Figure 1.--This photograph was probably taken at the Kasebier residence on Long Island. The lady is presumably one of Kasebier's daughters, either Gertrude or Hermine. The children are her grandchildren. The two boys wear stripped smocks. The photograph was probably taken about 1910. |
Kasebier 's photography was primarily portraiture. Although she photographed many important people, her favorite theme was motherhood. During her later years, she began taking landscapes, but her coincentration was still on portraits. She was born in Iowa during 1852, but also lived in Colorado and New York as a girl. Gertrude did not begin with a desire to be a photographer. Her initial desire was to be a portrait painter. Her marriage ws unhappy, but she had hree children. As a marriefd woman and mother she studied at the Pratt Institute (1889-1893). She studied drawing and painting, but grdually became more interested in photography. The force of her portraits attracted considerable critical acclaim.
John W. Stanton set up sawmill in Eureka Gulch, Colorado Territory and prospered from the gold rush.
Gertrude Kasebier's mainden name was Stanton. She was born in 1852 at what is now Des Moines, Iowa. Hervfather went west to seek his fortune.
Gertude along with her mother and small brother joined her father in Colorado Territory during 1860. She was about 8 years old. It was thus in Colorado that Gertrude spent her pre-teen years. Her father's successful business made him a prominent citizen in Golden, a mining town and at the time the capital of Colorado Territory. He was elected Golden's first Mayor. Parents from substantial families in the 19th century wanted their daughters to persue music. Her mother did her best to get Gertrude to study piano. Gertrude would have none of it. Her mother reports that her daughter just wanted to draw pictures. She not only wanted to draw, but as a small child hr mother reported that she would study pictures and talk to herself about them. Gertrude was one of the few white children in Golden. Many of her friends were Native Amerucan children. This experience helped develop live-long appreciation for the Native American peoples. She lost her hearing in one ear in childhood.
The Civil War erupted in 1861. The Stranton's left the Territory in 1864 and moved to Brooklyn, New York in 1864. Mr. Stanton continued to do well doing the war working with minerals The family was not wealthy by any means and took in border.
Gertude had a younger brother Charles.
We do not have details on Gertrude's early schooling. We do know in 1868 she went to live with her grandmother in Bethlehem, Pennsylvania. Here she attended the Moravian Seminary for Women (1868-70). At the time it was considered America's foremost school for women. Many families at the time gave little attention to educating their daughters. The Stranton's were an exception. Part of the reason may also have been Gertrude's strong, independent character.
Gertrude first came to know Eduard Kasebier as he was one of his mother'd boarders. Eduard Kasebier was born in Germany and came from a wealthy family. He decided to persue his fortune in America. His background was chemistry and business. He became a shellac importer.
Gertrude married Kasebier when she was 22 years old. her twenty-second birthday. Gertrude was later to see the marriage was a mistake. Her mother was happy with the mariage, hoping that her lively daughter, who apparently was a handfull, would settle down. Kasebier was a solid man, but had a very traditional outlook. Gertrude did not at all accept traditional views toward women.
Gertude and Eduard had three children: Frederick William (1875- ), Gertrude Elizabeth (1878- ), and Hermine Mathilde (1880- ). Gertrude was not at all interested in houskeeping and continued to be interested in painting. The two moved apart. Gertude stayed at home hen the children were young. Once they reached adolescence, Eduard provided money for Gertrude to attend art school. He also financed many European trips.
Gertrude did not begin with a desire to be a photographer. Her initial desire was to be a portrait painter. She began studied at the prestigious Pratt Institute (1889-1893) in Brooklyn. She studied drawing and painting. The school had no photography program. She was interested inphotography and had taken some photographs before she began at the school. She persued her interest in photography and used the school’s library to further her knowledge and improve her photographic technique. By the time she finishec at Pratt, photogrphy had become a major interest.
Gertrude began taking photography seriously in the 1890s. Her success in photographic contests helped to focus her interest on photography. She won two competitiond in 1894. In the spring of 1894 she won two photography contests held by publications: The Quarterly Illustrator and The New York Herald. She began to see photography as a possible carer for the first time. She traveled to Europe in 1894 and this time she persued both photography and painting while there. While there, as a result of a rainy day experiment, she became fasinated by photographic portraiture.
She began publishing photographs and essays in French magazines. She persued more technical studies on photography in Germany.
Gertrude returned to America when her husband's health deteriorated. Although he was to live 12 more years, the family needed more income as a result of his state of health. A photographic studio seemed a way she could put her talents profitablt to work. Gertrude worked for a while with Samuel Lifshey at the Brooklyn Photographic Studio to learn the business.
Gertrude at the end of 1885 opened a studio in New York. As a publicity measure, she began exhibiting the many photographs that she had taken. Exhibits at the Boston Camera Club and the Pratt Institute were great sccesses and helped launch her studio. Her protrits were very revealing. Part of her style was to have very simple backgrounds. As a result, Gertrude photographed some of New York’s most rominent individuals. Interestigly, she also became passionate about photgraphing Native Americans, probably because of her childhood experiences in Colorado. Some of these portraits were her most famous, even though she rarely photographed Native americans in cosume.
Kasebier’s portraits gradually drew critical praise in the art world. Some time around 1900, Kasebier contacted Alfred Stieglitz because she wanted to enter the art photography world. The two quickly became friendly. Both saw photography not as a trade, but rather an art form. Stieglitz was soon promoting her portraits in his publication Camera Notes and organizing solo exhibitions for her.
The most important photographic turn-of-the-century exhibit was the first Philadelphia Photographic Salon in 1898. There were 1,200 entries. The Salon staff selected 259 for exhibition, including 10 Kasebier.
Her success in Philadelphia established her as among the most important American photographers--including Stieglitz himself. The judges were impressed with the force of her portraits. The following year she was hononored by being selected a judge. Her photographs began commanding high prices. She moved in social circles involved with art photography and she began exhibiting in Europe. She also began lecturing and publishing photographs in a range of publications, including Everybody’s Magazine, The World’s Work, The Ladies Home Journal and The Craftsmen.
Kasebier was very active in important art photography movements. She was the first woman elected to the Linked Ring. She was a key member of the Photo-Secession. Her photograph and essays were featured in the first issue of Camera Work founded by Stieglitz.
Changes were reported in Kasebier's life by 1905. Her health decined. She also differed with Stieglitz about Camera Work. He had founded the publication, but she had played an important role in it. Her huband Eduard sold their New York house and moved to Oceanside, Long Island. She parted company with Stieglitz in 1908. Eduard died in 1909.
Kasebier moved back to New York in 1914. She used her apartment as both a home and studio.
During her later years, she began taking landscapes, but her coincentration was still on portraits. Her sight began to deteriorate fail her in 1925 and she had to close her studio in 1929. She also became almost completely deaf. She died in 1934.
Kasebier's portraits are destinctive from other important photographers of the day. She had an enormous impact on artistic portraiture, playing a key role in bringing photography into the realm of fine art. Kasebiere is one of the few early photographers who had artistic training. Kasebier 's photography was primarily portraiture. Although she photographed many important people, her favorite theme was motherhood. She was photographed many highly sntimental allegorical themes. One of her most noted series of allegories was on motherhood. Many photographers sought to record or inform viewer. Kasebier more than any contemporary seemed intent on enlisting an emotional resoponse--perhaps reflecting her artistic training.
Lori Oden, "Gertrude Kasebier: Dawning Individuality," International Photography Hall of Fame (IPHF) Curator and Educator.
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