Steichen, Edward - Fotografia
The Man Who Resembles Erasmus, n.d.
The Pool, 1899
Self-Portrait - 1901
Gum bichromate print
8 1/4 x 6 1/4 in.
J. Paul Getty Museum, Los Angeles
Rodin and the Thinker, 1902
Rodin and the Thinker, 1902
Rodin - 1902
Fotogravure, 212 x 161 mm
The Metropolitan Museum of Art, New York
The Big White Cloud, Lake George - 1903, printed 1904
Direct carbon print
15 1/2 x 19 in.
The Metropolitan Museum of Art, New York
Across the Salt Marshes: Huntington Before 1912, c. 1904
Platinum print with applied colors
Metropolitan Museum of Art, New York City
G. Bernard Shaw - 1908
Print, four color halftone
7 3/4 x 5 11/16 in.
Museum of Fine Arts, Boston
The Flatiron, 1904, printed 1909
Gum bichromate over platinum print
18 13/16 x 15 1/8 in.
The Metropolitan Museum of Art, New York
Experiment in Three-Color Photography - 1906
Print, three color halftone
4 5/16 x 4 7/8 in.
Museum of Fine Arts, Boston
Rodin—The Eve - 1907
Autochrome
6 1/4 x 3 7/8 in.
The Metropolitan Museum of Art, New York
On the House Boat--"The Log Cabin" - 1907
Color halftone (printed 1908)
5 13/16 x 7 3/4 in.
Midnight - Rodin's Balzac, 1908
Henri Matisse and "The Serpentine", c. 1909
Across the Salt Marshes, c. 1912
Isadora Duncan, 1913
Portrait of Miss Sawyer, c. 1914
Heavy Roses, 1914
Lotus, Mount Kisco, New York, 1915
Pears and Apple, France - 1919
Photograph, gelatin silver print
9 9/16 x 7 9/16 in.
Museum of Fine Arts, Boston
Sunflower - 1920
Toned gelatine silver print
348x269mm
Royal Photographic Society Collection, Bath, UK
Wheelbarrow with flower pots, France, 1920
Triumph of the Egg, 1921
Charlie Chaplin - 1925
Gelatin silver print
9 1/2 x 7 9/16 in
Minneapolis Institute of Arts, Minnesota
Gloria Swanson - 1926
Photograph, gelatin silver print
24,2x19,3 cm
Gruber Collection
Greta Garbo, 1928
Avocados, New York, 1930 (Twenty-Five Photographs) - 1930
printed 1981–82
Photograph, gelatin silver print
10 9/16 x 13 1/8 in.
Museum of Fine Arts, Boston
Carl Sandburg, Michigan, 1930 (Twenty-Five Photographs)
1930, printed 1981–82
Photograph, gelatin silver print
9 7/16 x 13 9/16 in.
Museum of Fine Arts, Boston
Eugene O'Neill - 1932
Gelatin silver print
9 9/16 x 7 5/8 in.
Minneapolis Institute of Arts, Minnesota
The Maypole, 1932
Nude Torso, New York, 1934
Gelatin silver print, printed in the1950s
13-1/2 x 10-1/2 in.
Private Collection
Marlene Dietrich - 1935
Photograph, gelatin silver print
24,2x19,3 cm
Gruber Collection
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Steichen nasceu em 1879, no Luxemburgo, mas cedo se mudou para os Estados Unidos, onde optou pela cidadania americana. Aos 16 anos começou como fotógrafo e aos 21 foi para Paris para estudar pintura. Em Nova Iorque, em 1905, juntou-se ao fotógrafo norte-americano Alfred Stieglitz e abriram a Gallery 291, sala aonde realizaram as suas primeiras exposições de alguns dos pintores mais representativos do século XX. No ano seguinte, Steichen voltou a Paris, onde fez experiências com a fotografia e a pintura, entre outras coisas. Em 1923, regressou a Nova Iorque como fotógrafo-chefe das revistas Vanity Fair e Vogue. Entre os famosos que retratou para a Vanity Fair. encontram-se Greta Garbo e Charles Chaplin. Em 1938 retirou-se para a sua quinta de West Redding, Connecticut. Durante a II Guerra Mundial dirigiu uma equipa fotográfica de combate da Marinha dos Estados Unidos. Em 1947, foi nomeado director de fotografia do Museu de Arte Moderna de Nova Iorque (MOMA). Em 1955 preparou a exposição fotográfica "The Family of Man", que posteriormente deu volta ao mundo. Este fotógrafo norte-americano buscou a interpretação emotiva e impressionista nos seus temas e lutou para que a fotografia fosse reconhecida como uma manisfestação formal de arte. Morreu em 1973.
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Edward Steichen (1879-1973) is one of the most important figures in the history of photography. During his active career, which lasted over half the life span of photography, he was renowned as an artist, fashion photographer, curator, writer, and technical innovator. He was also a passionate advocate for photography as an art form, and led, along with Alfred Stieglitz, an aesthetic revolution that enabled photography to be considered as a medium capable of interpretation and expression, and not as a mere documentary record of visual facts. Steichen took up photography in 1895, at the age of sixteen, and was self-taught. During his early career, around the turn of the century, he was associated with a style of photography known as Pictorialism. The Pictorialists felt that the aesthetic promise of photography lay in an emulation of painting. Steichenís early work, then, adopted many Pictorialist techniques (a jiggled tripod, a lens bathed in glycerin, or various darkroom tricks) designed to produce ìpainterlyî soft-focus effects. During this period, Steichen was also a painter, until he burned all his canvases in 1922. In 1905, with Stieglitz, he founded the famous Little Galleries of the Photo Secession at 291 Fifth Avenue in New York (later the 291 Gallery) to promote photography as an art form in particular, and European Modernism in general. Steichen soon came under the spell of the new art movements with their abstract geometries, and he gradually abandoned his Pictorialism in favor of straight photography with a strong sense of design and clean, uncluttered images and compositions. Steichen went on to command the photographic division of the U.S. Expeditionary Forces in World War I, and to direct the Naval Photographic Institute in World War II. During the 1920s and 1930s he worked as a commercial photographer for Conde Nást publications including Vogue and Vanity Fair, and from 1947-1962 was Director of the Department of Photography at the Museum of Modern Art in New York. In 1955, he organized the famous Family of Man exhibition which toured the world.
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Edward Steichen (1879-1973) is one of the most important figures in the history of photography. During his active career, which lasted over half the life span of photography, he was renowned as an artist, fashion photographer, curator, writer, and technical innovator. He was also a passionate advocate for photography as an art form, and led, along with Alfred Stieglitz, an aesthetic revolution that enabled photography to be considered as a medium capable of interpretation and expression, and not as a mere documentary record of visual facts. Steichen took up photography in 1895, at the age of sixteen, and was self-taught. During his early career, around the turn of the century, he was associated with a style of photography known as Pictorialism. The Pictorialists felt that the aesthetic promise of photography lay in an emulation of painting. Steichenís early work, then, adopted many Pictorialist techniques (a jiggled tripod, a lens bathed in glycerin, or various darkroom tricks) designed to produce ìpainterlyî soft-focus effects. During this period, Steichen was also a painter, until he burned all his canvases in 1922. In 1905, with Stieglitz, he founded the famous Little Galleries of the Photo Secession at 291 Fifth Avenue in New York (later the 291 Gallery) to promote photography as an art form in particular, and European Modernism in general. Steichen soon came under the spell of the new art movements with their abstract geometries, and he gradually abandoned his Pictorialism in favor of straight photography with a strong sense of design and clean, uncluttered images and compositions. Steichen went on to command the photographic division of the U.S. Expeditionary Forces in World War I, and to direct the Naval Photographic Institute in World War II. During the 1920s and 1930s he worked as a commercial photographer for Conde Nást publications including Vogue and Vanity Fair, and from 1947-1962 was Director of the Department of Photography at the Museum of Modern Art in New York. In 1955, he organized the famous Family of Man exhibition which toured the world.
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on Sexta-feira, Janeiro 06, 2006 at 1:29 AM.
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6:18 PMA rever! Obrigatoriamente.
12:41 AM
Tenho uma foto desse senhor (cópia, claro!) emoldurada em casa. Uma beleza. T, um beijo e bom fim de semana
12:07 AM
Belíssimo...principalmente para a época...
1:45 PM
fabuloso. adorei!! aquele girasol então....
10:57 PM
Só conhecia a do Shaw. Notáveis.
4:24 AM
Especial! Conhecia algumas destas fotos e ignorava o autor-um crime, reparado agora! grata, muito!
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