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Books : Arts & Photography : Artists, A-Z : ( S-U ) : Steichen, Edward
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Hailed as the most successful exhibition of photography ever assembled, The Family of Man opened at The Museum of Modern Art, New York in January 1955. This book, the permanent embodiment of Edward Steichen's monumental exhibition, reproduces all of the 503 images that Steichen described as "a mirror of the essential oneness of mankind throughout the world. Photographs made in all parts of the world, of the gamut of life from birth to death." A classic and inspiring work, The Family of Man has been in print for more than forty years. The New York Times once wrote that it "symbolizes the universality of human emotions." First produced by a magazine publisher and sold by the hundreds of thousands on newsstands and in airport shops, The Family of Man has been in more recent years published by the Museum. It has been continuously in print since 1955; the present Thirtieth Anniversary Edition was prepared from original photographs with all new duotone plates in 1986.
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One of the most influential figures in the history of photography, Edward Steichen (1879-1973) was also one of the most precocious. Born in Luxembourg, raised in Wisconsin, and trained as a lithographer's apprentice, Steichen took up photography in his teens and by age twenty-three had created brooding tonalist landscapes and brilliant psychological studies that won the praise of Alfred Stieglitz in New York and Auguste Rodin in Paris, among others. Over the next decade, this young man--the preferred portraitist of the elite of two continents--was repeatedly acclaimed as the peerless master of the painterly photograph. This volume, covering the period from the late 1890s to World War I, highlights masterpieces from The Metropolitan Museum of Art, which houses the finest collection of Steichen's early work in the world, and reproduces them in near-facsimile through four-color digital offset lithography.
Steichen worked with a designer's inventive eye, a Symbolist's poetic sensibility, an entrepreneur's charisma, and--above all--the originality and finesse of a creative and painstaking printer to establish ambitious new standards in artistic photography. Overlaying the subtle tone-poetry of his platinum prints with repeated washes of harmonious color, he created unforgettable images. In his three famous twilight views of New York's Flatiron Building, one of the landmarks of turn-of-the-century architecture, Steichen crafted a powerful symbol of a new age. His stunning sequence of Rodin's Balzac figure in the moonlight is presented here as are his nudes, with their frankly erotic sense of flesh and weight. And the intense energy of a decade comes to life in his portraits of a diverse cast ranging from Richard Strauss to J. P. Morgan, Maurice Maeterlinck to George Bernard Shaw--and Steichen himself, the founding auteur of a century of celebrity. In the accompanying text, Joel Smith explores Steichen's maturing artistry in the light of contemporary developments in photography, graphic design, and the decorative arts.
This is a stunning visual record of the emergence of Steichen as a great artist and is one of the most important books to be published on his life and work in recent years.
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In the years following World War II, images of comradeship, particularly of men being physically close, largely disappeared from the public record. But, as these stunning photographs attest, ordinary American men in the extraordinary circumstances of World War II were affectionate, winsome, and playful-disarmingly innocent in a time of cataclysmic peril.Led by photography giant Captain Edward J. Steichen, the U.S. Naval Aviation Photographic Unit was organized during the war to record the daily experiences of Navy men all over the world and provide newspapers and magazines with images to promote the American cause. The unit's photographers, which included Wayne Miller, Horace Bristol, Victor Jorgensen, and Barrett Gallagher, took thousands of pictures of soldiers as they relaxed, trained, prepared for the next battle, and waited.
This book brings together more than 150 of those photographs, culled from the National Archives, including many that have never before been published. Whereas World War II imagery tends to be dominated by combat photography and monumental depictions of weaponry, these photographs offer a rare, intimate look at the Navy men themselves.
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During the 1920s and 1930s, Edward Steichen was the most successful photographer in the advertising industry. Although much has been said about Steichen's fine-art photography, his commercial work--which appeared regularly in Vanity Fair, Vogue, Ladies Home Journal, and almost every other popular magazine published in the United States--has not received the attention it deserves.
At a time when photography was just beginning to replace drawings as the favored medium for advertising, Steichen helped transform the producers of such products as Welch's grape juice and Jergens lotion from small family businesses to national household names. In this book, Patricia Johnston uses Steichen's work as a case study of the history of advertising and the American economy between the wars. She traces the development of Steichen's work from an early naturalistic style through increasingly calculated attempts to construct consumer fantasies. By the 1930s, alluring images of romance and class, developed in collaboration with agency staff and packaged in overtly manipulative and persuasive photographs, became Steichen's stock-in-trade. He was most frequently chosen by agencies for products targeted toward women: his images depicted vivacious singles, earnest new mothers, and other stereotypically female life stages that reveal a great deal about the industry's perceptions of and pitches to this particular audience.
Johnston presents an intriguing inside view of advertising agencies, drawing on an array of internal documents to reconstruct the team process that involved clients, art directors, account executives, copywriters, and photographers. Her book is a telling chronicle of the role of mass media imagery in reflecting, shaping, and challenging social values in American culture.
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No dust cover, published by Simon and Schuster in collaboration with Maco Magazine Corporation for the Museum of Modern Art (MOMA, 1955), 500 + black and white photographs in excellent condition with slight yellowing. Front and end papers (photographed in the UK) are in very good condition. Front cover end page has small tear at top of page by the spine. Boards are light blue, bumped, frayed, and worn at the corners along with soiling. Spine is strong, 1/8 bound black cloth with gold and white lettering. Edges of pages had a tint that is faded badly - possibly red. Back board has water spots.
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"Stieglitz is as scholarly a production as anyone could wish, crammed with facts and trailing informative appendixes. It is also a loving and occasionally exasperated look at a contentious relative and the intimate circumstances that formed him." --Time A tireless exponent of the avant-garde and of photography as a fine art, as well as a consummate photographer in his own right, Alfred Stieglitz was both the embodiment of rebellious New York modernism and an oddly domestic man who retained a lifelong attachment to his family's country estate. In Stieglitz: A Memoir/Biography, author Sue Davidson Lowe, Stieglitz's grand-neice, presents the man in all of his complexity, tracing his background and revealing the interplay between his character and his multifaceted career. She offers new insight into Stieglitz's relationships with artists such as Marin, Hartley, Dove, Steichen, and O'Keefe; his pioneering promotion of Europe's most radical artists through the Photo-Secession group and the 291 gallery; and his creation of some of our century's most enduring photographic images. Gracefully weaving personal reminiscence and verifiable fact as she lucidly interweaves Stieglitz's career with his personal life, Lowe presents a uniquely compelling and intimate portrait of a hugely influential, hugely enigmatic American artist.
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The photographs in this volume were selected from the collection of the prestigious Royal Photographic Society in Bath, England, home to 80 Steichen photographs. Steichen's relationship with the RPS was turbulent, as the innovative photographer repeatedly challenged the conservative Society. In 1903, Steichen took aim at the formulaic photographs favored by the Society, writing: "Some day there may be invented a machine that needs but to be wound up and sent roaming o'er hill and dale, through fields and meadows, by babbling brooks and shady woods - in short, a machine that will discriminatingly select its subject and by means of a skilful arrangement of springs and screws, compose its motif, expose the plate, develop, print and even mount and frame the result of its excursion, so that there will remain nothing for us to do but to send it to the Royal Photographic Society's exhibition and gratefully receive the Royal Medal."
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The Family of Man, a photography exhibit curated by Edward Steichen, opened at the Museum of Modern Art in 1955. More people saw that exhibit than any other show of photographs, and the book of the same title remains in print to this day. Despite the enormous success of this assemblage of photographs, surprisingly little critical attention has been paid to The Family of Man as a phenomenon.Eric Sandeen presents here the first in-depth study of the exhibit and its influence worldwide. He examines how the exhibit came to be assembled, the beliefs and background Edward Steichen brought to the project, and what he wanted to show about the human condition from his selection of images. He then looks at the politics and culture of the 1950s to determine why the show was so popular at the time. When the United States Information Agency toured the photographs throughout the world in five different versions for seven years, The Family of Man became a symbol for and projection of American values and the culture of abundance.
The richness and historical complexity of this exhibit have been overlooked, especially in the post-Vietnam decades, as critics have been quick to dismiss it as sentimental. Sandeen shows the exhibit to be a great deal more than a compendium of beautiful but unchallenging photographs. He also unfolds its multilayered relationship with and reflection of the values of postwar America.
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