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Gathers still lifes, landscapes, portraits, advertisements, abstracts, fashion photographs, and nudes by the prominent American photographer, from each period of his career

Edward Steichen was one of the world's greatest photographers, celebrated for his black-and-white images-particularly his Family of Man exhibition. But he was also an innovator in color photography who created magnificent autochromes, an early glass-plate color process that yields a unique print.This exceptional volume pays tribute to Steichen's rare and in some cases never-before-seen color work. Featuring an essay by his wife Joanna, as well as a lengthy introduction by the curator of photographs at George Eastman House, this landmark publication showcases 48 eye-opening photographs, all gorgeously reproduced in a museum-quality monograph.

Book is in NEW condition. 2.91

By far the most lavish, thoughtfully selected, and beautifully produced book of Steichen’s work. Edward Steichen (1879-1973) is unquestionably one of the most prolific, influential, and indeed controversial names in the history of photography. He was admired by many for his achievements as a fine-art photographer, while impressing countless others with the force of his commercial accomplishments. The influence of his legendary exhibition, The Family of Man, is still felt. This volume traces Steichen’s career trajectory from his Pictoralist beginnings to his time with Condé Nast through his directorship of photography at the Museum of Modern Art. Hundreds of his photographs are reproduced in stunning four-color to reveal the complexities and nuances of these black-and-white images. Essays from a range of scholars explore his most important subjects and weigh his legacy. Contributors include A. D. Coleman, Joanna T. Steichen, and Ronald Gedrim. With a full bibliography and chronology, this is the most complete and wide-ranging volume on Steichen ever published. 250 tinted and four-color photographs

The Bitter Years was the title of a seminal exhibition held in 1962 at The Museum of Modern Art, New York, curated by Edward Steichen, and 2012 marks its fiftieth anniversary. The show featured 209 images by photographers who worked under the aegis of the U.S. Farm Security Administration (FSA) in 1935–41, as part of Roosevelt’s New Deal. The FSA, set up to combat rural poverty during the Great Depression, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange. The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans and Arthur Rothstein. Their images are among the most remarkable in documentary photography--testimonies of a people in crisis, hit by the full force of economic turmoil and the effects of drought and dust storms. This volume includes all the photographs in the original show, in a structure and sequence that reflect those devised by Steichen for the exhibition. The Bitter Years was the last exhibition curated by Steichen as Director of the Department of Photography at MoMA, in which role he had won international acclaim for his 1955 The Family of Man exhibition. Essays by Jean Back, Gabriel Bauret, Ariane Pollet, Miles Orvell and Antoinette Lorang discuss the FSA, its place in the history of twentieth-century photography and the continuing role of its archive, and Steichen and the origins, impact and legacy of the exhibition. The Bitter Years celebrates some of the most iconic photographs of the twentieth century, and--since no proper catalogue was produced at the time--provides a whole new insight into Steichen’s impact on the history of documentary photography.

The most extensive collection of Steichen's legendary Vogue and Vanity Fair work ever brought to the public. Edward Steichen was already a famous painter and photographer in America and abroad when, in early 1923, he was offered the most prestigious position in photography's commercial domain: that of chief photographer for Vogue and Vanity Fair.Over the next fifteen years, Steichen would produce a body of work of unequaled brilliance, dramatizing and glamorizing contemporary culture and its achievers in politics, literature, film, sport, dance, theater, opera, and the world of high fashion. Here are iconic images of Gloria Swanson, Gary Cooper, Greta Garbo, and Charlie Chaplin as well as numerous other celebrities drawn from an archive of more than two thousand original prints. Until now, no more than a handful have been exhibited or published in book form. The photographs of the 1920s and 1930s represent the high point in Steichen's career and are among the most striking creations of twentieth-century photography. 242 illustrations

Fine copy in hardcover with fine jacket.

Alfred Stieglitz (1864–1946), Edward Steichen (1879–1973), and Paul Strand (1890–1976) are among the most famous photographers of the 20th century. This handsome volume showcases for the first time the Metropolitan Museum’s extraordinarily rich holdings of works by these diverse and groundbreaking masters.A passionate advocate for photography and modern art promoted through his “Little Galleries of the Photo-Secession” (also known as “291”) and his journal Camera Work, Stieglitz was also a photographer of supreme accomplishment. Featured works by Stieglitz include portraits, landscapes, city views, and cloud studies, along with photographs from his composite portrait of Georgia O’Keeffe (selected by O’Keeffe herself for the Museum). Steichen—perhaps best known as a fashion photographer, celebrity portraitist, and MoMA curator—was Stieglitz’s man in Paris, gallery collaborator, and most talented exemplar of Photo-Secessionist photography. His three large variant prints of The Flatiron and his moonlit photographs of Rodin’s Balzac are highlighted here. Marking a pivotal moment in the course of photography, the final double issue of Camera Work (1915–17) was devoted to the young Paul Strand, whose photographs from 1915 and 1916 treated three principal themes—movement in the city, abstractions, and street portraits—and pioneered a shift from the soft-focus Pictorialist aesthetic to the straight approach and graphic power of an emerging modernism. Represented are Strand’s rare large platinum prints—most of them unique exhibition prints of images popularly known only as Camera Work photogravures.The rarely exhibited photographs gathered in Stieglitz, Steichen, Strand are among the crown jewels of the Metropolitan’s collection.

The classic Photofile series brings together the best work of the world's greatest photographers in an attractive format and at a reasonable price. Handsome and collectible, the books each contain full-page duotone and/or color reproductions, plus a critical introduction and a bibliography. Edward Steichen (1879-1973) had the rare ability to turn his talents to almost all genres of photography. Art and industry, fashion and beauty, celebrity portraits, landscapes and cityscapes, nudes and dancers―his legacy remains omnipresent. It was Steichen's curious and inventive mind that made this diversity possible, as he ignored established dogma to carve out his own unique path. This book presents the best of his work from a career that spanned well over half a century. 64 photographs in color and duotone

In shrink wrap. Looks like an interesting title!

First edition, first printing. Soft cover. Photographically illustrated matt laminated wrappers with French folds, with title stamped in silver on cover and spine. Photographs and paintings by Edward Steichen. Text by Barbara Haskell. Includes a chronology (compiled by Anne Lampe), a list of exhibitions Steichen curated at the Museum of Modern Art, a selected bibliography and a list of works in the exhibition. Designed by Makiko Ushiba. 128 pp., with 22 color plates and numerous additional reference illustrations finely printed in Rhode Island by Meridian Printing Company. 11 x 9 inches. Published on the occasion of the 2000-2001 exhibition Edward Steichen at the Whitney Museum of American Art, New York.

288 Seiten mit 242 Abbildungen. Reichhaltig s/w bebilderter Katalog zur gleichnamigen Ausstellung, die von 2007 bis 2009 nacheinander in Paris, Zürich, Reggio Emilia, Madrid, Wolfsburg, New York, Massachusets und Toronto gezeigt wurde. Der Bildband, für die Ausstellung im Kunstmuseum Wolfsburg in deutsch erschienen, zeigt Steichens berühmteste Arbeiten aus dem Condé Nast Archiv in großformatigen Reproduktionen. PLEASE NOTE THIS IS A HEAVY and OVERSIZED BOOK AND MAY INCUR EXTRA SHIPPING

The most extensive collection of Steichen's legendary Vogue and Vanity Fair work ever brought to the public. Edward Steichen was already a famous painter and photographer in America and abroad when, in early 1923, he was offered the most prestigious position in photography's commercial domain: that of chief photographer for Vogue and Vanity Fair.Over the next fifteen years, Steichen would produce a body of work of unequaled brilliance, dramatizing and glamorizing contemporary culture and its achievers in politics, literature, film, sport, dance, theater, opera, and the world of high fashion. Here are iconic images of Gloria Swanson, Gary Cooper, Greta Garbo, and Charlie Chaplin as well as numerous other celebrities drawn from an archive of more than two thousand original prints. Until now, no more than a handful have been exhibited or published in book form. The photographs of the 1920s and 1930s represent the high point in Steichen's career and are among the most striking creations of twentieth-century photography. 242 illustrations

Alfred Stieglitz (1864–1946), Edward Steichen (1879–1973), and Paul Strand (1890–1976) are among the most famous photographers of the 20th century. This handsome volume showcases for the first time the Metropolitan Museum’s extraordinarily rich holdings of works by these diverse and groundbreaking masters.A passionate advocate for photography and modern art promoted through his “Little Galleries of the Photo-Secession” (also known as “291”) and his journal Camera Work, Stieglitz was also a photographer of supreme accomplishment. Featured works by Stieglitz include portraits, landscapes, city views, and cloud studies, along with photographs from his composite portrait of Georgia O’Keeffe (selected by O’Keeffe herself for the Museum). Steichen—perhaps best known as a fashion photographer, celebrity portraitist, and MoMA curator—was Stieglitz’s man in Paris, gallery collaborator, and most talented exemplar of Photo-Secessionist photography. His three large variant prints of The Flatiron and his moonlit photographs of Rodin’s Balzac are highlighted here. Marking a pivotal moment in the course of photography, the final double issue of Camera Work (1915–17) was devoted to the young Paul Strand, whose photographs from 1915 and 1916 treated three principal themes—movement in the city, abstractions, and street portraits—and pioneered a shift from the soft-focus Pictorialist aesthetic to the straight approach and graphic power of an emerging modernism. Represented are Strand’s rare large platinum prints—most of them unique exhibition prints of images popularly known only as Camera Work photogravures.The rarely exhibited photographs gathered in Stieglitz, Steichen, Strand are among the crown jewels of the Metropolitan’s collection.

This unique volume focuses on the luminous work of an important Austrian photographer. Heinrich Kühn's early Pictorialist works were highly influential, and were exhibited at the Vienna Secession. Gradually Kühn incorporated the influence of his peers, and moved in the direction of Modernist photography. He was also among the first important photographers to create color images. The publication aims to situate Kühn with regard to both the Viennese avant-garde and the international development of photography as an art form. It explores the close friendship among Kühn and major photographers Alfred Stieglitz and Edward Steichen and showcases photographic prints and autochromes by Kühn and other important photographers.

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.

The Bitter Years was the title of a seminal exhibition held in 1962 at The Museum of Modern Art, New York, curated by Edward Steichen, and 2012 marks its fiftieth anniversary. The show featured 209 images by photographers who worked under the aegis of the U.S. Farm Security Administration (FSA) in 1935–41, as part of Roosevelt’s New Deal. The FSA, set up to combat rural poverty during the Great Depression, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange. The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans and Arthur Rothstein. Their images are among the most remarkable in documentary photography--testimonies of a people in crisis, hit by the full force of economic turmoil and the effects of drought and dust storms. This volume includes all the photographs in the original show, in a structure and sequence that reflect those devised by Steichen for the exhibition. The Bitter Years was the last exhibition curated by Steichen as Director of the Department of Photography at MoMA, in which role he had won international acclaim for his 1955 The Family of Man exhibition. Essays by Jean Back, Gabriel Bauret, Ariane Pollet, Miles Orvell and Antoinette Lorang discuss the FSA, its place in the history of twentieth-century photography and the continuing role of its archive, and Steichen and the origins, impact and legacy of the exhibition. The Bitter Years celebrates some of the most iconic photographs of the twentieth century, and--since no proper catalogue was produced at the time--provides a whole new insight into Steichen’s impact on the history of documentary photography.

A visually stunning collection that brings the soldiers' experience to vivid photographic life- includes a DVD. The Aviation Photographic Unit was a military unit unlike any other in World War II. Founded and led by legendary photographer Edward Steichen, the photographers in this unit gave Americans on the home front memorable and dramatic images of the people fighting the Navy's battles in the Pacific theater. Beginning with just half a dozen intrepid shutterbugs and expanding to ten battle-seasoned photographers, the unit covered everything from early aircraft raids to amphibious landings to the surrender in Tokyo Bay. With an estimated 14,000 images in the collection of the National Archives, the work of this talented photographic unit is historically significant not only as a visual record of the war, but also for its influence on generations of postwar photographers. Faces of War is a tribute to the vision of Edward Steichen, as well as the men who served under him, and most importantly to their subjects-the unsung heroes of the U.S. Navy. Steichen's unit included such well-known photographers as: LCdr. Horace Bristol Lt. Barrett Gallagher LCdr. Charles Fenno Jacobs Lt. Victor Jorgensen LCdr. Charles Kerlee LCdr. Dwight S. Long Lt. Wayne Miller

Offering cultural insights on the pre-World War One era, this book acts as a kind of moral and philosophical tonic, making one believe in the possibilities for art, love, and social reform.

Coming into FashionFashion photography is said to have begun with the distinguished American photographer Edward Steichen in 1911, and in the more than hundred years since then the genre has attracted some of the most talented photographers in the history of the medium. Many of them started their careers thanks to the editors and art directors of Vogue, Glamour and other Conde Nast publications. This book, featuring the work of 85 of the great fashion photographers past and present, drawn from the Conde Nast archives in New York, Paris and Milan, illustrates the early work of such celebrated practitioners as Cecil Beaton, Irving Penn, David Bailey, Helmut Newton, Corinne Day, Ellen von Unwerth and Mario Testino that appeared in the pages of the companys magazines. The book is arranged chronologically from 1910 to 2010, and each plate section is interleaved with texts that recount the major photographers of the period and the changing styles of photography and fashion. The book also includes an interview with Franca Sozzani, the editor-in-chief of Vogue Italia, essays by Olivier Saillard and Sylvie Lecallier from the Musee Galliera, Paris, and an introduction by author Nathalie Herschdorfer, photography historian and curator. A brief biography of each photographer is included at the back of the book.