Alfred Stieglitz at Lake George examines the most personal and radical work of the artist’s career: images of his family and closest friends, including his wife, the painter Georgia O’Keeffe, and his responses to the landscape surrounding his family home.Many photographs concentrate on the house and barns on the property, trees and grasses in various seasons, and portraits of such visitors as Paul Strand and Abraham Walkowitz, and various family members.At Lake George, Stieglitz was removed from the tumult of the political and artistic arenas that had previously occupied him. In the early 1900s, Stieglitz was celebrated as a writer, publisher, photographer, art dealer, proselytizer for photography and modern art, and visionary. After World War I, Stieglitz began to feel increasingly isolated from the contemporary art world that he had helped to define. Redesigning his life and art along leaner and more private lines, he began to concentrate anew on his own photography. Among the earliest works from the Lake George years is a group of pictures of Stieglitz’s friend Ellen Koeniger in and around the lake that demonstrate a radical departure from his earlier philosophy. In 1897, Stieglitz advised photographers that finding the “moment when everything is in balance…often means hours of patient waiting.” By 1916, however, as seen in the photographs of Koeniger, Stieglitz’s work has achieved an intuitive immediacy and freedom from contrivance.