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Edward Steichen

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Edward Steichen
Edward Steichen, photographed by
Fred Holland Day(1901)
Born
Édouard Jean Steichen

(1879-03-27)March 27, 1879
Bivange/Béiweng,Luxembourg
DiedMarch 25, 1973(1973-03-25)(aged 93)
West Redding, Connecticut,U.S.
NationalityLuxembourgby birth;United Statesfrom 1900
Known forPhotography,Painting
Spouses
Clara Smith
​
​
(m.1903;div.1922)​
Dana Desboro Glover
​
​
(m.1923; died 1957)​
​
​
(m.1960)​
ChildrenMary Steichen Calderone
Charlotte "Kate" Rodina Steichen
RelativesLilian Steichen(sister)
Carl Sandburg(brother-in-law)
AwardsLégion d'Honneur,Medal of Freedom
Websiteedwardsteichen.com

Edward Jean Steichen(March 27, 1879 – March 25, 1973) was aLuxembourgish Americanphotographer, painter, and curator, renowned as one of the most prolific and influential figures in thehistory of photography.[1]

Steichen was credited with transforming photography into an art form.[2]His photographs appeared inAlfred Stieglitz's groundbreaking magazineCamera Workmore often than anyone else during its publication run from 1903 to 1917. Stieglitz hailed him as "the greatest photographer that ever lived".[3][4]

As a pioneer offashion photography,Steichen's gown images for the magazineArt et Décorationin 1911 were the first modern fashion photographs to be published. From 1923 to 1938, Steichen served as chief photographer for theCondé NastmagazinesVogueandVanity Fair,while also working for many advertising agencies, includingJ. Walter Thompson.During these years, Steichen was regarded as the most popular and highest-paid photographer in the world.[5]

After the United States' entry intoWorld War II,Steichen was invited by theUnited States Navyto serve as Director of theNaval Aviation Photographic Unit.[6]In 1944, he directed the wardocumentaryThe Fighting Lady,which won theAcademy Award for Best Documentary Featureat the17th Academy Awards.

From 1947 to 1961, Steichen served as Director of the Department of Photography at New York'sMuseum of Modern Art.While there, he curated and assembled exhibits includingThe Family of Man,which was seen by nine million people. In 2003, theFamily of Manphotographic collection was added toUNESCO'sMemory of the World Registerin recognition of its historical value.[7]

In February 2006, a print of Steichen's earlypictorialistphotograph,The Pond—Moonlight(1904), sold for US$2.9 million—at the time, the highest price ever paid for a photograph at auction.[8]A print of another photograph of the same style,The Flatiron(1904), became thesecond most expensive photograph everon November 8, 2022, when it was sold for $12,000,000, atChristie'sNew York– well above the original estimate of $2,000,000-$3,000,000.[9]

Early life[edit]

Memorial inEdward Steichen Square,commemorating the birthplace of Edward Steichen inBivange,Luxembourg

Steichen was bornÉduard Jean Steichenon March 27, 1879, in a small house in the village ofBivange,Luxembourg,the son of Jean-Pierre and Marie Kemp Steichen.[10]His parents facing increasingly straitened circumstances and financial difficulties, decided to make a new start and emigrated to theUnited Stateswhen Steichen was eighteen months old. Jean-Pierre Steichen immigrated in 1880, with Marie Steichen bringing the infant Éduard along after Jean-Pierre had settled inHancockinMichigan'sUpper Peninsulacopper country. According to noted Steichen biographer,Penelope Niven,the Steichens were "part of a large exodus of Luxembourgers displaced in the late nineteenth century by worsening economic conditions."[10]

Éduard's sister and only sibling,Lilian Steichen,was born in Hancock on May 1, 1883. She would later marry poetCarl Sandburg,whom she met at the MilwaukeeSocial Democratic Partyoffice in 1907. Her marriage to Sandburg the following year helped forge a life-long friendship and partnership between her brother and Sandburg.[11][12]

By 1889, when Éduard was 10, his parents had saved up enough money to move the family toMilwaukee.[13]There he learned German and English at school, while continuing to speakLuxembourgishat home.[14]

In 1894, at fifteen, Steichen began attendingPio Nono College,a Catholic boys'high school,where his artistic talents were noticed. His drawings in particular were said to show promise.[15]He quit high school to begin a four-yearlithographyapprenticeship with the American Fine Art Company of Milwaukee.[16]After hours, he would sketch and draw, and he began to teach himself painting.[17]Having discovered a camera shop near his work, he visited frequently until he persuaded himself to buy his first camera, a secondhandKodakbox "detective" camera, in 1895.[18]Steichen and his friends who were also interested in drawing and photography pooled their funds, rented a small room in aMilwaukee, WIoffice building, and began calling themselves the Milwaukee Art Students League.[19]The group hired Richard Lorenz andRobert Schadefor occasional lectures.[16]In 1899, Steichen's photographs were exhibited in the second Philadelphia Photographic Salon.[20]

Steichen became a U.S. citizen in 1900 and signed thenaturalizationpapers asEdward J. Steichen,but he continued to use his birth name of Éduard until after theFirst World War.[21]

Career[edit]

Paris, New York, and Partnerships with Stieglitz and Rodin[edit]

Rodin — The Thinker(1902) by Steichen

In April 1900, Steichen left Milwaukee forParisto study art.Clarence H. Whitethought Steichen andAlfred Stieglitzshould meet, and thus produced an introduction letter for Steichen, and Steichen—thenen routeto Paris from his home in Milwaukee—met Stieglitz inNew York Cityin early 1900.[22]In that first meeting, Stieglitz expressed praise for Steichen's background in painting and bought three of Steichen's photographic prints.[23]

TheFlatiron Building,1904, photograph by Edward Steichen

In 1902, when Stieglitz was formulating what would becomeCamera Work,he asked Steichen to design the logo for the magazine with a customtypeface.[24]Steichen was the most frequently shown photographer in the journal.

Steichen began experimenting with color photography in 1904 and was one of the earliest in the United States to use theAutochrome Lumièreprocess.[25]In 1905, Stieglitz and Steichen created theLittle Galleries of the Photo-Secession,in what had been Steichen's portrait studio;[26]it eventually became known as the291 Galleryafter its address. It presented some of the first American exhibitions ofAuguste Rodin,Henri Matisse,Paul Cézanne,Pablo Picasso,andConstantin Brâncuși.

According to author and art historian William A. Ewing, Steichen became one of the earliest "jet setters",constantly moving back and forth between Europe and the U.S. by steamship, in the process cross-pollinating art from Europe to the United States, helping to define photography as an art form, and at the same time widening America's understanding of European art and art in general.[27]

Pioneering fashion photography[edit]

Young American Artists of the Modern School,left to rightJo Davidson,Edward Steichen,Arthur B. Carles,John Marin;back:Marsden Hartley,Laurence Fellows, c. 1911,Bates College Museum of Art

Fashion photography began withengravingsreproduced from photographs of modishly-dressed actresses byLeopold-Emile Reutlinger,Nadarand others in the 1890s. After high-qualityhalf-tone reproductionof photographs became possible, most credit as pioneers of thegenregoes to the French BaronAdolph de Meyerand to Steichen who, borrowing his friend's hand-camera in 1907, candidly photographed dazzlingly-dressed ladies at theLongchamp Racecourse[28][29]Fashion then was being photographed for newspaper supplements and fashion magazines, particularly by theFrères Séeberger,[29]as it was worn at Paris horse-race meetings by aristocracy and hired models.

In 1911, Lucien Vogel, the publisher ofJardin des ModesandLa Gazette du Bon Ton,challenged Steichen to promotefashion as a fine art through photography.[30]Steichen took photos of gowns designed bycouturierPaul Poiret,[30]which were published in the April 1911 issue of the magazineArt et Décoration.[31][30]Two were in colour,[32][33]and appeared next to flat, stylised, yellow-and-black Georges Lepape drawings of accessories, fabrics, and girls.[34]

Steichen himself, in his 1963 autobiography, asserted that his 1911Art et Décorationphotographs "were probably the first serious fashion photographs ever made,"[35]a generalised claim since repeated by many commentators. What he (and de Meyer)[34]did bring was an artistic approach; a soft-focus, aesthetically retouchedPictorialiststyle that was distinct from the mechanically sharp images made by his commercial colleagues for half-tone reproduction, and that he and the publishers and fashion designers for whom he worked appreciated as a marketable idealisation of the garment, beyond the exact description of fabrics and buttonholes.[34]

AfterWorld War I,during which he commanded the photographic division of theAmerican Expeditionary Forces,he gradually reverted tostraight photography.In the early 1920s, Steichen famously took over 1000 photographs of a single cup and saucer, on "a graduated scale of tones from pure white through light and dark greys to black velvet," which he compared to the a musician's finger exercises.[36]He was hired byCondé Nastin 1923 for the extraordinary salary of $35,000 (equivalent to over $500,000 in 2019 value).[34]

World War II[edit]

CDR Edward Steichen photographed above the deck of the aircraft carrierUSSLexington(CV-16)by EnsVictor Jorgensen,November 1943

At the commencement of World War II, Steichen, then in his sixties, had retired[37]as a full-time photographer. He was developing new varieties ofdelphinium,which in 1936 had been the subject of his first exhibition at theMuseum of Modern Art,and the only flower exhibition ever held there.

When theUnited Statesjoined the global conflict, Steichen, who had come out of the first World War an ArmyColonel,was refused for active service because of his age.[38]Later, invited by the Navy to serve as Director of theNaval Aviation Photographic Unit,[39][40][41]he was commissioned aLieutenant-Commanderin January 1942. Steichen selected for his unit six officer-photographers from the industry (sometimes irreverently called "Steichen's chickens" ), including photographersWayne MillerandCharles Fenno Jacobs.[42]A collection of 172silver gelatin photographstaken by the Unit under his leadership is held at theHarry Ransom Centerat theUniversity of Texas at Austin.[37]Their wardocumentaryThe Fighting Lady,directed by Steichen, won theAcademy Award for Best Documentary Featureat the17th Academy Awards.

In 1942, Steichen curated for the Museum of Modern Art the exhibitionRoad to Victory,five duplicates of which toured the world. Photographs in the exhibition were credited to enlisted members of the Navy, Coast Guard, and Marine Corps and numbers by Steichen's unit, while many were anonymous and some were made by automatic cameras in Navy planes operated while firing at the enemy.[43]This was followed in January 1945 byPower in the Pacific: Battle Photographs of our Navy in Action on the Sea and In the Sky.[44]Steichen was released from Active Duty (under honorable conditions) on December 13, 1945, at the rank ofCaptain.For his service duringWorld War II,he was awarded theWorld War II Victory Medal,Asiatic-Pacific Campaign Medal(with 2 campaign stars),American Campaign Medal,and numerous other awards.

Museum of Modern Art[edit]

Poster for the landmark photography exhibition,The Family of Manin three languages. In 2003, theFamily of Manphotographic collection was added toUNESCO'sMemory of the World Registerin recognition of its historical value.[7]

In the summer of 1929, Museum of Modern Art directorAlfred H. Barr, Jr.had included a department devoted to photography in a plan presented to the Trustees. Though not put in place until 1940, it became the first department of photography in a museum devoted to twentieth-century art and was headed byBeaumont Newhall.On the strength of attendances of his propaganda exhibitionsRoad to Victory[45]andPower in the Pacific,and precipitating curator Newhall's resignation along with most of his staff, in 1947 Steichen was appointed Director of Photography until 1962, later assisted byGrace M. Mayer.

His appointment was protested by many who saw him as anti-art photography, one of the most vocal beingAnsel Adamswho on April 29, 1946, wrote a letter to Stephen Clark (copied to Newhall) to express his disappointment over Steichen's hiring for the new position of director; "To supplant Beaumont Newhall, who has made such a great contribution to the art through his vast knowledge and sympathy for the medium, with a regime which is inevitably favorable to the spectacular and 'popular' is indeed a body blow to the progress of creative photography."[46]

Nevertheless,Ansel Adams' imageMoonrise, Hernandez, New Mexicowas first published inU.S. Camera Annual 1943,after being selected by Steichen, who was serving as judge for the publication.[47]This gaveMoonrisean audience before its first formal exhibition at theMuseum of Modern Artin 1944.[48]

Steichen as director held a strong belief in the local product, of the "liveness of the melting pot of American photography," and worked to expand and organise the collection, inspiring and recognising the 1950s generation while keeping historical shows to a minimum. He worked with Robert Frank even before hisThe Americanswas published, exhibited the early work of Harry Callahan and Aaron Siskind, and purchased two Rauschenberg prints in 1952, ahead of any museum.[49]Steichen also kept international developments in his scope and held shows and made important acquisitions from Europe and Latin America, occasionally visiting those countries to do so. Three books were published by the Department during his tenure (The Family of Man,Steichen the Photographer,andThe Bitter Years: 1935–1941: Rural America as Seen by the Photographers of the Farm Security Administration).[50][49]Despite his solid career in photography, Steichen displayed his own work at MoMA—his retrospective,Steichen the Photographer—only after he had already announced his retirement in 1961.

Among accomplishments that were to redeem initial resentment at his appointment, Steichen createdThe Family of Man,a world-touring Museum of Modern Art exhibition that, while arguably a product of American Cold War propaganda, was seen by 9 million visitors and still holds the record for most-visited photography exhibit. Now permanently housed and on continuous display inClervaux (Luxembourgish: Klierf) Castlein northernLuxembourg,his country of birth, Steichen regarded the exhibition as the "culmination of his career.".[51]Comprising over 500 photos that depicted life, love and death in 68 countries, the prologue for its widely purchased catalogue was written by Steichen's brother-in-law,Carl Sandburg.[52]As had been Steichen's wish, the exhibition was donated to theGrand Duchy of Luxembourg,his country of birth.

MoMA exhibitions curated or directed by Steichen[edit]

The following are exhibitions curated or directed by Steichen during his tenure as Director of Photography at The Museum of Modern Art:

  • 1947:Three Young Photographers:Leonard McCombe, Wayne F. Miller, Homer Page, September 30–December 7[53]
  • 1948:In and Out of Focus: A Survey of Today's Photography."A survey of photography today, including prints by 76 photographers from many parts of the country, the first large exhibition organized by Captain Edward J. Steichen, Director of the Museum's Department of Photography", April 6–July 11[54]
  • 1948:50 Photographs by 50 Photographers."50 prints from the Museum Collections that form an abbreviated history of the development of pictorial photography during the past 100 years." July 27–September 26[55]
  • 1948:Photo-Secession (American Photography 1902–1910),September 29–November 28[56]
  • 1948/1949Photographs by Bill Brandt, Harry Callahan, Ted Croner, Lisette Model,November 30, 1948–February 10[57]
  • 1949:This Exact Instant, Events And Pages in 100 Years of News Photography,February 8–May 1[58]
  • 1949:Roots of Photography,comprising works by Hill and Adamson, Julia Margaret Cameron and Henry Fox Talbot, April 26–July 24[59]
  • 1949:Realism in Photography.Works by Ralph Steiner, Wayne F. Miller, Tosh Matsumoto, Frederick Sommer, July 26–September 25[60]
  • 1949:Photographs by Margaret Bourke-White, Helen Levitt, Dorothea Lange, Tana Hoban, Esther Bubley, and Hazel-Frieda Larsen."Sixty prints by 6 women photographers" October 11–November 15[61]
  • 1950:Roots of French Photography,November 29, 1949–January 15[62]
  • 1950:Photographs of Picasso by Gjon Mili and by Robert Capa,January 24–March 19,
  • 1950:Photography Recent Acquisitions: Stieglitz, Atget,March 28–May 7,
  • 1950:Color Photography,May 9–July 4,
  • 1950:Photographs by 51 Photographers,August 1–September 17,
  • 1950:Photographs by Lewis Carroll,September 26–December 3,
  • 1951:Korea - The Impact of War in Photographs,February 13–April 22,
  • 1951:Abstraction in Photography,May 1–July 4,
  • 1951:12 Photographers,July 12–August 12,
  • 1951:Forgotten Photographers,August 23–November 4,
  • 1951:Memorable 'Life' Photographs,November 20–December 12,
  • 1952:Christmas Photographs,November 29, 1951–January 6,
  • 1952:Five French Photographers,December 18, 1951–February 24,
  • 1952:We Create for Pleasure,January 23–March 2,
  • 1952:Diogenes with a Camera,May 20–September 1,
  • 1952:Then and Now,August 5–18,
  • 1953:Always the Young Strangers,February 26–April 1,
  • 1953:Postwar European Photography,May 26–August 23,
  • 1955:The Family of Man,January 24–May 8,[63][64][52]
  • 1956:Diogenes with a Camera III,January 17–March 18,
  • 1956:Diogenes with a Camera IV,April 4–June 3,
  • 1956/7:Language of the Wall: Parisian Graffiti Photographed by Brassaï,October 24, 1956 – January 13, 1957
  • 1958:70 Photographers Look at New York,November 27, 1957–April 15, in collaboration with Grace Mayer
  • 1959:Photographs from the Museum Collection,November 26, 1958–January 18,
  • 1960:Photographs for Collectors,October 1–16, "Photographs for Collectors, more than 250 prints by 66 photographers…priced at $25 and up, in color or in black and white, some framed for hanging. Styles range from photo-journalism to abstraction…and…familiar classics of photography[65]
  • 1962:Photographs by Harry Callahan and Robert Frank,January 30–April 1[66]
  • 1962:50 Photographs by 50 Photographers,April 3–May 15,
  • 1962:The Bitter Years: 1935–1941,October 18–November 25, selected by Steichen (described in the press release as 'Director Emeritus') from 270,000 taken for the F.S.A., assisted by picture researcher Davis Pratt for an installation designed by Kathleen Haven.[67]

In the latter years of his tenure after her appointment by Steichen as Assistant Curator, it was Grace Mayer, 'overseen' by Steichen, who selected and organized the showsRecent Acquisitions(December 21, 1960 – February 5, 1961), 1960:The Sense of Abstraction,February 17–April 10,[68]Steichen the Photographer(March 28–May 30, 1961), A Bid For Space (4 installations, 1960 to 1963),Diogenes with a Camera V(September 26–November 12, 1961), andWalker Evans: American Photographs(June 8, 1962 – February 14, 1963).

Steichen hiredJohn Szarkowskito be his successor at the Museum of Modern Art on July 1, 1962. On his appointment, Szarkowski promoted Mayer to Curator.

Later life[edit]

On December 6, 1963, Steichen was presented with thePresidential Medal of FreedombyU.S. PresidentLyndon B. Johnson.[69]

Though then 88 years old and unable to attend in person, in 1967 Steichen, as a still-active member of the copyright committee of theAmerican Society of Magazine Photographers,wrote a submission to the U.S. Senate hearings to support copyright law revisions, requesting that "this young giant among the visual arts be given equal rights by having its peculiar problems taken into account."[70]

In 1968, the Edward Steichen Archive was established in MoMA's Department of Photography. The Museum's then-DirectorRené d'Harnoncourtdeclared that its function was to "amplify and clarify the meaning of Steichen's contribution to the art of photography, and to modern art generally."[28]Creator of the Archive was Grace M. Mayer, who in 1959 started her career as an assistant to the director, Steichen, and who became Curator of Photography in 1962, retiring in 1968. Mayer returned after her retirement to serve in a voluntary capacity as Curator of the Edward Steichen Archive until the mid-1980s to source materials by, about, and related to Steichen. Her detailed card catalogs are housed in the Museum's Grace M. Mayer Papers.[71]

Steichen's 90th birthday was marked with a dinner gathering of photographers, editors, writers, and museum professionals at thePlaza Hotelin 1969. The event was hosted by MoMA trustee Henry Allen Moe, andU.S. Cameramagazine publisher Tom Maloney.[28]

In 1970, an evening show was presented in Arles during TheRencontres d'Arlesfestival: "Edward Steichen, photographe" by Martin Boschet.

Steichen bought a farm that he called Umpawaug in 1928, just outsideWest Redding, Connecticut.[72]He lived there until his death on March 25, 1973, two days before his 94th birthday.[73]After his death, Steichen's farm was made into a park, known asTopstone Park.[74]As of 2018, Topstone Park was open seasonally.[75]

In 1974, Steichen was posthumously inducted into theInternational Photography Hall of Fame and Museum.[3]

Legacy[edit]

Steichen'sThe Pond—Moonlight,multiple gum bichromate print, 1904

"I consider Steichen a very great artist and the leading, the greatest photographer of the time. Before him, nothing conclusive had been achieved."[76]

— Auguste Rodin

Steichen's career, especially his activities at MoMA, did much to popularise and promote the medium, and both before and since his death photography, including his own, continued to appreciate as a collectible art form.[49]

In February 2006, a print of Steichen's early pictorialist photograph,The Pond—Moonlight(1904), sold for what was then thehighest price ever paid for a photograph at auction,US$2.9 million.

Steichen took the photograph inMamaroneck, New York,near the home of his friend, art criticCharles Caffin.It shows a wooded area and pond, with moonlight appearing between the trees and reflecting on the pond. While the print appears to be a color photograph, the first true color photographic process, theautochromeprocess, was not available until 1907. Steichen created the impression of color by manually applying layers oflight-sensitive gumsto the paper. Only three prints of thePond—Moonlightare still known to exist and, as a result of the hand-layering of the gums, each is unique. (The two prints not auctioned are held in museum collections.) The extraordinary sale price of the print is in part attributable to its one-of-a-kind character and to its rarity.[77]

A show of early color photographs by Steichen was held at theMudam(Musée d'Art moderne) in Luxembourg City from July 14 to September 3, 2007.[78]

Personal life[edit]

Steichen married Clara E. Smith (1875–1952) in 1903. They had two daughters,Mary Rose Steichen(1904-1998) and Charlotte "Kate" Rodina Steichen (1908-1988). In 1914, Clara accused her husband of having an affair with artistMarion H. Beckett,who was staying with them in France. The Steichens left France just ahead of invading German troops. In 1915, Clara Steichen returned to France with her daughter Kate, staying in their house in the Marne in spite of the war. Steichen returned to France with the Photography Division of the American Army Signal Corps in 1917, whereupon Clara returned to the United States. In 1919, Clara Steichen sued Marion Beckett for having an affair with her husband, but was unable to prove her claims.[79][80]Clara and Edward Steichen eventually divorced in 1922.

Steichen married Dana Desboro Glover in 1923. She died ofleukemiain 1957.

In 1960, aged 80, Steichen married 27-year-oldJoanna Tauband remained married to her until his death, two days before his 94th birthday. Joanna Steichen died on July 24, 2010, inMontauk, New York,aged 77.[81]

Exhibitions[edit]

Solo[edit]

  • 1900 Photo Club. Paris[82]
  • 1900 Mrs. Arthur Robinson Home. Milwaukee (US)[82]
  • 1901 La Maison des Artistes, Paris[82]
  • 1902 Photo-Club, Paris[82]
  • 1902 Eduard Steichen, Paintings and Photographs; Maison des artistes; Paris, France[82]
  • 1905 Photo-Secession Gallery, New York[82]
  • 1906Photographs by Eduard Steichen;Little Galleries of the Photo-Secession (291 Gallery); New York, New York[49]
  • 1908Eduard Steichen, Photographs in Monochrome and Color;Little Galleries of the Photo-Secession; New York, New York[49]
  • 1909 Photo-Secession Gallery, New York[82]
  • 1910 Photo-Secession Gallery, New York[82]
  • 1910 Montross Gallery. London[82]
  • 1910 Little Gallery. New York City (US)[82]
  • 1915 M. Knoedler & Company, New York (US)[82]
  • 1938 Museum of Modern Art, New York (USA )[82]
  • 1938Edward Steichen;Baltimore Museum of Art; Baltimore, Maryland[49]
  • 1938Retrospective,Baltimore Museum of Art(US)[82]
  • 1950 Edward Steichen, Retrospective;American Institute of ArchitectsHeadquarters; Washington, D.C.[49]
  • 1961Steichen the Photographer;Museum of Modern Art; New York, New York[82]
  • 1965Retrospective,Bibliothèque Nationale, Paris[82]
  • 1976Allan Frumkin Gallery.Chicago (US)[82]
  • 1978 Museum of Modern Art. New York (US)[82]
  • 1979George Eastman House,Rochester (US)[82]
  • 2000Edward Steichen;Whitney Museum of American Art; New York, New York[49][83][84]
  • 2002Edward Steichen: Art as Advertising/ Advertising as Art;Norsk Museum for Fotografi-Preus Fotomuseum;Horten,Norway[49]
  • 2004:Hollywood Celebrities: Edward Steichen,Kunsthal Rotterdam, Netherlands, 17 Jan – 25 Apr[85]
  • 2005:Edward Steichen, Botschaft von Luxemburg,Germany, 22 Apr – 21 May[86]
  • 2005:Hollywood Celebrity: Edward Steichen's Vanity Fair Portraits,Multimedia Art Museum, Russia, 14 Mar – 14 May[87]
  • 2007:Steichen; une épopée photographique,Jeu de Paume, France, 9 Oct – 30 Dec[88]
  • 2008:Edward Steichen,Palazzo Magnani, Italy, 30 Apr – 8 Jun[89]
  • 2008:Edward Steichen: Lives in Photography / Une épopée photographique,Musée de l'Elysée, Switzerland, 18 Jan – 24 Mar[90]
  • 2008:Edward Steichen: Une Epopée Photographique,Museo Nacional Centro de Arte Reina Sofia, Spain, 25 Jun – 22 Sep[91]
  • 2008Edward Steichen: In High Fashion 1923-1937,Kunsthaus Zürich, Switzerland, 11 Jan – 30 Mar
  • 2009:Edward Steichen: 1915-1923,Howard Greenberg Gallery, USA, 20 Mar – 16 May
  • 2009:Edward Steichen: In High Fashion,Kunstmuseum Wolfsburg,Germany, 11 Oct 2008 – 2 Jan
  • 2009:Edward Steichen: In High Fashion the Condé Nast Years, 1923–1937,Williams College Museum of Art, USA, 6 Jun – 8 Nov
  • 2009:Edward Steichen: In High Fashion, The Condé Nast Years, 1923–1937,International Center of Photography, USA, 16 Jan – 3 May
  • 2009:Edward Steichen: The Early Years,Museum of Photographic Arts, USA, 31 Jan – 17 May
  • 2009/10:Edward Steichen. In High Fashion, the Condé Nast Years, 1923–1937,AGO Art Gallery Ontario, Canada, Canada, 26 Sep 2009 – 3 Jan 2010
  • 2011:Edward Steichen: Celebrity Design,Museum Folkwang, Germany, 6 Nov 2010 – 16 Jan
  • 2011:Edward Steichen: The Last Printing,Danziger Gallery, USA, 15 Sep – 29 Oct
  • 2012:Edward Steichen: gli anni Condé Nast,Fondazione Sozzani, Italy, 20 Nov 2011 – 12 Feb
  • 2013:Edward Steichen,Museum of Photography, Denmark, 12 Oct 2012 – 9 Feb
  • 2013:In High Fashion: the Condé Nast Years, 1923–1937,foam Fotografiemuseum Netherlands, 28 Jun – 6 Sep
  • 2013:Modern Age Light and Shadow: 1923-1937,Setagaya Art Museum, Japan, 26 Jan – 7 Apr
  • 2013:Talk of the Town: Portraits by Edward Steichen from the Hollander Collection,LACMA Museum, USA, 3 Aug – 8 Dec
  • 2014:Sharp, Clear Pictures. Edward Steichen's World War I and Condé Nast Years,Art Institute of Chicago, USA, 28 Jun – 28 Sep
  • 2014: Edward Steichen & Art Deco Fashion, National Gallery of Victoria, Australia, 18 Oct 2013 – 2 Mar
  • 2014:Steichen in the 1920s and 1930s: A Recent Acquisition,Whitney Museum Art, USA, 6 Dec 2013 – 1 Aug
  • 2014/ 2015:In High Fashion: Edward Steichen, The Conde Nast Years 1923 - 1937,Photographers' Gallery UK, 31 Oct 2014 – 18 Jan 2015
  • 2015:Edward Steichen,Galerie Clairefontaine, Luxembourg, 8 Sep – 17 Oct[92]
  • 2015:Edward Steichen In High Fashion. The Condé Nast Years. 1923-1937,Multimedia Art Museum, Russia, 9 Sep – 22 Nov
  • 2015:In High Fashion: Edward Steichen,WestLicht, Austria, 18 Feb – 24 May
  • 2016Making Meaning of a Legacy: Edward Steichen,Centre for Fine Arts - Bozar, Belgium, 13 Nov 2015 – 5 Jan
  • 2017:Twentieth-Century Photographer Edward Steichen,DeCordova Museum, US, 7 Oct 2016 – 26 Mar

Group[edit]

  • 1900The New School of American Photography;Royal Photographic Society; London, England and Paris, France[82]
  • 1902American Pictorial Photography;National Arts Club; New York, New York.[49]
  • 1904Salon International de Photographie,Paris.[82]
  • 1905 Opening Exhibition; Little Galleries of the Photo Secession; New York, New York.[49]
  • 1906Photographs Arranged by the Photo Secession;Pennsylvania Academy of Fine Arts; Philadelphia, Pennsylvania[49]
  • 1910The Younger American Painters;Little Galleries of the Photo-Secession; New York, New York.[49]
  • 1910International Exhibit of Pictorial Photography;Albright Art Gallery; Rochester, New York[49]
  • 1932Murals by American Painters and Photographers;Museum of Modern Art; New York, New York[49]
  • 1955The Family of Man,MOMA, New York (US)[82]

Bibliography[edit]

Wikisourcehas original works by or about:
Edward Jean Steichen
  • Steichen, Edward (1955).The Family of Man: The Greatest Photographic Exhibition of All Time.New York: Maco Pub. Co for the Museum of Modern Art.
  • Sandburg, Carl; Steichen, Edward (1961),Steichen the photographer,Museum of Modern Art
  • Steichen, Edward (1963),A life in photography,Allen
  • Steichen, Edward; Longwell, Dennis; Museum of Modern Art (New York, N.Y.) (1978),Steichen: the master prints 1895-1914, the symbolist period,Museum of Modern Art; Boston,ISBN978-0-87070-581-6
  • DePietro, Anne Cohen (1985).The Paintings of Eduard Steichen.Huntington, NY: The Heckscher Museum.LCCN85-80519(Exhibition Catalog).
  • Sandeen, Eric J. (1995).Picturing an Exhibition: The Family of Man and 1950's America.University of New Mexico Press.
  • Steichen, Edward; Gedrim, Ronald (1996),Edward Steichen: selected texts and bibliography,Clio Press,ISBN978-1-85109-208-6
  • Steichen, Edward; Cortese, Sabina; Photographic Society of Great Britain (1997),Edward Steichen: the Royal Photographic Society collection,Charta,ISBN978-88-8158-105-4
  • Johnston, Patricia A; Steichen, Edward (1997),Real fantasies: Edward Steichen's advertising photography,University of California Press,ISBN978-0-520-22707-1
  • Niven, Penelope (1997).Steichen: A Biography.New York: Clarkson Potter.ISBN0-517-59373-4.
  • Smith, Joel (1999).Edward Steichen: The Early Years.Princeton, NJ: Princeton University Press.
  • Steichen, Edward; Steichen, Joanna T (2000),Steichen's legacy: photographs, 1895-1973(1st ed.), Alfred A. Knopf,ISBN978-0-679-45076-4
  • Haskell, Barbara (2000).Edward Steichen.New York: Whitney Museum of American Art.
  • Steichen, Edward; Bjerke, Øivind Storm (2002),Edward Steichen: art as advertising, advertising as art: works from the collection of Norsk museum for fotografi - Preus fotomuseum,Norsk museum for fotografi - Preus fotomuseum
  • DePietro, Anne Cohen; Goley, Mary Anne (2003).Eduard Steichen: Four Paintings in Context.Hollis Taggart Galleries.
  • Mitchell, Emily (2007).The Last Summer of the World.Norton. (A fictional narrative about Steichen.)
  • Martineau, Paul, ed. (2018),Icons of style: A Century of Fashion Photography,The J. Paul Getty Museum,ISBN978-1-60606-558-7

Gallery[edit]

  • Landscape with Avenue of Trees, a painting by Steichen, 1902
    Landscape with Avenue of Trees,a painting by Steichen, 1902
  • Portrait of Auguste Rodin by Steichen, 1902
    Portrait ofAuguste Rodinby Steichen, 1902
  • The cover of Camera Work, showing Steichen's design and custom typeface. Also, in this specific issue, Issue 2, the entire volume was devoted to Steichen's photographs.
    The cover ofCamera Work,showing Steichen's design and custom typeface. Also, in this specific issue, Issue 2, the entire volume was devoted to Steichen's photographs.
  • Self-portrait, by Edward Steichen. Published in Camera Work No 2, 1903
    Self-portrait,by Edward Steichen. Published inCamera WorkNo 2, 1903
  • Portrait of J.P. Morgan, taken in 1903
    Portrait ofJ.P. Morgan,taken in 1903
  • The Flatiron in a photograph of 1904, taken by Steichen
    The Flatironin a photograph of 1904, taken by Steichen
  • Experiment in Three-Color Photography, by Steichen, published in Camera Work No 15, 1906
    Experiment in Three-Color Photography,by Steichen, published inCamera WorkNo 15, 1906
  • Pastoral – Moonlight, by Steichen, published in Camera Work No 20, 1907
    Pastoral – Moonlight,by Steichen, published inCamera WorkNo 20, 1907
  • Eugene, Stieglitz, Kühn and Steichen Admiring the Work of Eugene, by Frank Eugene from 1907. From left to right are Eugene, Alfred Stieglitz, Heinrich Kühn, and Steichen.
    Eugene, Stieglitz, Kühn and Steichen Admiring the Work of Eugene,byFrank Eugenefrom 1907. From left to right are Eugene,Alfred Stieglitz,Heinrich Kühn, and Steichen.
  • Henri Matisse and La Serpentine, fall 1909, Issy-les-Moulineaux, photograph by Edward Steichen
    Henri Matisseand La Serpentine,fall 1909, Issy-les-Moulineaux, photograph by Edward Steichen
  • Picture by Steichen of Brâncuși's studio, 1920
    Picture by Steichen of Brâncuși's studio, 1920
  • Portrait of Constantin Brâncuși, taken at Steichen's home & studio at Voulangis, in 1922
    Portrait ofConstantin Brâncuși,taken at Steichen's home & studio atVoulangis,in 1922
  • Wind Fire. Thérèse Duncan, the adopted daughter of Isadora Duncan, dancing at the Acropolis of Athens, 1921, by Steichen
    Wind Fire.Thérèse Duncan, the adopted daughter ofIsadora Duncan,dancing at theAcropolis of Athens,1921, by Steichen
  • Isadora Duncan in the Parthenon, Athens, 1921
    Isadora Duncan in theParthenon,Athens,1921
  • "Aircraft of Carrier Air Group 16 return to the USS Lexington (CV-16) during the Gilberts operation, November 1943." Photographed by Commander Edward Steichen, USNR.
    "Aircraft of Carrier Air Group 16 return to theUSS Lexington(CV-16)during the Gilberts operation, November 1943. "Photographed by Commander Edward Steichen, USNR.

References[edit]

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External links[edit]

Library resourcesabout
Edward Steichen
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