#edward steichen

Brooklin Bridge by Edward Steichen

hauntedbystorytelling:

Edward Steichen :: Dixie Ray, for Woodbury Soap, 1935

more[+] by this photographer

lastwords–out:

Edward Steichen, “Self Portrait with Camera,” 1917.

The Maestro.

Loretta Young by Edward Steichen for Vanity Fair, 1930

nobrashfestivity:

Edward Steichen, Moonlit Landscape, 1903

The Pond Moonlight, 1904. Edward Steichen

The mirror, 1902. Edward Steichen

Ravageurs suit up. | Gary Cooper by Edward Steichen

Garden Party by Edward Steichen c.1927 

Edward Steichen, Charlie Chaplin, New York, 1925

Edward Steichen, Innsbruck, July 1907 -by Heinrich Kühn

This photograph “was made in Heinrich Kühn’s new townhouse in Innsbruck on July 30 or 31 of 1907.  This was Kühn’s first meeting with Steichen, who was touring  Bavaria in the company of Alfred Stieglitz and Frank Eugene.  Steichen had brought with him the first commercially-available autochrome plates, which intrigued Kühn, who later took up making autochromes with gusto.”

photo and note from Sotheby’s
Catalogue : 175 Masterworks To Celebrate 175 Years Of Photography: Property from Joy of Giving Something Foundation (Sotheby’s, 11-12 Dec. 2014)

Isadora Duncan in the Parthenon, Athens, Edward Steichen, 1921.

Wind Fire, Edward Steichen, 1921.

Katharine Cornell by Edward Steichen, 1930

Katharine Cornell by Edward Steichen, 1925

steroge:

Edward Steichen

Solitude, F. Holland Day, 1901

Gloria Swanson portrait by Edward Steichen, 1924

An iconic masterpiece status overtime, the actress’s brilliant silent-film career—this portrait caught the essential Gloria Swanson: haunting and inscrutable, forever veiled in the whisper of a distant era. Moody and delicate, with a mysterious face seeming to peer from the darkness, this shot features elements of both pictorialism and modernism with its graphic severity. Although it is not an Autochrome, I would like to talk about this color technique found while looking at Steichen creations at the MetropolitanMuseum of Art in New York.

Steichen’s return to Paris in 1907 positioned him perfectly to embrace the Autochrome. The first commercially viable color process was made available to the oublic that year by the Lumière brothers. The photographer was enthralled by the posibilities of the process. In Camera Work he praised the luminosity of the medium: “One must g oto stained glass for such color resonante, as the palette and canvas are dull and lifeless medium in comparison”. He also introduced the new medium to Stieglitz. Furthermore, he helped him in the establishment of the 291 Art Gallery which also featured the works of pioneering photographers of the early 20th century

Each autochrome is one-of-a-kind color transparency composed of minute rains of potato Storch dyed red, blue, and green. These fragile photographs cannot withstand the exposure of long-term display without suffering irreversible damage.

Genevieve Tobin photographed by Edward Steichen for Vogue, 1923

Norma and Constance Talmadge photographed by Edward Steichen, 1927

Frances Howard wearing Técla pearls, photographed by Edward Steichen for Vanity Fair, 1925

Stage actress Alden Gay wearing jewellery by Cartier, photographed by Edward Steichen for Vogue, 1924

Greta Garbo   by  Edward Steichen  1928

Auguste Rodin et la sculpture d’Eve (autochrome), 1907 -by Edward Steichen