The Stieglitz Collection is very rich in giant grasp prints by Edward Steichen; of particular notice are three large, unique prints of the Flatiron constructing, each a slightly different hue, evoking a special moment of twilight within the metropolis. Holland Day, Adolph de Meyer, Gertrude Käsebier, Paul Strand, and Clarence White. Since 1995 the TFAM has organized the Taiwan Pavilion on the Museum of Art Venice Biennale, which from 1995 till 2000 was acknowledged as a national pavilion. Starting in 1997 China exerted diplomatic strain towards using the name “Republic of China”, and by 2001 the TFAM’s Taiwan Pavilion in Venice was relegated to the record of institutional participations, and later to the class of collateral events.
Additionally, the new style was an outgrowth of two nineteenth-century English developments for which design reform was a leitmotif—the Arts and Crafts motion and the Aesthetic movement. The former emphasized a return to handcraftsmanship and traditional techniques. The latter promoted a similar credo of “art for art’s sake” that supplied the foundation for non-narrative paintings, for example, Whistler‘sNocturnes. It additional drew upon elements of Japanese art (“japonisme“), which flooded Western markets, mainly in the form of prints, after trading rights have been established with Japan in the 1860s.