291 (art gallery) - Knowledge (XXG)

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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.

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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.

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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."

559:. 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. 285:

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.

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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.

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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.

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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.

570:(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. 517: 405: 202:, 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 533:

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

260:, 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. 384:

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.

465:, 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. 424:

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

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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

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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

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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

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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,

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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

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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

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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

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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

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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

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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,

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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

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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

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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

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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

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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

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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

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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

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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

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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."

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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

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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

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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

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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

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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.

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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

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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

344:, 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. 460:

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

651:: "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." 210:" 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. 332:. 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. 554:

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

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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

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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.

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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,

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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...":

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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.

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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.

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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."

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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,

2468: 2448: 240:, 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. 2453: 2128: 2478: 469:

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.

657:: "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." 256:

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

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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

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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.

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

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

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

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

2106: 2172: 2122:, written by the U.S. National Gallery of Art (with an emphasis towards the 291's role in painting rather than photography) 457:; financial supporters Paul Haviland and Agnes Ernst Meyer; and editors and collaborators Joseph Keiley and John Kerfoot. 2402: 2276: 2268: 2251: 2227: 2219: 2165: 1072: 551:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

597:(Hartley, Marin, Dove, Demuth, O'Keeffe, Strand and Stieglitz) until his death in 1946. 268: 2330: 2315: 1496: 1229: 851: 716: 648: 586: 543: 348: 321: 313: 172: 156: 2432: 2382: 2320: 1621: 1509: 736:(Washington: National Gallery of Art, 2000). This list is found on pp. 543–547. 701: 684: 677: 521: 489: 372: 317: 220: 164: 152: 148: 90: 1164:, and Toulouse-Lautrec; drawings by Rodin; paintings and drawings by Henri Rousseau 2397: 2367: 2243: 2107:"Alfred Stieglitz and Gallery 291 – A Modern Art Revolution Before the Armory Show" 237: 112: 85: 2023: 1947:

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

2375: 2295: 2036: 1911: 1839: 1802: 1751: 1543: 1414: 1116: 607: 582: 574: 516: 493: 438: 404: 215: 144: 2112: 1440:; Archaic Mexican pottery and carvings; Kalogramas by Torres Palomar of Mexico 1012: 670: 578: 481: 430: 2143: 2130: 1120: 497: 488:, second shows of Rodin and Matisse, and important shows for newer artists 1964:

The Collection of Alfred Stieglitz – Fifty Pioneers of Modern Photography

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

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

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

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

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

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

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

912:, Etchings by D. S. McLauuhlan, Drawings by Pamela Coleman Smith 547:, appeared in March, 1915, to critical acclaim. Twelve issues of 1569:, water colors and drawings by C. Duncan, oils by René Lafferty 324:

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

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Drawings, lithographs, water colors, etchings by Henri Matisse

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

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Art museums and galleries disestablished in the 20th century

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Early and recent drawings and water colors by Pablo Picasso

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

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Stieglitz on Photography: His Selected Essays and Writings

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with the assistance of his friend and fellow photographer

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Photographs in color and monochrome by Baron A. De Meyer

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

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

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Oils, water colors. Etchings and drawings by John Marin

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Drawings and Photographs of paintings by Henri Matisse

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

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Photography museums and galleries in the United States

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

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day, Stieglitz might have been surrounded by artists

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

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Millerton, New York: Aperture. p. 19. 21: 759:Exhibition of Work by French photographers 2479:1917 disestablishments in New York (state) 2180: 2166: 2158: 1265:Paintings and drawings by Marsden Hartley 783:First Exhibition of British photographers 690:1910: The first three lithographs made by 20: 1884:. New York: Random House. pp. 75–80. 1737:Photo-Secession: Photography as Fine Art 1485:Third exhibition of children's drawings 1285:Sculpture and drawings by Henri Matisse 1275:Paintings and pastels by Arthur G. Dove 1085:Color photographs by Edward J. Steichen 738: 147:European artists of the time, including 16:Art gallery in New York City (1905–1917) 1657: 117:Little Galleries of the Photo-Secession 2444:Art museums and galleries in Manhattan 2054: 2043: 1929: 1918: 1857: 1846: 1820: 1809: 1769: 1758: 1697: 1695: 1693: 1691: 1436:Drawings and paintings by Picasso and 687:'s work ever held in the United States 524:exhibition at 291, 1915 (published in 412:exhibition at 291, 1914 (published in 1975: 1973: 1875: 1873: 1871: 1393:Second exhibition of children's work 957:and autochromes by J. Nilsen Laurvik 854:, William B. Dyer, C. Yarnall Abbott 837:Photographs by Baron A. De Meyer and 232:eminent American painters, including 7: 2474:1905 establishments in New York City 1730: 1728: 1451:Recent paintings by Francis Picabia 1188:Drawings and paintings by Max Weber 1115:Younger American Painters (included 967:Photographs by Alvin Langdon Coburn 864:Photographs by Alvin Langdon Coburn 720:in Barcelona, the title inspired by 2484:20th-century American photographers 2073:"Melissa Seckora: Modern Champions" 1980:Claxton, Mae Miller (Spring 2003). 611:. Here are some of those writings: 1897:Stieglitz: A Memoir/Biography Seer 1882:Alfred Stieglitz: An American Seer 1719:Stieglitz : A Beginning Light 1669:. Cambridge, MIT Press. p. 2. 1522:Recent water colors by John Marin 1198:Recent water colors by John Marin 922:Photographs by Edward J. Steichen 803:Viennese and German photographers 793:Photographs by Edward J. Steichen 632:A Safety valve for repressed ideas 14: 1403:Sculpture by Constantin Brâncuși 1241:Photographs by Baron A. De Meyer 997:Drawings by Pamela Coleman Smith 1988:: 315–30 – via EBSCO Host. 1966:. New York: Viking. p. 182. 1646:Recent work by Georgia O'Keeffe 1620:Paintings, drawings, pastels by 1339:Photographs by Alfred Stieglitz 630:A Forum for Wisdom and for Folly 1305:Caricatures by Alfred J. Frueh 2024:Alfred Stieglitz's Gallery 291 1600:Marsden Hartley – recent work 683:1908: The first exhibition of 566:. He made a photograph called 1: 1589:Water colors by A. Walkowitz 1555:Paintings by Marsden Hartley 1383:Paintings by Marsden Hartley 1359:Exhibition of caricatures by 2403:Readymades of Marcel Duchamp 1790:. October 1905. p. 147. 942:Exhibition of members' work 908:Etchings and Book Plates by 874:Exhibition of members' work 813:Exhibition of members' work 748:Exhibition of members' work 628:A Negation of Preconceptions 1633:Paintings and sculpture by 1610:Water colors by John Marin 1329:Water colors by John Marin 953:Caricatures in charcoal by 676:1908: The first showing of 673:prints in the United States 248:, including J. Crag Annan, 2500: 2252:From the Back Window - 291 2118:December 22, 2015, at the 1895:Sue Davidson Lowe (1983). 1717:Katherine Hoffman (2004). 1508:Sculpture and drawings by 1495:Drawings and paintings by 1413:Paintings and drawings by 1315:Drawings and paintings by 1133:Drawings Auguste by Rodin 885:Drawings by Auguste Rodin 449:; authors and art critics 2228:Spring Showers, the Coach 2144:40.7464472°N 73.9860528°W 1576:November 22 – December 20 1465:and Katherine N. Rhoades 1302:November 20 – December 12 1174:Drawings and etchings by 1073:Henri de Toulouse-Lautrec 1058:November 24 – December 17 871:November 18 – December 30 810:November 10 – December 30 624:A stimulant – when dulled 68: (107 years ago) 40: (119 years ago) 2277:Georgia O'Keeffe - Hands 2269:Georgia O'Keeffe - Torso 1702:Sarah Greenough (2000). 1635:Stanton Macdonald-Wright 1586:December 17 – January 17 1519:January 18 – February 12 1492:November 10 – December 7 1458:January 27 – February 22 1380:January 12 – February 14 1326:January 20 – February 15 1312:December 15 – January 14 1238:December 18 – January 15 1225:November 8 – December 17 1208:Water colors by Cézanne 1171:December 14 – January 12 1153:November 18 – December 8 1068:December 20 – January 14 834:January 25 – February 12 669:1907: The first show of 640:A Victim and an Avenger 618:An oasis of real freedom 2204:The Last Joke, Bellagio 2149:40.7464472; -73.9860528 2004:Georgia O'Keeffe Museum 1915:(25): 22. January 1909. 1880:Dorothy Norman (1973). 1806:(16): 51. October 1906. 1755:(12): 59. October 1905. 1680:Richard Whelan (2000). 1597:January 22 – February 7 1505:December 8 – January 19 1433:December 9 – January 11 1423:November 3 – December 8 1369:November 19 – January 3 1249:January 17 – February 3 1082:January 21 – February 5 1024:Photographs of Rodin's 964:January 18 – February 1 745:November 24 – January 4 504:Later years (1913–1917) 2388:Nude photography (art) 1529:February 14 – March 12 1472:February 23 – March 26 1390:February 18 – March 11 1336:February 24 – March 15 1272:February 27 – March 12 1028:by Edward J. 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