Relevant bibliographies by topics / Steichen

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  2. Dissertations / Theses
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Academic literature on the topic 'Steichen'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Steichen"

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Bowditch, Lucy. "Smith’s Steichen." Afterimage 27, no. 6 (May 2000): 15. http://dx.doi.org/10.1525/aft.2000.27.6.15.

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Tugle, Catherine. "Edward Steichen." History of Photography 17, no. 4 (December 1993): 364–68. http://dx.doi.org/10.1080/03087298.1993.10442318.

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Reincke, M. "Reply to Steichen." Hormone and Metabolic Research 42, no. 10 (July 20, 2010): 760. http://dx.doi.org/10.1055/s-0030-1262819.

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Versenyi, Adam. "Camera Theatron: Sherman/Steichen." Theater 18, no. 2 (1987): 14–21. http://dx.doi.org/10.1215/01610775-18-2-14.

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Lipman, Jean. "Remembering Edward Steichen (1879-1973)." Archives of American Art Journal 33, no. 2 (January 1993): 20–21. http://dx.doi.org/10.1086/aaa.33.2.1557665.

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Bowditch, Lucy. "Eduard Steichen and Maurice Maeterlinck." History of Photography 17, no. 4 (December 1993): 334–41. http://dx.doi.org/10.1080/03087298.1993.10442315.

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Brown, Cecelia. "In memory of Mary Steichen Calderone." Journal of Sex Research 36, no. 2 (May 1999): 218–19. http://dx.doi.org/10.1080/00224499909551987.

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Zukowsky, John. "The Fighting Lady, Edward Steichen (1944)." Design and Culture 1, no. 2 (July 2009): 247–50. http://dx.doi.org/10.2752/175470709x12450568848252.

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Sandeen, Eric J. "The Family of Manat the Museum of Modern Art: The Power of the Image in 1950s America." Prospects 11 (October 1986): 367–91. http://dx.doi.org/10.1017/s0361233300005445.

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The family of man was an important cultural event of the 1950s. This great photographic exhibition, which drew record crowds at the Museum of Modern Art and attracted over 9,000,000 people on its sixyear, world-wide tour, was the work of Edward Steichen, who saw the opportunity for a retrospective on the history of photography as well as a comment on the perils of modern-day society. The exhibition took on a life of its own. It surpassed in popularity even the optimistic prediction of Steichen and defied the bland skepticism of other departments within the Museum. Museum workers received their first bonus because of its success. Popular magazines and newspapers from all over the world saw in the exhibition a penetratingly simple statement about the first decade of the nuclear age, and millions of people became acquainted with a photographic language to which they had not been exposed before.
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Tuggle, Catherine. "Steichen and the photography-as-art debate." History of Photography 17, no. 4 (December 1993): 343–51. http://dx.doi.org/10.1080/03087298.1993.10442316.

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Dissertations / Theses on the topic "Steichen"

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Reynolds, Alisa. "Edward Steichen and Hollywood Glamour." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/9.

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As a word, glamour is hard to define, but is instantly recognizable. Its association with Hollywood movie stars fully emerged in the 1930s in the close-up celebrity portraits by photographers like George Hurrell. The aesthetic properties in these images that help create glamour are characterized by the Modernist style, known for sharp focus, high contrast, seductive poses, and the close-up (tight framing). My essay will explore the origins of the visual aesthetics of glamour, arguing that their roots can be found in the still life photographs of the 1910s, produced by fine art photographers such as Edward Steichen. This essay will primarily focus on the photography of Edward Steichen because he used these same techniques found in his still life portraits on Hollywood celebrities when he began working for Condé Nast’s Vanity Fair and Vogue in 1923. Steichen changed the conversation on how to photograph celebrities and his practices eventually led to the creation of glamour portrait photography. This thesis documents the ways in which Steichen established the precedent for glamour photography when he applied the close-up and Modernist style on Hollywood stars. The result of Steichen’s application was photography that provided visually identifiable and mechanically reproducible glamour.
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O'Toole, Erin Kathleen. "No Democracy in Quality: Ansel Adams, Beaumont and Nancy Newhall, and the Founding of the Department of Photographs at the Museum of Modern Art." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/204109.

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In 1940 the Museum of Modern Art, New York, (MoMA) became the first major American art museum to establish a curatorial department dedicated exclusively to photography. From the perspective of the photographers, curators, and critics who had sought institutional legitimacy for the medium, the founding of the Department of Photographs was a watershed event, marking the moment when photography finally came to be recognized as a museum subject equal to painting and sculpture. Although the department has since had a pervasive influence on the field and the history of photography, surprisingly little scholarship has addressed its contentious formation. This dissertation seeks to fill this significant gap in the literature by examining the department's inception and the six years Beaumont Newhall served as its curator.Of particular concern are the ideological battles waged over how photography would be presented at MoMA by Newhall, his wife Nancy--who served as acting curator when her husband enlisted in the army during World War II--and the department's co-founder and key advisor, Ansel Adams. As acolytes of the photographer and gallerist Alfred Stieglitz, who himself had long fought for the recognition of photography as a medium of art, the Newhalls and Adams took aesthetic quality as their guiding metric, asserting that in order to raise the profile of photographers, educate the public, and improve standards of taste, the museum should show only the very best work ever created--the "heavy cream" of photographic production. Their vision for photography at the museum was counterbalanced by that of the photographer Edward Steichen and many prominent writers and critics, who argued that MoMA should treat photography as a broad-ranging cultural phenomenon and means of communication, rather than merely as a medium of self expression. The debate between these two camps illustrates the considerable philosophical, interpretive, and museological challenges raised by photography's introduction into the museum, issues that remain as contentious as ever.
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Gresh, Kristen Ann. "The Family of man : histoire critique d'une exposition américaine." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0132.

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En 1955, Edward Steichen organise l'exposition monumentale «The Family of Man» au Museum of Modem Art (MoMA) à New York, qui a été ensuite exposée dans le monde entier sous les auspices de l’United States Information Agency. L'objectif principal de cette thèse est de retracer les arcanes de cette exposition afin de créer un document de référence dévoilant sa nature concrète. Cette démystification de l'exposition a été conçue à partir de témoignages directs de photographes participants recueillis par l'auteur, complétée par un travail d'analyse de documents d'archives inédits. La première partie s'interroge sur les programmes du Musée lors de la Seconde Guerre mondiale qui ont préparé le terrain pour «The Family of Man», sur le personnage de Steichen et sur son rôle de directeur du département de la photographie du MoMA. La deuxième partie remonte aux prémices du projet, afin d'éclaircir les diverses collaborations de Steichen, comme de nombreuses correspondances, des réunions collectives, et un voyage déterminant en Europe. La troisième partie met en lumière les méthodes et les résultats du travail de Steichen, à la fois comme photographe et comme éditeur. A l'appui d'une discussion des sources, notamment journalistiques, les contours du monde de la photographie de presse à l'époque sont esquissés, suivis d'une synthèse de l'exposition et de sa diffusion à l'étranger en plusieurs versions. Ce travail révèle que «The Family of Man», à la fois véritable prouesse de la photographie et arme de propagande, témoigne de toute une chaîne de contacts et de connaissances au sein du monde de la photographie et de la politique, et des croisements entre ces deux mondes
In 1955, Edward Steichen organized the historic exhibition "The Family of Man" at the Museum of Modem Art (MoMA) in New York. Under the auspices of United States Information Agency, it was exhibited throughout the world and gained a mythic status. This dissertation looks beyond that myth, in order to present a reference document with background information not previously examined. It is based on the author's research involving personal interviews with photographers who contributed to the exhibition as well as the analysis of unpublished archival documents. Part 1 explores the MoMA's World War II programs that paved the way for "The Family of Man", Steichen's career and his role as director of the museum's photography department. Part II traces the origins of the project, showing Steichen's various collaborations through a thorough examination of his correspondence, his individual and group meetings with photographers, and, in particular, his decisive trip across Europe. Part III examines the methods and results of Steichen's work, as both photographer and editor. A discussion of the sources of "The Family of Man", mainly photojournalistic, illustrates the contours of press photography at the time followed by a synopsis of the exhibition and its international circulation, in several versions. This dissertation demonstrates how "The Family of Man" was a tour de force in the history of photography because of Steichen's ability to combine his innovative photographic and editing skills that exploited the medium to communicate a political agenda that is a reflection of a complex network of colleagues, friends and acquaintances from the world of photography and of politics
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Tsuchiyama, Yoko. ""The Family of Man" : la réception de l'exposition de 1955 jusqu'à aujourd'hui." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH104.

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L’exposition The Family of Man d’Edward Steichen a été initialement présentée au MoMA en 1955. Cette thèse porte sur sa réception depuis sa création en 1955 jusqu’à aujourd’hui, grâce à sa réinstallation au Château de Clervaux au Luxembourg depuis 1994. Dans les années 1950 et 1960, l’exposition a été présentée dans le monde entier. Comment l’exposition The Family of Man a-t-elle été perçue dans certains pays où l’exposition itinérante a été présentée de 1955 à 1964 ? Comment a-t-elle été réinstallée depuis les années 1990 au Luxembourg dans un nouveau contexte ? Pourquoi a-t-on continué à produire du discours sur l’exposition alors qu’elle avait disparu en tant qu’objet entre ces périodes ? En effet, des réactions sur l’exposition avaient émergé dans la presse au moment de l’exposition itinérante. Aujourd’hui, l’exposition est visible grâce aux objets matériels reproduits des années 1950 et aux documents archivés en plus de la consultation du catalogue. Cela permet au spectateur d’expérimenter l’exposition réellement de son point de vue
The Family of Man exhibition of Edward Steichen was organized at MoMA in 1955. This thesis addresses the reception of The Family of Man from its creation in 1955 until today, thanks to the reinstallation of the exhibition in the Clervaux Castle in 1994. In the 1950s and 1960s, the exposition was shown in 38 countries. How was The Family of Man exhibition received in certain countries where the itinerant exhibition was shown from 1955 to 1964? How was it reinstalled in the 1990s in Luxembourg in a new context? Why was discourse on the exhibition produced between the two periods when it was no longer there as an object? In fact, there had been reactions to The Family of Man at the time of the itinerant exhibition. Today, the exhibition is visible thanks to the material objects reproduced in the 1950s and the archived documents in addition to the consultation of the catalogue. This allows the spectators to have an actual experience of the exhibition by themselves from their point of view
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Books on the topic "Steichen"

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Steichen, Edward. Edward Steichen. New York, N.Y: Thames & Hudson, Inc., 2008.

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Steichen, Edward. Edward Steichen. United States: Thames & Hudson, Inc., 2008.

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Steichen, Edward. Edward Steichen. New York, N.Y: Thames & Hudson, Inc., 2008.

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International Museum of Photography at George Eastman House. Edward Steichen. Tokyo: Pacific Press Service, 1986.

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Thomas, Elsen, Trepesch Christof 1967-, Plein Ira, Clough Joan, and Kunstsammlungen und Museen Augsburg, eds. Edward Steichen: Portraits d'artistes = Edward Steichen : die Künstlerporträts. Augsburg: H2 - Zentrum für Gegenwartskunst im Glaspalast, 2014.

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Niven, Penelope. Steichen: A biography. New York: Clarkson Potter, 1997.

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1879-1973, Steichen Edward, Phillips Christopher, and United States. Naval Aviation Photographic Unit., eds. Steichen at war. New York: Portland House, 1987.

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Kirili, Alain. Alain Kirili, Edward Steichen. Paris: Argol, 2006.

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Ewing, William A. Edward Steichen: Lives in photography. New York, NY: W. W. Norton & Company, 2008.

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Steichen, Edward. Steichen in color: Portraits, fashion & experiments. New York: Sterling Innovation, 2010.

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Book chapters on the topic "Steichen"

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Meibauer, Jörg. "Chapter 3. As ‘objectively’ as possible. On truth and objectivity in photographic early-concept books." In Children’s Literature, Culture, and Cognition, 67–91. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.03mei.

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Photographic picturebooks appear to have a special relationship to reality. In contrast to paintings and drawings, photos are often said to convey true and objective information about the world. Drawing on recent work in picture theory and the philosophy of pictures, the question is posed as to what extent this general picture is correct. This chapter contributes to the theoretical debate by analyzing The First Picture Book (1930) by Mary Steichen Calderone and Edward Steichen (phot.), viewed as a photographic archetype. Moreover, the differences to The Second Picture Book (1931) by the same authors are worked out. The main thesis of this chapter is that photographic early-concept books serve the purpose of implicitly teaching children about the representational nature of pictures. This is the basis for children’s understanding of picturebooks in general.
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Gehring, Ulrike. "Das gläserne Zentrum. Bilder vom jüdischen Leben in Edward Steichens Family of Man-Ausstellung (1955)." In Lebenskunst, 441–55. Köln: Böhlau Verlag, 2017. http://dx.doi.org/10.7788/9783412510268.441.

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"EDWARD STEICHEN:." In The Valiant Knights of Daguerre, 202–9. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501547.32.

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Sander, August. "Two Letters to Edward Steichen." In The Family of Man Revisited, 73–75. Routledge, 2020. http://dx.doi.org/10.4324/9781003103936-6.

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"Eduard J. Steichen, Painter-Photographer." In Sadakichi Hartmann, 304–6. University of California Press, 1991. http://dx.doi.org/10.1525/9780520909588-059.

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Sander, August. "Two Letters to Edward Steichen." In The Family of Man Revisited. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9781350988644.ch-005.

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Allan, Sidney. "Eduard J. Steichen, Painter-Photographer (1902)." In Sadakichi Hartmann, 304–6. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501165.61.

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"Appendix: Documented Advertising Photographs by Steichen." In Real Fantasies, 257–86. University of California Press, 1997. http://dx.doi.org/10.1525/9780520321311-015.

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Cronin, Elizabeth. "Brilliant! Enthusiasm for the Aesthetic Qualities of Lippmann’s Interferential Photography." In Gabriel Lippmann's Colour Photography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728553_ch07.

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In 1908 Edward Steichen wrote in Camera Work: “… we must not forget Professor Lippmann, who gave us what is undoubtedly the most wonderful process of colour photography.” Comparing the striking colour to that of a good Renoir, Steichen placed aesthetic value on the photographs and yet, the Lippmann method is remembered primarily for its scientific value and for its failure as a stunning but impractical process. This chapter resituates the Lippmann process as a visually compelling object by examining what its practitioners thought about it, where they exhibited the plates and how they were received. Lippmann photographs represent more than difficult science. They were the product of a diverse web of scientists, artists, and photographers all seeking to advance colour photography.
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"Edward Steichen, Garbo, 1928. © 2022 The Estate of Edward Steichen / Artists Rights Society (ARS), New York." In Ideal Beauty, 14. Rutgers University Press, 2023. http://dx.doi.org/10.36019/9781978806535-002.

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