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== Museum of Modern Art ==
== Museum of Modern Art ==
In the summer of 1929, Museum of Modern Art director [[Alfred H. Barr Jr.|Alfred H. Barr, Jr.]] had included a department devoted to photography in 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 by [[Beaumont Newhall]]. Precipitating Newhall's resignation in 1947, Steichen was appointed Director of Photography until 1962, assisted by [[Grace M. Mayer]]. Among other accomplishments, Steichen created ''[[The Family of Man]]'', a world-touring Museum of Modern Art exhibition, seen by 9 million visitors and consisting of over 500 photos that depicted life, love and death in 68 countries. Steichen's brother-in-law, [[Carl Sandburg]], wrote a prologue for the exhibition catalog.<ref>{{Cite book | author1=Steichen, Edward | author2=Steichen, Edward, 1879–1973, (organizer.) | author3=Sandburg, Carl, 1878–1967, (writer of foreword.) | author4=Norman, Dorothy, 1905–1997, (writer of added text.) | author5=Lionni, Leo, 1910–1999, (book designer.) | author6=Mason, Jerry, (editor.) | author7=Stoller, Ezra, (photographer.) | author8=Museum of Modern Art (New York, N.Y.) | title=The family of man : the photographic exhibition | publication-date=1955 | publisher=Published for the Museum of Modern Art by Simon and Schuster in collaboration with the Maco Magazine Corporation | url=https://trove.nla.gov.au/work/10809600 }}</ref>
In the summer of 1929, Museum of Modern Art director [[Alfred H. Barr Jr.|Alfred H. Barr, Jr.]] had included a department devoted to photography in 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 by [[Beaumont Newhall]]. On the strength of attendances of his propaganda exhibition ''Road to Victory'',<ref>{{Citation | author1=Hill, Jason | author2=Schwartz, Vanessa R | author3=ebrary, Inc | title=Getting the picture : the visual culture of the news | publication-date=2015 | publisher=Bloomsbury Academic | isbn=978-1-4725-6664-5 }}</ref> and precipitating Newhall's resignation, along with most of his staff, in 1947 Steichen was appointed Director of Photography until 1962, later assisted by [[Grace M. Mayer]]. His appointment was protested by many who saw him as anti art photography, one of the most vocal being Ansel Adams who 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.”<ref>{{Citation | author1=Stegner, WallAce | author2=Alinder, Mary Street | author3=Stillman, Andrea G | title=Ansel Adams--Letters, 1916--1984 | publication-date=2017 | publisher=[Place of publication not identified publisher not identified] | isbn=978-0-316-43699-1 }}</ref>


Among other accomplishments, Steichen created ''[[The Family of Man]]'', a world-touring Museum of Modern Art exhibition, seen by 9 million visitors and consisting of over 500 photos that depicted life, love and death in 68 countries. Steichen's brother-in-law, [[Carl Sandburg]], wrote a prologue for the exhibition catalog.<ref>{{Cite book | author1=Steichen, Edward | author2=Steichen, Edward, 1879–1973, (organizer.) | author3=Sandburg, Carl, 1878–1967, (writer of foreword.) | author4=Norman, Dorothy, 1905–1997, (writer of added text.) | author5=Lionni, Leo, 1910–1999, (book designer.) | author6=Mason, Jerry, (editor.) | author7=Stoller, Ezra, (photographer.) | author8=Museum of Modern Art (New York, N.Y.) | title=The family of man : the photographic exhibition | publication-date=1955 | publisher=Published for the Museum of Modern Art by Simon and Schuster in collaboration with the Maco Magazine Corporation | url=https://trove.nla.gov.au/work/10809600 }}</ref>


As had been Steichen's wish, the exhibition was donated to the Grand Duchy of Luxembourg. It is now permanently housed in the City of [[Clervaux]] (Luxembourgish: Klierf) in northern Luxembourg.<ref>{{cite web |author=Serge Moes |url=http://www.luxembourg.co.uk/clervaux.html |title=Luxembourg Tourist Office in London – Clervaux |publisher=Luxembourg.co.uk |date= |accessdate=April 28, 2010 |deadurl=yes |archiveurl=https://web.archive.org/web/20100331132427/http://www.luxembourg.co.uk/clervaux.html |archivedate=March 31, 2010 |df= }}</ref>
As had been Steichen's wish, the exhibition was donated to the Grand Duchy of Luxembourg. It is now permanently housed in the City of [[Clervaux]] (Luxembourgish: Klierf) in northern Luxembourg.<ref>{{cite web |author=Serge Moes |url=http://www.luxembourg.co.uk/clervaux.html |title=Luxembourg Tourist Office in London – Clervaux |publisher=Luxembourg.co.uk |date= |accessdate=April 28, 2010 |deadurl=yes |archiveurl=https://web.archive.org/web/20100331132427/http://www.luxembourg.co.uk/clervaux.html |archivedate=March 31, 2010 |df= }}</ref>

Revision as of 07:02, 27 June 2019

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

(1879-03-27)March 27, 1879
Bivange/Béiweng, Luxembourg
DiedMarch 25, 1973(1973-03-25) (aged 93)
West Redding, Connecticut, U.S.
NationalityLuxembourgish by birth; American from 1900
Known forPainting, Photography
Spouse(s)
Clara Smith
​
​
(m. 1903; div. 1922)​

Dana Desboro Glover
​
​
(m. 1923; died 1957)​

Joanna Taub
​
​
(m. 1960; "his death" is deprecated; use "died" instead. 1973)​


Edward Jean Steichen (March 27, 1879 – March 25, 1973) was a Luxembourgish American photographer, painter, and art gallery and museum curator.

Steichen was the most frequently shown photographer in Alfred Stieglitz's groundbreaking magazine Camera Work during its run from 1903 to 1917. Together Stieglitz and Steichen opened the Little Galleries of the Photo-Secession, which eventually became known as 291 after its address.

His photos of gowns for the magazine Art et Décoration in 1911 are regarded as the first modern fashion photographs ever published. From 1923 to 1938, Steichen was a photographer for the Condé Nast magazines Vogue and Vanity Fair while also working for many advertising agencies including J. Walter Thompson. During these years, Steichen was regarded as the best known and highest paid photographer in the world. In 1944, he directed the war documentary The Fighting Lady, which won the 1945 Academy Award for Best Documentary.

From 1947 to 1961, Steichen served as Director of the Department of Photography at New York's Museum of Modern Art. While at MoMA, he curated and assembled the exhibit The Family of Man, which was seen by nine million people.

Early life

Steichen was born Éduard Jean Steichen in Bivange, Luxembourg, the son of Jean-Pierre and Marie Kemp Steichen.[2] Jean-Pierre Steichen first immigrated to the United States in 1880.[2] Marie Steichen brought the infant Éduard along once Jean-Pierre had settled in Chicago, in 1881.[3] The family, with the addition of Éduard's younger sister Lilian, moved to Milwaukee in 1889, when Steichen was 10.[4]

In 1894, at fifteen, Steichen began attending Pio Nono College, a Catholic boy's high school, where his artistic talents were first noticed; his drawings in particular were said to show promise.[5] He quit high school to begin a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee.[6] After hours, he would sketch and draw, and began to teach himself to paint.[7] Having come across a camera shop near his work, he visited frequently until he persuaded himself to buy his first camera, a secondhand Kodak box "detective" camera, in 1895.[8] Steichen and his friends who were also interested in drawing and photography pooled together their funds, rented a small room in a Milwaukee office building, and began calling themselves the Milwaukee Art Students League.[9] The group also hired Richard Lorenz and Robert Schade for occasional lectures.[6]

Steichen was naturalized as a U.S. citizen in 1900 and signed the naturalization papers as Edward J. Steichen; however, he continued to use his birth name of Éduard until after the First World War.[10]

Henri Matisse and La Serpentine, fall 1909, Issy-les-Moulineaux, photograph by Edward Steichen

Steichen married Clara Smith in 1903. They had two daughters, Katherine and Mary. In 1914, Clara accused her husband of having an affair with artist Marion 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.[11][12] Clara and Eduard Steichen eventually divorced in 1922. Steichen married Dana Desboro Glover in 1923. She died of leukemia in 1957. In 1960, aged 80, Steichen married 27-year-old Joanna Taub and remained married to her until his death, two days before his 94th birthday. Joanna Steichen died on July 24, 2010, in Montauk, New York, aged 77.[13]

Partnership with Stieglitz

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

Clarence H. White thought Steichen and Stieglitz should meet. White produced an introduction letter for Steichen and Steichen met Alfred Stieglitz in New York City in 1900; Steichen at the time en route to Paris from his home in Milwaukee.[14] In that first meeting, Stieglitz expressed praise for Steichen's background in painting and bought three of Steichen's photographic prints.[15]

In 1902, when Stieglitz was formulating what would become Camera Work, he asked Steichen to design the logo for the magazine with a custom typeface.[16] Steichen was the most frequently shown photographer in the journal.

In 1904, Steichen began experimenting with color photography. He was one of the first people in the United States to use the Autochrome Lumière process. In 1905, Stieglitz and Steichen created the Little Galleries of the Photo-Secession, which eventually became known as 291 after its address. It presented some of the first American exhibitions of Henri Matisse, Auguste Rodin, Paul Cézanne, Pablo Picasso, and Constantin Brâncuși.

Pioneering fashion photography

In 1911, Steichen was "dared" by Lucien Vogel, the publisher of Jardin des Modes and La Gazette du Bon Ton, to promote fashion as a fine art by the use of photography.[17] Steichen took photos of gowns designed by couturier Paul Poiret,[17] which were published in the April 1911 issue of the magazine Art et Décoration.[17] According to Jesse Alexander, this is "... now considered to be the first ever modern fashion photography shoot. That is, photographing the garments in such a way as to convey a sense of their physical quality as well as their formal appearance, as opposed to simply illustrating the object."[18]

Serving in the US Army in World War I (and the US Navy in the Second World War), Steichen commanded significant units contributing to military photography. After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he reverted to straight photography, gradually moving into fashion photography. Steichen's 1924 photograph of Gloria Swanson is considered an iconic image of both Swanson and the silent film era, while a 1928 photo of actress Greta Garbo is recognized as one of the definitive portraits of Garbo.

World War 2

At the commencement of WW2, Steichen, then in his sixties, had retired[19] as a photographer and was developing new varieties of delphinium, which in 1936 had been the subject of his first exhibition at the Museum of Modern Art, and the only flower exhibition ever held there.

When American joined the global conflict Steichen, who had come out of the first World War an Army Colonel, was refused for active service because of his age. Later, invited by the Navy to serve as Director of the Naval Aviation Photographic Unit,[20][21][22] he was commissioned a Lieutenant-Commander in January 1942. Steichen selected for his unit six officer-photographers from the industry (sometimes irreverently called "Steichen's chickens"), including photographers Wayne Miller and Charles Fenno Jacobs.[23] A collection of 172 silver gelatin photographs taken by the Unit under his leadership is held at the Harry Ransom Center at the University of Texas at Austin.[19] Their war documentary The Fighting Lady, directed by Steichen, won the 1945 Academy Award for Best Documentary.

In 1942 Steichen curated for the Museum of Modern Art the exhibition Road 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.[24]

In December 1943 Captain Steichen was aboard an aircraft carrier which was torpedoed in the Pacific.

Museum of Modern Art

In the summer of 1929, Museum of Modern Art director Alfred H. Barr, Jr. had included a department devoted to photography in 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 by Beaumont Newhall. On the strength of attendances of his propaganda exhibition Road to Victory,[25] and precipitating Newhall's resignation, along with most of his staff, in 1947 Steichen was appointed Director of Photography until 1962, later assisted by Grace M. Mayer. His appointment was protested by many who saw him as anti art photography, one of the most vocal being Ansel Adams who 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.”[26]


Among other accomplishments, Steichen created The Family of Man, a world-touring Museum of Modern Art exhibition, seen by 9 million visitors and consisting of over 500 photos that depicted life, love and death in 68 countries. Steichen's brother-in-law, Carl Sandburg, wrote a prologue for the exhibition catalog.[27]

As had been Steichen's wish, the exhibition was donated to the Grand Duchy of Luxembourg. It is now permanently housed in the City of Clervaux (Luxembourgish: Klierf) in northern Luxembourg.[28]

The initial publication of Ansel Adams' image Moonrise, Hernandez, New Mexico was in U.S. Camera Annual 1943, after being selected by Steichen, who was serving as photo judge for the publication.[29] This gave Moonrise an audience before its first formal exhibition at the Museum of Modern Art in 1944.[30]

In 1962, Steichen hired John Szarkowski to be his successor at the Museum of Modern Art.

On December 6, 1963, Steichen was presented with the Presidential Medal of Freedom by U.S. President Lyndon B. Johnson.

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

A show of early color photographs by Steichen was held at the Mudam (Musée d'Art moderne) in Luxembourg City from July 14 to September 3, 2007.[31]

Steichen bought a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut.[32] He lived there until his death on March 25, 1973, two days before his 94th birthday.[33] After his death, Steichen's farm was made into a park, known as Topstone Park.[34] As of 2018, Topstone Park was open seasonally.[35]

The Pond–Moonlight

Steichen's The Pond—Moonlight, multiple gum bichromate print, 1904.
Further information: The Pond—Moonlight

In February 2006, a print of Steichen's early pictorialist photograph, The Pond—Moonlight (1904), sold for what was then the highest price ever paid for a photograph at auction, U.S. $2.9 million. (See List of most expensive photographs).

Steichen took the photograph in Mamaroneck, New York near the home of his friend, art critic Charles 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, the autochrome process, was not available until 1907. Steichen created the impression of color by manually applying layers of light-sensitive gums to the paper. Only three prints of the Pond—Moonlight are 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.[36]

  • 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 of Auguste Rodin by 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 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.
  • Self-portrait, by Edward Steichen. Published in Camera Work No 2, 1903
    Self-portrait, by Edward Steichen. Published in Camera Work No 2, 1903
  • Portrait of J.P. Morgan, taken in 1903
    Portrait of J.P. Morgan, taken in 1903
  • The Flatiron Building in a photograph of 1904, taken by Steichen.
    The Flatiron Building in 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 in Camera Work No 15, 1906
  • Pastoral – Moonlight, by Steichen, published in Camera Work No 20, 1907
    Pastoral – Moonlight, by Steichen, published in Camera Work No 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, by Frank Eugene from 1907. From left to right are Eugene, Alfred Stieglitz, Heinrich Kühn, and 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 of Constantin Brâncuși, taken at Steichen's home & studio at Voulangis, 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 of Isadora Duncan, dancing at the Acropolis of Athens, 1921, by Steichen.
  • Isadora Duncan in the Parthenon, Athens, 1921
    Isadora Duncan in the Parthenon, 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 the USS Lexington (CV-16) during the Gilberts operation, November 1943." Photographed by Commander Edward Steichen, USNR.
  • CDR Edward Steichen photographed above the deck of the aircraft carrier USS Lexington (CV-16) by Ens Victor Jorgensen, November 1943.
    CDR Edward Steichen photographed above the deck of the aircraft carrier USS Lexington (CV-16) by Ens Victor Jorgensen, November 1943.

Notes

  1. ^ "Steichen: The Master Prints 1895–1914 – MoMA" (PDF). Retrieved 2012-12-18.
  2. ^ a b Niven, Penelope (1997). Steichen: A Biography. New York: Clarkson Potter. ISBN 0-517-59373-4, p. 4
  3. ^ Niven, Penelope (1997). Steichen: A Biography. New York: Clarkson Potter. ISBN 0-517-59373-4, p. 6
  4. ^ Niven, Penelope (1997). Steichen: A Biography. New York: Clarkson Potter. ISBN 0-517-59373-4, p. 16
  5. ^ Faram, Mark D. Faces of War: The Untold Story of Edward Steichen's WWII Photographers Penguin, 2009; pp. 15-16
  6. ^ a b Gedrim, Ronald J. (1996). Edward Steichen: Selected Texts and Bibliography Oxford, UK: Clio Press. ISBN 1-85109-208-0, p. xiii
  7. ^ Niven (1997), p. 28
  8. ^ Niven (1997), p. 29
  9. ^ Niven (1997), p. 42
  10. ^ Niven (1997), p. 66
  11. ^ "Artist's wife sues for loss of his love; Mrs. Eduard Steichen says Marion Beckett alienated her husband's affections. Asks for $200,000 damages; declares other woman followed the painter to Paris, where he was honored by France". The New York Times. July 5, 1919. Retrieved 25 February 2015.
  12. ^ Mitchell, Emily (2007). The last summer of the world. New York: W.W. Norton. ISBN 978-0-393-06487-2. Retrieved 25 February 2015.
  13. ^ "Joanna Steichen obituary". Nytimes.com. Retrieved 2012-12-18.
  14. ^ Niven, Penelope (1997). Steichen: A Biography. New York: Clarkson Potter. ISBN 0-517-59373-4, p. 74
  15. ^ Niven (1997), p. 75
  16. ^ Roberts, Pam (1997) "Alfred Stieglitz, 291 Gallery and Camera Work," contained in Stieglitz, Alfred (1997) Camera Work: The Complete Illustrations 1903–1917 Köln: Taschen. ISBN 3-8228-8072-8, p. 17
  17. ^ a b c Niven (1997), p. 352
  18. ^ Alexander, Jesse, "Edward Steichen: Lives in Photography," HotShoe magazine, no. 151, December/January 2008, pp. 66 – 67
  19. ^ a b Bristol, Horace; Jacobs, Fenno; Jorgensen, Victor; Kerlee, Charles E.; Miller, Wayne F.; Steichen, Edward; Unit (U.S.), Naval Aviation Photographic. "Edward Steichen An Inventory of His Naval Aviation Photographic Unit Photographs at the Harry Ransom Center". norman.hrc.utexas.edu. Retrieved 2019-06-27.
  20. ^ Steichen, Edward, 1879-1973; Phillips, Christopher; United States. Naval Aviation Photographic Unit (1981), Steichen at war, H.N. Abrams, ISBN 978-0-8109-1639-5{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  21. ^ Steichen, Edward (1947), The Blue Ghost : a photographic log and personal narrative of the aircraft carrier U.S.S. Lexington in combat operation (1st ed.), Harcourt, Brace
  22. ^ Budiansky, Stephen, "The Photographer who Took the Navy's Portrait", World War II, Volume 26, No. 2, July/August 2011, p. 25
  23. ^ Faram, Mark D (2009), Faces of war : the untold story of Edward Steichen's WWII photographers (1st ed ed.), Berkley Caliber, ISBN 978-0-425-22140-2 {{citation}}: |edition= has extra text (help)
  24. ^ "Museum of Modern Art Press Release: Museum of Modern Art exhibits official photographs of Naval Sea and Air Action in the Pacific" (PDF). {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  25. ^ Hill, Jason; Schwartz, Vanessa R; ebrary, Inc (2015), Getting the picture : the visual culture of the news, Bloomsbury Academic, ISBN 978-1-4725-6664-5
  26. ^ Stegner, WallAce; Alinder, Mary Street; Stillman, Andrea G (2017), Ansel Adams--Letters, 1916--1984, [Place of publication not identified publisher not identified], ISBN 978-0-316-43699-1
  27. ^ Steichen, Edward; Steichen, Edward, 1879–1973, (organizer.); Sandburg, Carl, 1878–1967, (writer of foreword.); Norman, Dorothy, 1905–1997, (writer of added text.); Lionni, Leo, 1910–1999, (book designer.); Mason, Jerry, (editor.); Stoller, Ezra, (photographer.); Museum of Modern Art (New York, N.Y.) (1955). The family of man : the photographic exhibition. Published for the Museum of Modern Art by Simon and Schuster in collaboration with the Maco Magazine Corporation. {{cite book}}: |author6= has generic name (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  28. ^ Serge Moes. "Luxembourg Tourist Office in London – Clervaux". Luxembourg.co.uk. Archived from the original on March 31, 2010. Retrieved April 28, 2010. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  29. ^ Alinder, Mary Street (1996). Ansel Adams: a Biography. New York: Henry Holt. ISBN 0-8050-5835-4, p. 192
  30. ^ Alinder (1996), p. 193
  31. ^ "Musée d'Art Moderne Grand-Duc Jean, Luxembourg, v3.0". Mudam.lu. Retrieved April 28, 2010.
  32. ^ Niven (1997), p. 530
  33. ^ Niven (1997), p. 698
  34. ^ Prevost, Lisa, the New York Times, "An Upscale Town With Upcountry Style," 3 January 1999
  35. ^ Town of Redding. "Town of Redding – Topstone Park". Townofreddingct.org. Retrieved 2019-02-10.
  36. ^ "World | Americas | Rare photo sets $2.9m sale record". BBC News. February 15, 2006. Retrieved April 28, 2010.

References

  • Haskell, Barbara (2000). Edward Steichen. New York: Whitney Museum of American Art.
  • DePietro, Anne Cohen; Goley, Mary Anne (2003). Eduard Steichen: Four Paintings in Context. Hollis Taggart Galleries.
  • DePietro, Anne Cohen (1985). The Paintings of Eduard Steichen. Huntington, NY: The Heckscher Museum. LCCN 85-80519 (Exhibition Catalog).
  • Mitchell, Emily (2007). The Last Summer of the World. Norton. (A fictional narrative about Steichen.)
  • Niven, Penelope (1997). Steichen: A Biography. New York: Clarkson Potter. ISBN 0-517-59373-4.
  • Sandeen, Eric J. (1995). Picturing an Exhibition: The Family of Man and 1950's America. University of New Mexico Press.
  • Smith, Joel (1999). Edward Steichen: The Early Years. Princeton, NJ: Princeton University Press.
  • 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.
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