Alfred Stieglitz Quotes

• En la fotografía hay una realidad tan sutil que llega a ser más real que la realidad.

  Alfred Stieglitz

  Inspirational, Inspiring, Photography

  Alfred Stieglitz, J. Paul Getty Museum (1995). “Alfred Stieglitz: Photographs from the J. Paul Getty Museum”, p.82, Getty Publications

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• Donde haya luz, se puede fotografiar.

  Alfred Stieglitz

  Fotografía, Luz, Fotógrafo

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• For that is the power of the camera: seize the familiar and give it new meanings, a special significance by the mark of a personality.

  Alfred Stieglitz

  Giving, Personality, Special

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• I have a vision of life, and I try to find equivalents for it in the form of photographs.

  Alfred Stieglitz

  Vision, Trying, Photograph

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• Utopia is in the moment. Not in some future time, some other place, but in the here and now, or else it is nowhere.

  Alfred Stieglitz

  Moments, Utopia, Here And Now

  Dorothy Norman, Alfred Stieglitz (1973). “Alfred Stieglitz: an American seer”

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• Photography my passion, the search for truth, my obsession.

  Alfred Stieglitz

  Photography, Passion, Photographer

  Alfred Stieglitz, Richard Whelan, Sarah Greenough (2000). “Stieglitz on photography: his selected essays and notes”

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• My cloud photographs are equivalents of my most profound life experiences, my basic philosophy of life. All art is an equivalent of the artist’s most profound life experiences.

  Alfred Stieglitz

  Photography, Art, Philosophy

  Alfred Stieglitz, Dorothy Norman (1976). “Alfred Stieglitz”

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• A woman artist could be one of those intuitive geniuses [who] have kept their childlike spirit and have added to it breadth of vision and experience.

  Alfred Stieglitz

  Fotografía, Arte, Creatividad

  "My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz: Volume One, 1915-1933".

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• Photographers must learn not to be ashamed to have their photographs look like photographs.

  Alfred Stieglitz

  Looks, Photographer, Photograph

  Alfred Stieglitz, Richard Whelan, Sarah Greenough (2000). “Stieglitz on photography: his selected essays and notes”

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• All art, like all love, is rooted in heartache.

  Alfred Stieglitz

  Art, Love Is, Heartache

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• If you place the imperfect next to the perfect, people will see the difference between the one and the other. But if you offer the imperfect alone, people are only too apt to be satisfied by it.

  Alfred Stieglitz

  Differences, People, Perfect

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• El objetivo del arte era la expresión vital de uno mismo.

  Alfred Stieglitz

  Arte, Yo, Expresión

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• My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it.

  Alfred Stieglitz

  Men, Upset, Battle

  Dorothy Norman, Alfred Stieglitz (1973). “Alfred Stieglitz: an American seer”

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• As a matter of fact, nearly all the greatest work is being, and has always been done, by those who are following photography for the love of it, and not merely for financial reasons. As the name implies, an amateur is one who works for love.

  Alfred Stieglitz

  Photography, Names, Matter

  Alfred Stieglitz, Richard Whelan, Sarah Greenough (2000). “Stieglitz on photography: his selected essays and notes”

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• The ability to make a truly artistic photograph is not acquired off-hand, but is the result of an artistic instinct coupled with years of labor.

  Alfred Stieglitz

  Photography, Hands, Years

  Alfred Stieglitz, Richard Whelan, Sarah Greenough (2000). “Stieglitz on photography: his selected essays and notes”

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• Everything is relative except relatives, and they are absolute.

  Alfred Stieglitz

  Absolutos, relativos

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• When I make a picture, I make love.

  Alfred Stieglitz

  Making Love, Photographer

  Dorothy Norman, Alfred Stieglitz (1973). “Alfred Stieglitz: an American seer”

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• It is not art in the professionalized sense about which I care, but that which is created sacredly, as a result of a deep inner experience, with all of oneself, and that becomes 'art' in time.

  Alfred Stieglitz

  Art, Care, Photographer

  Alfred Stieglitz, Dorothy Norman (1976). “Alfred Stieglitz”

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• Mi fotografía, Quinta Avenida, invierno, es el resultado de tres horas de espera durante una feroz tormenta de nieve, el 22 de febrero de 1893, esperando el momento oportuno. Mi paciencia fue debidamente recompensada. Por supuesto, el resultado contenía un elemento de azar, ya que podría haber permanecido allí durante horas sin conseguir las imágenes deseadas.

  Alfred Stieglitz

  Winter, Snow, Storm

  Alfred Stieglitz, Richard Whelan, Sarah Greenough (2000). “Stieglitz on photography: his selected essays and notes”

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• I do not object to retouching, dodging or accentuation as long as they do not interfere with the natural qualities of photographic technique.

  Alfred Stieglitz

  Photography, Long, Quality

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• The arts equally have distinct departments, and unless photography has its own possibilities of expression, separate from those of the other arts, it is merely a process, not an art.

  Alfred Stieglitz

  Photography, Art, Expression

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• There is nothing so wrong as accepting a thing merely because men who have done things say it should be so.

  Alfred Stieglitz

  Men, Done, Photographer

  Dorothy Norman, Alfred Stieglitz (1973). “Alfred Stieglitz: an American seer”

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• To demand the portrait that will be a complete portrait of a person is as futile as to demand that a motion picture be condensed into a single still.

  Alfred Stieglitz

  Portraits, Demand, Motion Pictures

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• I detest tradition for tradition's sake; the half-alive; that which is not real. I feel no hatred of individuals, but of customs, traditions; superstitions that go against life, against truth, against the reality of experience, against the spontaneous living out of the sense of wonder-of fresh experience, freshly seen and communicated.

  Alfred Stieglitz

  Real, Hatred, Half

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• The scene fascinated me: a round straw hat; the funnel leaning left, the stairway leaning right; the white drawbridge, its railings made of chain; white suspenders crossed on the back of a man below; circular iron machinery; a mast that cut into the sky, completing a triangle.

  Alfred Stieglitz

  Art, Cutting, Men

  Alfred Stieglitz, J. Paul Getty Museum (1995). “Alfred Stieglitz: Photographs from the J. Paul Getty Museum”, p.20, Getty Publications

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