:^ 1701:^ 735:. 596:, 592:, 588:, 511:. 503:, 491:, 452:, 448:, 444:, 399:" 362:, 327:, 263:, 193:. 182:, 178:, 174:, 170:, 166:, 162:, 146:, 142:, 134:. 106:, 99:, 2192:e 2185:t 2178:v 2104:. 2072:) 2068:( 2024:. 1947:) 1943:( 1875:) 1871:( 1838:) 1834:( 1787:) 1783:( 397:' 104:) 86:) 58:) 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index