Edward Steichen Explained

Edward Steichen
Birth Name:Édouard Jean Steichen
Birth Date:1879 3, mf=yes
Birth Place:Bivange/Béiweng, Luxembourg
Death Place:West Redding, Connecticut, U.S.
Awards:Légion d'Honneur, Medal of Freedom
Field:Photography, Painting
Spouse:
    Children:Mary Steichen Calderone
    Charlotte "Kate" Rodina Steichen
    Relatives:Lilian Steichen (sister)
    Carl Sandburg (brother-in-law)

    Edward Jean Steichen (March 27, 1879 – March 25, 1973) was a Luxembourgish American photographer, painter and curator and a pioneer of fashion photography. His gown images for the magazine Art et Décoration in 1911 were the first modern fashion photographs to be published. From 1923 to 1938, Steichen served as chief 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 most popular and highest-paid photographer in the world.[1]

    After the United States' entry into World War II, Steichen was invited by the United States Navy to serve as Director of the Naval Aviation Photographic Unit.[2] In 1944, he directed the war documentary The Fighting Lady, which won the Academy Award for Best Documentary Feature at the 17th Academy Awards.

    From 1947 to 1961, Steichen served as Director of the Department of Photography at New York's Museum of Modern Art. While there, he curated and assembled exhibits including the touring exhibition The Family of Man, which was seen by nine million people. In 2003, the Family of Man photographic collection was added to UNESCO's Memory of the World Register in recognition of its historical value.[3]

    In February 2006, a print of Steichen's early pictorialist photograph, The Pond–Moonlight (1904), sold for US$2.9 million—at the time, the highest price ever paid for a photograph at auction.[4] A print of another photograph of the same style, The Flatiron (1904), became the second most expensive photograph ever on November 8, 2022, when it was sold for $12,000,000, at Christie's New York – well above the original estimate of $2,000,000-$3,000,000.[5]

    Early life

    Steichen was born Éduard Jean Steichen on March 27, 1879, in a small house in the village of Bivange, Luxembourg, the son of Jean-Pierre and Marie Kemp Steichen.[6] His parents facing increasingly straitened circumstances and financial difficulties, decided to make a new start and emigrated to the United States when Steichen was eighteen months old. Jean-Pierre Steichen immigrated in 1880, with Marie Steichen bringing the infant Éduard along after Jean-Pierre had settled in Hancock in Michigan's Upper Peninsula copper 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."

    Éduard's sister and only sibling, Lilian Steichen, was born in Hancock on May 1, 1883. She would later marry poet Carl Sandburg, whom she met at the Milwaukee Social Democratic Party office in 1907. Her marriage to Sandburg the following year helped forge a life-long friendship and partnership between her brother and Sandburg.[7] [8]

    By 1889, when Éduard was 10, his parents had saved up enough money to move the family to Milwaukee.[9] There he learned German and English at school, while continuing to speak Luxembourgish at home.[10]

    In 1894, at fifteen, Steichen began attending Pio Nono College, a Catholic boys' high school, where his artistic talents were noticed. His drawings in particular were said to show promise.[11] He quit high school to begin a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee.[12] After hours, he would sketch and draw, and he began to teach himself painting.[13] Having discovered 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.[14] Steichen and his friends who were also interested in drawing and photography pooled their funds, rented a small room in a Milwaukee, WI office building, and began calling themselves the Milwaukee Art Students League.[15] The group hired Richard Lorenz and Robert Schade for occasional lectures. In 1899, Steichen's photographs were exhibited in the second Philadelphia Photographic Salon.[16]

    Steichen became a U.S. citizen in 1900 and signed the naturalization papers as Edward J. Steichen, but he continued to use his birth name of Éduard until after the First World War.[17]

    Career

    Paris, New York, and Partnerships with Stieglitz and Rodin

    In April 1900, Steichen left Milwaukee for Paris to study art. Clarence H. White thought Steichen and Alfred Stieglitz should meet, and thus produced an introduction letter for Steichen, and Steichen—then en route to Paris from his home in Milwaukee—met Stieglitz in New York City in early 1900.[18] In that first meeting, Stieglitz expressed praise for Steichen's background in painting and bought three of Steichen's photographic prints.[19]

    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.[20] 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 the Autochrome Lumière process.[21] In 1905, Stieglitz and Steichen created the Little Galleries of the Photo-Secession, in what had been Steichen's portrait studio;[22] it eventually became known as the 291 Gallery after its address. It presented some of the first American exhibitions of Auguste Rodin, Henri Matisse, Paul Cézanne, Pablo Picasso, and Constantin 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.[23]

    Pioneering fashion photography

    Fashion photography began with engravings reproduced from photographs of modishly-dressed actresses by Leopold-Emile Reutlinger, Nadar and others in the 1890s. After high-quality half-tone reproduction of photographs became possible, most credit as pioneers of the genre goes to the French Baron Adolph de Meyer and to Steichen who, borrowing his friend's hand-camera in 1907, candidly photographed dazzlingly-dressed ladies at the Longchamp Racecourse[24] Fashion then was being photographed for newspaper supplements and fashion magazines, particularly by the Frères Séeberger, as it was worn at Paris horse-race meetings by aristocracy and hired models.

    In 1911, Lucien Vogel, the publisher of Jardin des Modes and La Gazette du Bon Ton, challenged Steichen to promote fashion as a fine art through photography.[25] Steichen took photos of gowns designed by couturier Paul Poiret, which were published in the April 1911 issue of the magazine Art et Décoration.[26] Two were in colour,[27] and appeared next to flat, stylised, yellow-and-black Georges Lepape drawings of accessories, fabrics, and girls.

    Steichen himself, in his 1963 autobiography, asserted that his 1911 Art et Décoration photographs "were probably the first serious fashion photographs ever made," a generalised claim since repeated by many commentators. What he (and de Meyer) did bring was an artistic approach; a soft-focus, aesthetically retouched Pictorialist style 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.

    After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he gradually reverted to straight 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.[28] He was hired by Condé Nast in 1923 for the extraordinary salary of $35,000 (equivalent to over $500,000 in 2019 value).

    World War II

    At the commencement of World War II, Steichen, then in his sixties, had retired[29] as a full-time photographer. He 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.[30]

    When the United States 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,[31] 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. 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. Their war documentary The Fighting Lady, directed by Steichen, won the Academy Award for Best Documentary Feature at the 17th Academy Awards.

    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.[32] This was followed in January 1945 by Power in the Pacific: Battle Photographs of our Navy in Action on the Sea and In the Sky.[33] Steichen was released from Active Duty (under honorable conditions) on December 13, 1945, at the rank of Captain. For his service during World War II, he was awarded the World War II Victory Medal, Asiatic-Pacific Campaign Medal (with 2 campaign stars), American Campaign Medal, and numerous other awards.

    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 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 by Beaumont Newhall. On the strength of attendances of his propaganda exhibitions Road to Victory and Power 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 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."

    Nevertheless, Ansel Adams' image Moonrise, Hernandez, New Mexico was first published in U.S. Camera Annual 1943, after being selected by Steichen, who was serving as judge for the publication.[34] This gave Moonrise an audience before its first formal exhibition at the Museum of Modern Art in 1944.[35]

    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 his The Americans was published, exhibited the early work of Harry Callahan and Aaron Siskind, and purchased two prints by Robert Rauschenberg in 1952, ahead of any museum. 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, and The Bitter Years: 1935–1941: Rural America as Seen by the Photographers of the Farm Security Administration).[36] 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 created The 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 in Clervaux (Luxembourgish: Klierf) Castle in northern Luxembourg, his country of birth, Steichen regarded the exhibition as the "culmination of his career.". 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.[37] As had been Steichen's wish, the exhibition was donated to the Grand Duchy of Luxembourg, his country of birth.

    MoMA exhibitions curated or directed by Steichen

    The following are exhibitions curated or directed by Steichen during his tenure as Director of Photography at The Museum of Modern Art. (References link to the exhibition page in the museum's archive, with press releases, checklists of the exhibited photographs, and installation views.)

    In the latter years of his tenure after her appointment by Steichen as Assistant Curator, it was Grace M. Mayer from the Museum of the City of New York, where she had organized about 150 exhibitions,[74] who curated the shows The Sense of Abstraction (17 Feb–10 Apr 1960), co-directed by Kathleen Haven, the museum staff designer since 1955.[75] Then Mayer organized Steichens only solo-show during his time at the museum, Steichen the Photographer, (28 Mar–30 May 1961), Diogenes with a Camera V (26 Sep–12 Nov 1961), 50 Photographs by 50 Photographers, a third survey of the museum's collection (3 Apr–15 May 1962),[76] and a series of four installations called A Bid for Space (1960 to 1963), which were designed by Kathleen Haven. Haven had also been responsible for the design of The Family of Man, she worked two years on, as well as Diogenes with a Camera (II, III and IV), the exhibition of Brassaï's graffiti photographs, and the 1958 collection survey.[77]

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

    Later life

    On December 6, 1963, Steichen was presented with the Presidential Medal of Freedom by U.S. President Lyndon B. Johnson.[78]

    Though then 88 years old and unable to attend in person, in 1967 Steichen, as a still-active member of the copyright committee of the American 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."[79]

    In 1968, the Edward Steichen Archive was established in MoMA's Department of Photography. The Museum's then-Director René d'Harnoncourt declared that its function was to "amplify and clarify the meaning of Steichen's contribution to the art of photography, and to modern art generally." 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.[80]

    Steichen's 90th birthday was marked with a dinner gathering of photographers, editors, writers, and museum professionals at the Plaza Hotel in 1969. The event was hosted by MoMA trustee Henry Allen Moe, and U.S. Camera magazine publisher Tom Maloney.[81]

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

    Steichen bought a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut.[82] He lived there until his death on March 25, 1973, two days before his 94th birthday.[83] After his death, Steichen's farm was made into a park, known as Topstone Park.[84] As of 2018, Topstone Park was open seasonally.[85]

    Legacy

    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.[86]

    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, .

    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.[87]

    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.[88]

    Personal life

    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 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.[89] [90] Clara and Edward 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.[91]

    Exhibitions

    Solo

    Group

    Bibliography

    External links

    Collections of his work

    Writings and other documents

    Further reading

    Notes and References

    1. Web site: Edward Steichen . . n.d.. .
    2. Web site: Edward Steichen . International Center of Photography . 17 May 2019 . 30 November 2020.
    3. Web site: Family of Man . 2008-05-16 . UNESCO Memory of the World Programme . live . https://web.archive.org/web/20100225184358/http://portal.unesco.org/ci/en/ev.php-URL_ID%3D23246%26URL_DO%3DDO_TOPIC%26URL_SECTION%3D201.html . 2010-02-25 . 14 December 2009.
    4. Tooth, Roger (15 February 2006), "At $2.9m, Pond–Moonlight becomes world's most expensive photograph", The Guardian.
    5. News: Pogrebin . Robin . Paul G. Allen's Art at Christie's Tops $1.5 Billion, Cracking Records . 3 January 2023 . New York Times . 9 November 2022.
    6. Niven, Penelope (1997), Steichen: A Biography. New York: Clarkson Potter., p. 4.
    7. Web site: Lilian "Paula" Sandburg . National Park Service . 23 November 2019.
    8. Niven, Penelope (1997), Steichen: A Biography. New York: Clarkson Potter., p. 6.
    9. Niven, Penelope (1997), Steichen: A Biography. New York: Clarkson Potter., p. 16.
    10. News: Elçi . Yasemin . From Bivange to Manhattan . 3 January 2023 . Luxembourg Times . 6 . October 2020.
    11. Faram, Mark D. (2009), Faces of War: The Untold Story of Edward Steichen's WWII Photographers Penguin. p. 15–16.
    12. Gedrim, Ronald J. (1996), Edward Steichen: Selected Texts and Bibliography. Oxford, UK: Clio Press., p. xiii.
    13. Niven (1997), p. 28.
    14. Niven (1997), p. 29.
    15. Niven (1997), p. 42.
    16. Web site: Edward Steichen. The Art Story . 17 August 2022.
    17. Niven (1997), p. 66.
    18. Niven, Penelope (1997), Steichen: A Biography. New York: Clarkson Potter., p. 74.
    19. Niven (1997), p. 75.
    20. Roberts, Pam (1997). "Alfred Stieglitz, 291 Gallery and Camera Work," in: Alfred Stieglitz (ed.), Camera Work, The Complete Illustrations 1903–1917. Köln: Taschen., p. 17.
    21. .
    22. Web site: Samels, Zoë . Edward Steichen . 29 September 2016 . 28 August 2022 . National Gallery of Art.
    23. Book: Ewing . William A. . Edward Steichen . 2008 . Penguin Random House . 978-0-500-41093-6.
    24. .
    25. Niven (1997), p. 352.
    26. Steichen's prints appeared in an article by Paul Cornu, "L'art de la robe", in Art et Décoration, April 1911, p. 101–118.
    27. Edward Steichen, Experiment in Three-Color Photography in "Our lllustrations", in Camera Work. No. 15 (July 1906), p. 44.
    28. Book: Hardesty, Von. 147. Camera Aloft: Edward Steichen in the Great War. Cambridge University Press. 2015. 978-0-521-82055-4.
    29. Web site: Edward Steichen. An Inventory of His Naval Aviation Photographic Unit Photographs at the Harry Ransom Center. Bristol. Horace. Jacobs. Fenno. norman.hrc.utexas.edu. 2019-06-27. Jorgensen. Victor. Kerlee. Charles E.. Miller. Wayne F.. Steichen. Edward. Unit (U.S.). Naval Aviation Photographic.
    30. An exhibition in Orlando in 2019/20 focused on Steichen's dedication to flowers. Examples especially of his rarely seen paintings are displayed in a review of Edward Steichen: In Exaltation of Flowers by Suzanne Cohen on Art Districts Magazine, n. d. [Sept 2019], and on the museum's website. Accessed 30 August 2024.
    31. Budiansky, Stephen, "The Photographer who Took the Navy's Portrait", World War II, Volume 26, No. 2, July/August 2011, p. 25
    32. Web site: Museum of Modern Art Press Release: Museum of Modern Art exhibits official photographs of Naval Sea and Air Action in the Pacific.
    33. Web site: Museum of Modern Art press release–'Edward Steichen appointed Head of Photography at Museum of Modern Art'. July 15, 1947.
    34. Street Alinder, Mary (1996), Ansel Adams: a Biography. New York: Henry Holt., p. 192.
    35. Alinder (1996), p. 193.
    36. )
    37. Book: Steichen, Edward . Sandburg, Carl . The family of man: the photographic exhibition . 1955 . Simon and Schuster .
    38. Web site: Work of Three Young Photographers Exhibited by The Museum of Modern Art . The Museum of Modern Art . 29 August 2024.
    39. Web site: In and Out of Focus . The Museum of Modern Art . 29 August 2024.
    40. Web site: Exhibition of 50 Photographs by 50 Photographers – Landmarks in Photographic History . The Museum of Modern Art . 29 August 2024.
    41. Web site: Photo-Secession (American Photography 1902–1910) . The Museum of Modern Art . 29 August 2024.
    42. Web site: Photographs by Lisette Model, Bill Brandt, Ted Croner and Harry Callahan . The Museum of Modern Art . 29 August 2024.
    43. Web site: This Exact Instant, Events and Pages in 100 Years of News Photography. The Museum of Modern Art . 29 August 2024.
    44. Web site: Roots of Photography. The Museum of Modern Art . 29 August 2024.
    45. Web site: Four Phases in Present Day Photography Shown in Museum Exhibition . The Museum of Modern Art . 29 August 2024.
    46. Web site: Photographs by Margaret Bourke-White, Helen Levitt, Dorothea Lange, Tana Hoban, Esther Bubley and Hazel Frieda Larsen . The Museum of Modern Art . 29 August 2024.
    47. Web site: Roots of French Photography . The Museum of Modern Art . 29 August 2024.
    48. Web site: Photographs of Picasso by Gjon Mili and by Robert Capa . The Museum of Modern Art . 29 August 2024.
    49. Web site: Photography Recent Acquisitions: Stieglitz, Atget . The Museum of Modern Art . 29 August 2024.
    50. Web site: Color Photography . The Museum of Modern Art . 29 August 2024.
    51. Web site: Photographs by 51 Photographers . The Museum of Modern Art . 29 August 2024.
    52. Web site: Photographs by Lewis Carroll . The Museum of Modern Art . 29 August 2024.
    53. Web site: Korea – The Impact of War in Photographs . The Museum of Modern Art . 29 August 2024.
    54. Web site: Abstraction in Photography . The Museum of Modern Art . 29 August 2024.
    55. Web site: 12 Photographers . The Museum of Modern Art . 29 August 2024.
    56. Web site: Forgotten Photographers . The Museum of Modern Art . 29 August 2024.
    57. Web site: Memorable Life Photographs . The Museum of Modern Art . 29 August 2024.
    58. Web site: Christmas Photographs . The Museum of Modern Art . 29 August 2024.
    59. Web site: Five French Photographers . The Museum of Modern Art . 29 August 2024.
    60. Web site: Diogenes with a Camera . The Museum of Modern Art . 29 August 2024.
    61. Web site: Then and Now . The Museum of Modern Art . 29 August 2024.
    62. Web site: Diogenes with a Camera . The Museum of Modern Art . 29 August 2024.
    63. Web site: Always the Young Strangers . The Museum of Modern Art . 29 August 2024.
    64. Web site: Postwar European Photography . The Museum of Modern Art . 29 August 2024.
    65. Web site: The Family of Man. The Museum of Modern Art . 4 September 2024.
    66. Web site: Diogenes with a Camera III. The Museum of Modern Art . 4 September 2024.
    67. Web site: Diogenes with a Camera IV. The Museum of Modern Art . 4 September 2024.
    68. Web site: Language of the Wall: Parisian Graffiti Photographed by Brassaï . The Museum of Modern Art . 4 September 2024.
    69. Web site: 70 Photographers Look at New York . The Museum of Modern Art . 4 September 2024.
    70. Web site: Photographs from the Museum Collection . The Museum of Modern Art . 4 September 2024.
    71. Web site: Photographs for Collectors . The Museum of Modern Art . 4 September 2024.
    72. Web site: Harry Callahan and Robert Frank . The Museum of Modern Art . 4 September 2024.
    73. Web site: The Bitter Years: 1935–1941. The Museum of Modern Art . 1 September 2024.
    74. Web site: Press release for The Sense of Abstraction . The Museum of Modern Art . 4 September 2024.
    75. Web site: The Sense of Abstraction . The Museum of Modern Art . 4 September 2024.
    76. Web site: 50 Photographs by 50 Photographers . The Museum of Modern Art . 4 September 2024.
    77. Web site: Press release for The Sense of Abstraction . The Museum of Modern Art . 4 September 2024.
    78. Web site: Artist Info.
    79. United States. (1967). Copyright law revision: Hearings before the Subcommittee on Patents, Trademarks, and Copyrights of the Committee on the Judiciary, United States Senate, Ninetieth Congress, first session pursuant to S. Res. 37 on S. 597., U.S. Government Printing Office.
    80. Web site: Grace M. Mayer Papers in The Museum of Modern Art. www.moma.org. 2019-06-28.
    81. Web site: Series 6 of Edward Steichen Archive in The Museum of Modern Art Archives. MoMA. 2019-06-28.
    82. Niven (1997), p. 530.
    83. Niven (1997), p. 698.
    84. Prevost, Lisa, "An Upscale Town with Upcountry Style,"New York Times, 3 January 1999.
    85. Web site: Town of Redding . Town of Redding – Topstone Park . Townofreddingct.org . 2019-02-10.
    86. .
    87. News: World | Americas | Rare photo sets $2.9m sale record . BBC News . February 15, 2006. April 28, 2010.
    88. Web site: Musée d'Art Moderne Grand-Duc Jean, Luxembourg, v3.0. Mudam.lu. April 28, 2010. https://web.archive.org/web/20190326072029/https://www.mudam.lu/?mode=article&langue=en&article=360. March 26, 2019.
    89. News: 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. 25 February 2015. The New York Times. July 5, 1919.
    90. Book: Mitchell. Emily. The last summer of the world. 2007. W.W. Norton. New York. 978-0-393-06487-2. 25 February 2015.
    91. News: Joanna Steichen obituary. The New York Times. 7 August 2010. 2012-12-18. Grimes. William.
    92. News: Edward Steichen, Examined Through an Unflattering Lens . Lewis, Jo Ann . November 26, 2000. Washington Post. 2019-06-29.
    93. J. Steichen 2000, p. 371.
    94. Web site: Exhibition Hollywood Celebrities - artist, news & exhibitions - photography-now.com. photography-now.com.
    95. Web site: Exhibition Hollywood Celebrity: Edward Steichen's Vanity Fair Portraits - artist, news & exhibitions - photography-now.com. photography-now.com. 2019-06-29.
    96. News: Edward Steichen, Examined Through an Unflattering Lens . Lewis, Jo Ann . November 26, 2000. Washington Post. 2019-06-29.
    97. Web site: Steichen's Sappy Photos Not Redeemed at Whitney . Kramer, Hilton . Hilton Kramer . November 20, 2000. Observer . 2019-06-29.
    98. Web site: Edward Steichen Exhibition: 22 Apr–21 May 2005 Luxemburgische Botschaft. photography-now.com. 2019-06-29.
    99. Web site: Edward Steichen, Une Epopée Photographique . Museo Nacional Centro de Arte Reina Sofia . 2024-09-01.
    100. Web site: Exhibition Steichen, une épopée photographique - artist, news & exhibitions - photography-now.com. photography-now.com. 2019-06-29.
    101. Web site: Edward Steichen: Lives in Photography / Une épopée photographique . photography-now.com. 2024-09-01.
    102. Web site: Edward Steichen, Une Epopée Photographique . Museo Nacional Centro de Arte Reina Sofia . 2024-09-01.
    103. Web site: Edward Steichen . Palazzomagnani.it . 2024-08-29.
    104. https://www.setagayaartmuseum.or.jp/en/exhibition/special/detail.php?id=sp00164 Edward Steichen in High Fashion. The Condé Nast Years 1923–1937
    105. https://www.museum-folkwang.de/de/ausstellung/edward-steichen Exhibition Edward Steichen
    106. Web site: Exhibition Edward Steichen - artist, news & exhibitions - photography-now.com. photography-now.com. 2019-06-29.
    107. https://omart.org/exhibitions/edward_steichen_in_exaltation_of_flowers/ Edward Steichen: In Exaltation of Flowers
    108. .

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