Journal articles: 'Steichen'

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Tuggle, Catherine T. "Eduard Steichen and the Autochrome, 1907-1909." History of Photography 18, no. 2 (June 1994): 145–47. http://dx.doi.org/10.1080/03087298.1994.10442342.

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12

Frankenbach, Chantal. "Balanchine and Kirstein's American Enterprise by James Steichen." Modernism/modernity 27, no. 3 (2020): 620–22. http://dx.doi.org/10.1353/mod.2020.0052.

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13

Hardesty, Von. "The "Lost Years" of Edward Steichen, 1914-1919." Historically Speaking 14, no. 4 (2013): 20–23. http://dx.doi.org/10.1353/hsp.2013.0038.

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14

More, Ellen S., and Elizabeth Fee. "Mary Steichen Calderone (1904–1998): Advocate for Sex Education." American Journal of Public Health 105, no. 11 (November 2015): 2255. http://dx.doi.org/10.2105/ajph.2015.302822.

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15

Ninh, Pham Van, and Tran Thi Ngoc Duyet. "Seiche in the Gulf of Tonkin." Vietnam Journal of Mechanics 18, no. 1 (March 31, 1996): 27–33. http://dx.doi.org/10.15625/0866-7136/10075.

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Steichen in the Gulf of Tonkin has been studied by numerical modelling based on the two-dimensional nonlinear shallow water equations system with liquid boundary condition given in the form of forced oscillation. The main proper periods have been defined as follows: 23-25 hours, 1-12 hours, 5-7 hours, 2-4 hours. Among them the 23 hours period is the most evident. The obtained results coincide with observed ones at the long shore hydrometeological stations of the Gulf.

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16

Severson, Douglas G. "Alfred Stieglitz's Palladium Photographs and Their Treatment by Edward Steichen." Journal of the American Institute for Conservation 34, no. 1 (1995): 1. http://dx.doi.org/10.2307/3179432.

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17

Severson, Douglas G. "Alfred Stieglitz's Palladium Photographs and their Treatment by Edward Steichen." Journal of the American Institute for Conservation 34, no. 1 (January 1995): 1–10. http://dx.doi.org/10.1179/019713695806113730.

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18

Michałowska, Marianna. "Mobilne pejzaże. Miasto w ruchu czy ruch w mieście?" Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 9, no. 4 (July 3, 2018): 62–77. http://dx.doi.org/10.24917/20837275.9.4.6.

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DOI 10.24917/20837275.9.4.6W artykule analizowane są sposoby reprezentacji miejskiego krajobrazu w fotografii. Stawiam tezę, że chociaż przestrzeń zasadniczo jest nieruchoma, to można mówić o postrzeżeniu jej jako ruchomej w czasie oraz środkami fotografii można podzielić się z innymi doświadczeniem mobilności. Tekst składa się z pięciu części: z wprowadzenia, w którym analizuję znaczenia terminu „mobilny pejzaż”, oraz z czterech interpretacji, zainspirowanych fotografiami reprezentatywnymi dla przemian zachodzących w obszarze fotograficznego medium. Są to kolejno: widoki miast Charlesa Marville’a i Karola Beyera, fotomontaże Edwarda Steichena i Harry’ego Callahana, fotografie mobilne (portal Grupamobilni.pl), oraz projekt oparty na aplikacji mobilnych (Amsterdam REALTIME). Proponowane tu refleksje nie dostarczą wyczerpującej wiedzy o mobilnym pejzażu miasta, lecz, mam nadzieję, mogą stać się początkiem takiej analizy.Mobile landscapes. City in motion or motion in a city?An article is an analysis of modes of representation of urban landscape in photography. I state that though a city space formally is still we perceive it as movable in time. We can also share the mobile experience with others. The article is parted into five sections: the introduction reflects briefly on the meaning of the term „mobile landscape” and four short interpretations inspired by four photographs, representative for shifts in history of photography are presented in subsequent parts. These are: city views by Charles Marville and by Polish photographer Karol Beyer, photomontages by Edward Steichen and by Harry Callahan, mobile photography by Polish group „mobilni” and finally – a project based on mobile app (Amsterdam REALTIME). Brief reflection proposed in the article is not a comprehensive survey on mobile landscape, but rather – can suggest a direction of such study.

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19

Sakurai, Masahiro, and Asako Namai. "Reply to Steichen. Survival from ruptured aortic aneurysm without any operations." European Journal of Cardio-Thoracic Surgery 34, no. 4 (October 2008): 928. http://dx.doi.org/10.1016/j.ejcts.2008.07.005.

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20

Marcier, Luiza, Carlos Eduardo Félix da Costa, and Rafaela Travassos Sarinho. "Entre a fotografia e a moda: do princípio dual à imagem de moda em Steichen e Poiret." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda, no. 36 (December 5, 2022): 204–20. http://dx.doi.org/10.26563/dobras.i36.1612.

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Neste trabalho, apresentamos a moda como um fenômeno que se esboça a partir de princípios duais, tendo como um marco importante em sua história o encontro com a fotografia. Se ambos integram um dispositivo heterogêneo, que despertam outros modos de ver os corpos femininos, nas produções editoriais realizadas no vínculo entre o fotógrafo Edward Steichen e o costureiro Paul Poiret, observamos uma via de mão dupla na construção discursiva pela imagem, na qual é possível vislumbrar um circuito ativo de produção narrativa que se dá sobre e no corpo, que reverbera em códigos que exploram as gestualidades desse corpo em movimento e em modificação.

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21

Hoffman, Katherine. "Sowing the seeds/setting the stage: Steichen, Stieglitz andThe Family of Man." History of Photography 29, no. 4 (December 2005): 320–30. http://dx.doi.org/10.1080/03087298.2005.10442814.

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22

Decker, C. "Gerd Hurm, "Edward Steichen" (Luxemburg: Éditions Saint-Paul, 2019), 176 pp. Lëtzebuerger Biografien." Amerikastudien/American Studies 66, no. 3 (2021): 537–39. http://dx.doi.org/10.33675/amst/2021/3/9.

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23

Henking, Susan E. "Responsive Reading: Daly, Dialogue and Denunciation (Henking Responds to Steichen, Vitz & Vitz, and Hearn)." Journal of Psychology and Theology 21, no. 3 (September 1993): 223–27. http://dx.doi.org/10.1177/009164719302100305.

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In rebuttal to critique this discussion continues dialogue with Hearn (1993) and responds to Steichen (1993) and Vitz and Vitz (1993) in this issue. Hearn's inclusion of Daly's most recent publication provides an important addition to the discussion. It clarifies Daly's early works as revolutionary rather than merely reformatory in their context. Hearn also aptly labels Daly's tendency to reject psychologists yet use their works as ironic (rather than unreasonable). It is more difficult to dialogue with the other respondents. Although Daly is explicitly anti-male, that position need not be designated sexist in a partriarchal, misogynist world. Although Daly is angry, in a misogynist world why is her anger and fear paranoid? Although Daly's conceptualizations may not be unique, her material is worthy of attention as indicative of a cultural trend.

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24

Benn, Sophie. "Balanchine and Kirstein's American Enterprise By James Steichen. New York: Oxford University Press, 2019." Journal of the Society for American Music 15, no. 3 (August 2021): 354–56. http://dx.doi.org/10.1017/s1752196321000249.

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25

Anderson, David D. "THE POET AND THE DREAM GIRL: THE LOVE LETTERS OF LILIAN STEICHEN AND CARL SANDBURG." Resources for American Literary Study 18, no. 1 (January 1, 1992): 103–5. http://dx.doi.org/10.2307/26366740.

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26

Anderson, David D. "THE POET AND THE DREAM GIRL: THE LOVE LETTERS OF LILIAN STEICHEN AND CARL SANDBURG." Resources for American Literary Study 18, no. 1 (January 1, 1992): 103–5. http://dx.doi.org/10.2307/resoamerlitestud.18.1.0103.

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27

La, Kristie. "“Enlightenment, Advertising, Education, Etc.”: Herbert Bayer the Museum of Modern Art's Road to Victory." October 150 (October 2014): 63–86. http://dx.doi.org/10.1162/octo_a_00201.

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“In the beginning was virgin land and America was promises.”2 So began the text panel located in the opening panorama of the photo exhibition Road to Victory: A Procession of Photographs of the Nation at War that the Museum of Modern Art organized in 1942 and circulated between 1943 and 1945. Years before Edward Steichen became curator of photography at MoMA and organized the global blockbuster exhibition The Family of Man, he combed government, press, and corporate archives to select the photographs for Road to Victory, his first curatorial project at the museum. Encircling the opening text were large photographic panels of picturesque landscapes, stern Native Americans, and a few buffalo. The largest panel—of pristine mountain valleys—was sixteen by twelve feet, making the viewer about the same height as the three portraits of Native Americans. Exhibition designer Herbert Bayer, recent Austrian émigré and former Bauhaus master, removed the walls from the second floor of the museum, using the large-scale photographs to structure the exhibition architecturally. Arranged in a semicircle, these opening panels welcomed the viewer and urged him to follow the curve into the exhibition.

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28

HOPKINSON, REBECCA. "EDWARD STEICHEN: IN HIGH FASHION THE CONDE NAST YEARS 1923-1937 BY WILLIAM A EWING & TODD BRANDOW." Art Book 16, no. 4 (November 2009): 63–64. http://dx.doi.org/10.1111/j.1467-8357.2009.01063_4.x.

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29

Levy, Beth E. "James Steichen, Balanchine and Kirstein's American Enterprise (New York: Oxford University Press, 2019), ISBN: 978-0-19-060741-8." Twentieth-Century Music 17, no. 1 (January 13, 2020): 113–17. http://dx.doi.org/10.1017/s1478572219000379.

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30

Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.

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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.

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31

Mihaly, Roxana. "THE AMERICAN COLLECTORS AND THEIR INTEREST IN ROMANIAN ART IN THE INTERWAR PERIOD." ANUARUL INSTITUTULUI DE CERCETĂRI SOCIO-UMANE „GHEORGHE ŞINCAI” 25 (April 1, 2022): 263–68. http://dx.doi.org/10.59277/icsugh.sincai.25.19.

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The 20th century has often been defined as the era of great changes, of interconnections, of the circulation of ideas, which constantly undergo changes under the pressure of the context, all of which inevitably marked and influenced the artistic concepts of the time. Any artistic creation is due to the impact of the antagonistic exposure that the artist makes between the creative impulse and the reality that is often foreign to art. Almost every time when we talk about art, this cannot be sustained, valued without those who consume the art. When the artist’s work resonates with the image of feelings, the connection between the artwork and the art collector is inevitable, but each work is experienced by the individual in his own way. Throughout history, art collectors have been either important names of the aristocracy or people financially very powerful, they marked the history of art in one way or another, even reaching in time to acquire the skills of a specialized connoisseur. Considered the cultural center of the arts in the interwar period, Paris represented an ideal meeting point between Romanian artists and art consumers from the USA. Names such as Edward Steichen, the lawyer John Quinn, Alfred Stieglitz, Walter Pach or Peggy Guggenheim were previously attracted by the art of Brâncuși, Victor Brauner or Hedda Sterne.

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32

Gaidry, Alicia D., Laurier Tremblay, Don Nakayama, and Romeo C. Ignacio. "The History of Surgical Staplers: A Combination of Hungarian, Russian, and American Innovation." American Surgeon 85, no. 6 (June 2019): 563–66. http://dx.doi.org/10.1177/000313481908500617.

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Since their development in 1908, surgical staplers have been used as a method of “mechanical suturing” in efforts to divide hollow viscera and create anastomoses in an efficient and sterile manner. The concept for the surgical stapler was first developed by Humér Hultl, a Hungarian professor and surgeon, and designed by Victor Fischer, a Hungarian businessman and designer of surgical instruments. The design was highly acclaimed; however, it was bulky, cumbersome, and expensive to manufacture. In 1920, Aladár Petz, a student of Hultl, incorporated two innovations to the Fischer-Hultl stapler to create a more lightweight model, which was named the Petz clamp. In 1934, Friedrich of Ulm designed what would be the predecessor to the modern-day linear stapler. In the 1950s, Russian and American staplers began to emerge. Throughout the 1960s, a variety of stapling instruments were developed in the United States, manufactured by the United States Surgical Corporation. In the 1970s, Johnson & Johnson Ethicon brand joined the market. The United States Surgical Corporation was later bought by Tyco Healthcare and became Covidien in 2007. Through the collaboration of Felicien Steichen, Mark Ravitch, and Leon Hirsch, surgical staplers were further modified to incorporate interchangeable cartridges with various designs. With the advent of minimally invasive surgery began production of laparoscopic surgical staplers. Since its inception, the surgical stapler has provided a means to efficiently create safe and effective visceral and vascular anastomoses. The surgical stapler design continues to evolve while still maintaining the basic principles that were implemented in the original design.

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33

Hinder, R. "Minimally invasive abdominal surgery Kare Kremer, W. Platzer, Hans W. Schreiber, and F.M. Steichen, eds. New York: Thieme Medical Publishers, 2001. Pages: 465. Price: $249." Journal of Gastrointestinal Surgery 5, no. 6 (December 2001): 680. http://dx.doi.org/10.1016/s1091-255x(01)80112-8.

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34

Royston, C. M. S. "Principles and Practice of Surgical Stapling M. M. Ravitch and F. M. Steichen. 235 × 155 mm. Pp. 539 + xix. Illustrated. 1987. Chicago: Year Book Medical Publishers." British Journal of Surgery 75, no. 1 (January 1988): 95. http://dx.doi.org/10.1002/bjs.1800750144.

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35

Brooks, David C. "Book Review Minimally Invasive Surgery and New Technology Edited by Felicien M. Steichen and Roger Welter. 762 pp., illustrated. St. Louis, Quality Medical, 1994. $130. 0-942219-51-1." New England Journal of Medicine 332, no. 15 (April 13, 1995): 1039. http://dx.doi.org/10.1056/nejm199504133321519.

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36

Gedrim, Ronald J. "Steichen's socialism." History of Photography 19, no. 2 (June 1995): 173–82. http://dx.doi.org/10.1080/03087298.1995.10442415.

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Oleynikov, D. "Minimally invasive abdominal surgery Edited by Carl Kremer, Werner Platzer, Hans Wilhelm Schreiber, Felicien M. Steichen. Thieme Stuttgart, New York, 2001, 465 pp., ISBN 3-13-109191-0 (GTV), ISBN 0-86577-639-3 (TNY)." American Journal of Gastroenterology 97, no. 10 (October 2002): 2691. http://dx.doi.org/10.1016/s0002-9270(02)04433-7.

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Oleynikov, Dmitry. "Minimally invasive abdominal surgery. Edited by Carl Kremer, Werner Platzer, Hans Wilhelm Schreiber, Felicien M. Steichen. Thieme Stuttgart, New York, 2001, 465 pp., ISBN 3-13-109191-0 (GTV), ISBN 0-86577-639-3 (TNY)." American Journal of Gastroenterology 97, no. 10 (October 2002): 2691. http://dx.doi.org/10.1111/j.1572-0241.2002.06075.x.

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39

Braasch, John W., and F. Henry Ellis. "Book Review Esophagus, Stomach, Duodenum (Atlas of Operative Surgery: Special anatomy — indications —techniques — complications.) Edited by K. Kremer, W. Lierse, W. Platzer, H.W. Schreiber, and F.M. Steichen. 380 pp., illustrated. New York, Thieme, 1989. $230." New England Journal of Medicine 323, no. 24 (December 13, 1990): 1712. http://dx.doi.org/10.1056/nejm199012133232422.

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40

Parsons, Melinda Boyd. "Edward Steichen's socialism." History of Photography 17, no. 4 (December 1993): 317–33. http://dx.doi.org/10.1080/03087298.1993.10442314.

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41

Cookman, Claude. "Edward Steichen's Self-portraits." History of Photography 22, no. 1 (March 1998): 65–71. http://dx.doi.org/10.1080/03087298.1998.10443919.

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42

Moore, Genie. "Stability of Vitamin D2, Calcium, Magnesium, and Phosphorus in Parenteral Nutrition Solution: Effect of In-Line Filter W. W. K. KOO, B. W. HOLLIS, J. HORN, P. STEINER, R. C. TSANG, AND J. J. STEICHEN J Pediatr 108: 478-480, 1986." Nutrition in Clinical Practice 1, no. 4 (August 1986): 222–23. http://dx.doi.org/10.1177/088453368600100413.

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43

Recchia, K., L. Machado, R. Botigelli, N. Pieri, P. Neto, F. Meirelles, A. Souza, S. Martins, and F. Bressan. "218 Urine samples as a noninvasive source of induced pluripotent cells in the swine model." Reproduction, Fertility and Development 32, no. 2 (2020): 237. http://dx.doi.org/10.1071/rdv32n2ab218.

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Noninvasive collection of cells used for generation of induced pluripotent stem cells (iPSC) generation would simplify its use for regenerative and reproductive purposes in veterinary medicine, although it is still unpublished in species other than humans. This study aimed to derive urine progenitor cells (UPCs) invitro from urine samples collected from swine, and then to reprogram them into iPSCs. For that, urine samples were collected from three females, and cells were isolated and cultured from each following the human UPCs protocol (Steichen et al. 2017 Curr. Protoc. Hum. Genet. 21, 7.1-21.7.22; https://doi.org/10.1002/cphg.26). Approximately 200mL of urine samples were collected in sterile flasks and centrifuged at 300×g; the pellet was washed in Dulbecco's PBS, resuspended, and cultured in 45% Dulbecco's modified Eagle's medium (DMEM)-high glucose, 5% fetal bovine serum (FBS), 50% Renal Epithelial Cell Growth basal medium (REBM) supplemented with 1% glutamine, 1% nonessential amino acids (NEAA), penicillin/streptomycin (P/S), and REGM supplements hEGF, insulin, hydrocortisone, GA-1000, FBS, transferrin, triiodothyronine, epinephrine (Lonza), and 10ngmL−1 basic fibroblast growth factor (bFGF). The UPCs first colonies were observed approximately 1 week after and resembled epithelial-like cells. At passage 2, one cell line was transduced with murine OCT4, SOX2, KLF4, and C-MYC cDNAs (OSKM) using a lentiviral vector. After 5 days, cells were plated onto mouse embryonic fibroblasts and cultured in knockout DMEM/F12, 20% knockout serum replacement, NEAA, L-glutamine, 2-mercaptoethanol, and P/S supplemented with 10ngmL−1 bFGF. Efficiency of reprogramming was 8.45%, measured by analysing the number of typical iPSC colonies relative to the transduced cells plated, after ~12 days. Three clonal lines (C1, C4, and C6) were maintained invitro and characterised regarding pluripotency markers for at least 30 passages. All three lines were positive for alkaline phosphatase activity in passages 15 and also 22. Immunocytochemistry analysis revealed that C6 (passage 22) was positive for the pluripotency genes OCT4 (1:100, SC), SOX2 (1:500, AB), SSEA1 (1:50, SC), TRA1- 81 (1:50, Millipore), and NANOG (1:100, AB), whereas C1 and C4 (passages 23 and 22, respectively) were positive only for OCT4, SOX2, and SSEA1. The expression of exogenous and endogenous pluripotency factors (OCT4, SOX2, and NANOG) was evaluated by qRT-PCR, comparing the three clonal lines at passages 16/17 and 21/22 and comparing different passages (10, 11, 14, 17, and 22) on C1 line. No statistical difference was observed between cell lines when compared in different passages, perhaps because of the great variation between lines. However, analysis of C1 line over time showed that pluripotency genes increased and exogenous vector expression decreased during early passages (±10 passages); however, after passage 17, OCT4 and NANOG decreased whereas SOX2 and exogenous vector expression increased. In conclusion, it was possible to reprogram UPCs into iPSCs and maintain them in culture for at least 30 passages; however, iPSCS were dependent on exogenous factors. These results represent the partial reprogramming of UPCs to iPSCs in animals for the first time, enabling the generation of invitro disease models using a noninvasive method. Financial support for this study was received from FAPESP (2019/02811-2, 2015/26818-5), CNPq (433133/2018-0), and CAPES.

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44

Harley, Ralph. "Edward Steichen's modernist art-space." History of Photography 14, no. 1 (January 1990): 1–22. http://dx.doi.org/10.1080/03087298.1990.10441018.

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45

JOBLING, P. "Real Fantasies: Edward Steichen's Advertising Photography." Journal of Design History 11, no. 4 (January 1, 1998): 349–51. http://dx.doi.org/10.1093/jdh/11.4.349.

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Blaszczyk, Regina Lee. "Real Fantasies: Edward Steichen's Advertising Photography." Technology and Culture 40, no. 3 (1999): 705–7. http://dx.doi.org/10.1353/tech.1999.0124.

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47

Gedrim, Ronald J. "Edward Steichen's 1936 exhibition of delphinium blooms." History of Photography 17, no. 4 (December 1993): 352–63. http://dx.doi.org/10.1080/03087298.1993.10442317.

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Salemme, Kevin. "Chasing shadows: Steichen's dream of the universal." History of Photography 29, no. 4 (December 2005): 372–77. http://dx.doi.org/10.1080/03087298.2005.10442819.

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Carmin, James H. "REAL FANTASIES: EDWARD STEICHEN'S ADVERTISING PHOTOGRAPHY. Patricia Johnston." Art Documentation: Journal of the Art Libraries Society of North America 17, no. 2 (October 1998): 61–62. http://dx.doi.org/10.1086/adx.17.2.27948980.

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Kutesko, Elizabeth. "Horst: Photographer of StyleCataloguesHorst: Photographer of Style.Edited by Susanna Brown;text by, Philippe Garner, Claire Wilcox,and Robin MuirNew York: Skira Rizzoli, 2014.352 pp.Cloth $75.00ISBN 9780847844555Edward Steichen: In High Fashion, The Condé Nast Years 1923–1937.William A. Ewing and Todd BrandowNew York: Norton, 2008.288 pp.; 245 ills.Cloth $75.00ISBN 9780847844555." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 22, no. 1 (March 2015): 113–18. http://dx.doi.org/10.1086/683090.

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Journal articles on the topic 'Steichen'

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