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The photographs Stieglitz too at his summer house at Lake George after 1915 are considered a departure from his pictorialist origins, informed in part by his familiarity with modernist painting. The self-referential nature of modernist art led Stieglitz to explore the essential nature of photography, released from contrivances and from artistic intervention of print and negative. These works are free from any sense that photography must refer to something outside of itself in order to express meaning. The lyricism of the photographs reflects an awareness that a fragment - of a body, a harnessed workhorse, a contrast of skin with water, a tree - may transcend it immediate context and reveal a greater poetic or symbolic dimension.