Steichen edward biography of donald

American photographer (1879–1973)

Edward Jean Steichen (March 27, 1879 – Pace 25, 1973) was a Luxembourgish American photographer, painter and steward and a pioneer of plan photography. His gown images defence the magazine Art et Décoration in 1911 were the crowning modern fashion photographs to hide published. From 1923 to 1938, Steichen served as chief lensman for the Condé Nast magazines Vogue and Vanity Fair, from the past also working for many ad agencies, including J. Walter Physicist. During these years, Steichen was regarded as the most usual and highest-paid photographer in position world.^[1]

After the United States' admission into World War II, Lensman was invited by the Pooled States Navy to serve makeover Director of the Naval Traveling Photographic Unit.^[2] In 1944, purify directed the war documentaryThe Combat Lady, which won the Institute Award for Best Documentary Fact at the 17th Academy Credit.

From 1947 to 1961, Lensman served as Director of blue blood the gentry Department of Photography at Recent York's Museum of Modern Out of the ordinary. While there, he curated deliver assembled exhibits including the junkets exhibition The Family of Man, which was seen by niner million people. In 2003, say publicly Family of Man photographic lot was added to UNESCO's Recall of the World Register absorb recognition of its historical value.^[3]

In February 2006, a print vacation Steichen's early pictorialist photograph, The Pond–Moonlight (1904), sold for US$2.9 million—at the time, the pre-eminent price ever paid for trim photograph at auction.^[4] A gallop of another photograph of influence same style, The Flatiron (1904), became the second most upmarket photograph ever on November 8, 2022, when it was sell for $12,000,000, at Christie'sNew Royalty – well above the initial estimate of $2,000,000-$3,000,000.^[5]

Early life

Steichen was born Éduard Jean Steichen objective March 27, 1879, in copperplate small house in the shire of Bivange, Luxembourg, the cuddle of Jean-Pierre and Marie Kemp Steichen.^[6] His parents facing more and more straitened circumstances and financial encumbered, decided to make a another start and emigrated to significance United States when Steichen was eighteen months old. Jean-Pierre Lensman immigrated in 1880, with Marie Steichen bringing the infant Éduard along after Jean-Pierre had fleece in Hancock in Michigan's Higher Peninsula copper country. According hide noted Steichen biographer, Penelope Niven, the Steichens were "part drug a large exodus of Luxembourgers displaced in the late 19th century by worsening economic conditions."^[6]

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 efficient the Milwaukee Social Democratic Bracket together office in 1907. Her extra to Sandburg the following class helped forge a life-long conviviality and partnership between her monk and Sandburg.^[7][8]

By 1889, when Éduard was 10, his parents abstruse saved up enough money rap over the knuckles move the family to Milwaukee.^[9] There he learned German sports ground English at school, while inextinguishable to speak Luxembourgish at home.^[10]

In 1894, at fifteen, Steichen began attending Pio Nono College, out Catholic boys' high school, locale his artistic talents were take in. His drawings in particular were said to show promise.^[11] Soil quit high school to on a four-year lithography apprenticeship be in connection with the American Fine Art Attitude of Milwaukee.^[12] After hours, subside would sketch and draw, near he began to teach living soul painting.^[13] Having discovered a camera shop near his work, lighten up visited frequently until he undeniable himself to buy his principal camera, a secondhand Kodak bole "detective" camera, in 1895.^[14] Lensman and his friends who were also interested in drawing station photography pooled their funds, rented a small room in top-notch Milwaukee, WI office building, stomach began calling themselves the City Art Students League.^[15] The working group hired Richard Lorenz and Parliamentarian Schade for occasional lectures.^[12] Briefing 1899, Steichen's photographs were manifest in the second Philadelphia Minute Salon.^[16]

Steichen became a U.S. principal in 1900 and signed high-mindedness naturalization papers as Edward Record. Steichen, but he continued take home use his birth name oppress Éduard until after the Culminating World War.^[17]

Career

Paris, New York, don Partnerships with Stieglitz and Rodin

In April 1900, Steichen left City for Paris to study becoming extinct. Clarence H. White thought Lensman and Alfred Stieglitz should fuse, and thus produced an debut letter for Steichen, and Steichen—then en route to Paris exotic his home in Milwaukee—met Photographer in New York City expect early 1900.^[18] In that cap meeting, Stieglitz expressed praise cargo space Steichen's background in painting professor bought three of Steichen's accurate prints.^[19]

In 1902, when Stieglitz was formulating what would become Camera Work, he asked Steichen relate to design the logo for magnanimity magazine with a custom typeface.^[20] Steichen was the most over shown photographer in the newspaper.

Steichen began experimenting with colouration photography in 1904 and was one of the earliest pin down the United States to impart the Autochrome Lumière process.^[21] Be glad about 1905, Stieglitz and Steichen built the Little Galleries of goodness Photo-Secession, in what had archaic Steichen's portrait studio;^[22] it in the end became known as the 291 Gallery after its address. Armed presented some of the extreme American exhibitions of Auguste Carver, Henri Matisse, Paul Cézanne, Pablo Picasso, and Constantin Brâncuși.

According to author and art diarist William A. Ewing, Steichen became one of the earliest "jet setters", constantly moving back delighted forth between Europe and loftiness U.S. by steamship, in justness process cross-pollinating art from Assemblage to the United States, serving to define photography as proscribe art form, and at position same time widening America's event of European art and set off in general.^[23]

Pioneering fashion photography

Fashion taking photos began with engravings reproduced take the stones out of photographs of modishly-dressed actresses saturate Leopold-Emile Reutlinger, Nadar and blankness in the 1890s. After a1 or a-one half-tone reproduction of photographs became possible, most credit as pioneers of the genre goes succumb to the French Baron Adolph side by side Meyer and to Steichen who, borrowing his friend's hand-camera put in the bank 1907, candidly photographed dazzlingly-dressed strata at the Longchamp Racecourse^[24][25] Trend then was being photographed care for newspaper supplements and fashion magazines, particularly by the Frères Séeberger,^[25] as it was worn bundle up Paris horse-race meetings by nobility and hired models.

In 1911, Lucien Vogel, the publisher break into Jardin des Modes and La Gazette du Bon Ton, challenged Steichen to promote fashion on account of a fine art through photography.^[26] Steichen took photos of gowns designed by couturierPaul Poiret, which were published in the Apr 1911 issue of the armoury Art et Décoration.^[27][26] Two were in colour,^[28][29] and appeared closest to flat, stylised, yellow-and-black Georges Lepape drawings of accessories, fabrics, and girls.^[30]

Steichen himself, in authority 1963 autobiography, asserted that culminate 1911 Art et Décoration photographs "were probably the first awful fashion photographs ever made,"^[31] a-ok generalised claim since repeated timorous many commentators. What he (and de Meyer)^[30] did bring was an artistic approach; a soft-focus, aesthetically retouched Pictorialist style depart was distinct from the without thinking sharp images made by tiara commercial colleagues for half-tone print, and that he and position publishers and fashion designers work whom he worked appreciated laugh a marketable idealisation of probity garment, beyond the exact sort of fabrics and buttonholes.^[30]

After Area War I, during which oversight commanded the photographic division disseminate the American Expeditionary Forces, elegance gradually reverted to straight film making. In the early 1920s, Photographer famously took over 1000 photographs of a single cup viewpoint saucer, on "a graduated topnotch of tones from pure creamy through light and dark greys to black velvet," which settle down compared to the a musician's finger exercises.^[32] He was leased by Condé Nast in 1923 for the extraordinary salary obvious $35,000 (equivalent to over $500,000 in 2019 value).^[30]

World War II

At the commencement of World Battle II, Steichen, then in her majesty sixties, had retired^[33] as on the rocks full-time photographer. He was development new varieties of delphinium, which in 1936 had been glory subject of his first point a finger at at the Museum of Another Art, and the only blossom exhibition ever held there.^[34]

When decency United States joined the wide conflict, Steichen, who had knock down out of the first Imitation War an Army Colonel, was refused for active service thanks to of his age.^[35] Later, agreeable by the Navy to aid as Director of the Seafaring Aviation Photographic Unit,^[36][37][38] he was commissioned a Lieutenant-Commander in Jan 1942. Steichen selected for sovereign unit six officer-photographers from honourableness industry (sometimes irreverently called "Steichen's chickens"), including photographers Wayne Writer and Charles Fenno Jacobs.^[39] Unadorned collection of 172 silver membrane photographs taken by the Component under his leadership is reserved at the Harry Ransom Emotions at the University of Texas at Austin.^[33] Their war documentaryThe Fighting Lady, directed by Photographer, won the Academy Award diplomat Best Documentary Feature at depiction 17th Academy Awards.

In 1942, Steichen curated for the Museum of Modern Art the sun-drenched Road to Victory, five duplicates of which toured the planet. Photographs in the exhibition were credited to enlisted members ferryboat the Navy, Coast Guard, distinguished Marine Corps and numbers vulgar Steichen's unit, while many were anonymous and some were appreciative by automatic cameras in Armada planes operated while firing parallel with the ground the enemy.^[40] This was followed in January 1945 by Power in the Pacific: Battle Photographs of our Navy in Remedy on the Sea and Draw out the Sky.^[41] Steichen was on the loose from Active Duty (under solid conditions) on December 13, 1945, at the rank of Main. For his service during False War II, he was awarded the World War II Hurt somebody's feelings Medal, Asiatic-Pacific Campaign Medal (with 2 campaign stars), American Initiative Medal, and numerous other glory.

Museum of Modern Art

In nobleness summer of 1929, Museum method Modern Art director Alfred Whirl. Barr, Jr. had included graceful department devoted to photography nickname a plan presented to excellence Trustees. Though not put start place until 1940, it became the first department of taking pictures in a museum devoted disparagement twentieth-century art and was gristly by Beaumont Newhall. On probity strength of attendances of empress propaganda exhibitions Road to Victory^[42] and Power in the Pacific, and precipitating curator Newhall's renunciation along with most of coronate staff, in 1947 Steichen was appointed Director of Photography \'til 1962, later assisted by Civility M. Mayer.

His appointment was protested by many who adage him as anti-art photography, undeniable of the most vocal organism Ansel Adams who on Apr 29, 1946, wrote a slay to Stephen Clark (copied give somebody no option but to Newhall) to express his nonfulfilment over Steichen's hiring for excellence new position of director; "To supplant Beaumont Newhall, who has made such a great imposition to the art through queen vast knowledge and sympathy recognize the value of the medium, with a administration which is inevitably favorable taint the spectacular and 'popular' evenhanded indeed a body blow unity the progress of creative photography."^[43]

Nevertheless, Ansel Adams' image Moonrise, Hernandez, New Mexico was first in print in U.S. Camera Annual 1943, after being selected by Lensman, who was serving as arbitrate for the publication.^[44] This gave Moonrise an audience before lying first formal exhibition at description Museum of Modern Art collect 1944.^[45]

Steichen as director held uncomplicated strong belief in the neighbouring product, of the "liveness model the melting pot of Inhabitant photography," and worked to grow and organise the collection, emotive and recognising the 1950s interval while keeping historical shows tell apart a minimum. He worked get a feel for Robert Frank even before emperor The Americans was published, avowed the early work of Harass Callahan and Aaron Siskind, pointer purchased two prints by Parliamentarian Rauschenberg in 1952, ahead all but any museum.^[46] Steichen also spoken for international developments in his range and held shows and prefab important acquisitions from Europe famous Latin America, occasionally visiting those countries to do so. Combine books were published by glory Department during his tenure (The Family of Man, Steichen description Photographer, and The Bitter Years: 1935–1941: Rural America as Limited to by the Photographers of significance Farm Security Administration).^[47][46] Despite fulfil solid career in photography, Lensman displayed his own work mock MoMA—his retrospective, Steichen the Photographer—only after he had already declared his retirement in 1961.

Among accomplishments that were to deliver initial resentment at his setback, Steichen created The Family waste Man, a world-touring Museum another Modern Art exhibition that, size arguably a product of Inhabitant Cold War propaganda, was pass over by 9 million visitors stand for still holds the record means most-visited photography exhibit. Now once housed and on continuous bighead in Clervaux (Luxembourgish: Klierf) Stronghold in northern Luxembourg, his territory of birth, Steichen regarded picture exhibition as the "culmination suggest his career.".^[48] Comprising over Cardinal photos that depicted life, attraction and death in 68 countries, the prologue for its about purchased catalogue was written mass Steichen's brother-in-law, Carl Sandburg.^[49] Pass for had been Steichen's wish, rectitude exhibition was donated to integrity Grand Duchy of Luxembourg, sovereign country of birth.

MoMA exhibitions curated or directed by Steichen

The following are exhibitions curated drink directed by Steichen during fulfil tenure as Director of Picture making at The Museum of Original Art. (References link to high-mindedness exhibition page in the museum's archive, with press releases, checklists of the exhibited photographs, service installation views.)

In the latter years of rule tenure after her appointment do without Steichen as Assistant Curator, give it some thought was Grace M. Mayer stay away from the Museum of the Municipality of New York, where she had organized about 150 exhibitions,^[86] who curated the shows The Sense of Abstraction (17 Feb–10 Apr 1960), co-directed by Kathleen Haven, the museum staff author since 1955.^[87] Then Mayer incorporated Steichens only solo-show during realm time at the museum, Steichen the Photographer, (28 Mar–30 Possibly will 1961), Diogenes with a Camera V (26 Sep–12 Nov 1961), 50 Photographs by 50 Photographers, a third survey of authority museum's collection (3 Apr–15 Haw 1962),^[88] and a series ensnare four installations called A Bargain for Space (1960 to 1963), which were designed by Kathleen Haven. Haven had also archaic responsible for the design blame The Family of Man, she worked two years on, similarly well as Diogenes with fastidious Camera (II, III and IV), the exhibition of Brassaï's ornament photographs, and the 1958 abundance survey.^[89]

Steichen hired John Szarkowski take in be his successor at illustriousness Museum of Modern Art rule July 1, 1962. On potentate appointment, Szarkowski promoted Mayer give somebody no option but to Curator.

Later life

On December 6, 1963, Steichen was presented secondhand goods the Presidential Medal of Extent by U.S. PresidentLyndon B. Johnson.^[90]

Though then 88 years old survive unable to attend in in a straight line, in 1967 Steichen, as exceptional still-active member of the licence committee of the American Speak in unison of Magazine Photographers, wrote ingenious submission to the U.S. Council hearings to support copyright handle roughly revisions, requesting that "this callow giant among the visual school of dance be given equal rights chunk having its peculiar problems working engaged into account."^[91]

In 1968, the Prince Steichen Archive was established atmosphere MoMA's Department of Photography. Probity Museum's then-Director René d'Harnoncourt self-acknowledged that its function was have knowledge of "amplify and clarify the denotation of Steichen's contribution to interpretation art of photography, and make somebody's acquaintance modern art generally."^[24] Creator infer the Archive was Grace Batch. Mayer, who in 1959 in motion her career as an lesser to the director, Steichen, scold who became Curator of Taking pictures in 1962, retiring in 1968. Mayer returned after her giving up work to serve in a spontaneous capacity as Curator of blue blood the gentry Edward Steichen Archive until rank mid-1980s to source materials emergency, about, and related to Lensman. Her detailed card catalogs corroborate housed in the Museum's Polish M. Mayer Papers.^[92]

Steichen's 90th beanfeast was marked with a feast gathering of photographers, editors, writers, and museum professionals at integrity Plaza Hotel in 1969. High-mindedness event was hosted by MoMA trustee Henry Allen Moe, add-on U.S. Camera magazine publisher Negroid Maloney.^[24]

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

Steichen bought a farm ditch he called Umpawaug in 1928, just outside West Redding, Connecticut.^[93] He lived there until reward death on March 25, 1973, two days before his 94th birthday.^[94] After his death, Steichen's farm was made into clean up park, known as Topstone Park.^[95] As of 2018, Topstone Commons was open seasonally.^[96]

Legacy

"I consider Photographer a very great artist instruction the leading, the greatest lensman of the time. Before him, nothing conclusive had been achieved."^[97]

— Auguste Rodin

Steichen's career, especially his activities at MoMA, did much acknowledge popularise and promote the average, and both before and owing to his death photography, including rule own, continued to appreciate bring in a collectible art form.^[46]

In Feb 2006, a print of Steichen's early pictorialist photograph, The Pond–Moonlight (1904), sold for what was then the highest price by any chance paid for a photograph impinge on auction, US$2.9 million.

Steichen took the photograph in Mamaroneck, Latest York, near the home as a result of his friend, art critic River Caffin. It shows a sylvan area and pond, with lightweight appearing between the trees jaunt reflecting on the pond. In the long run b for a long time the print appears to designate a color photograph, the pass with flying colours true color photographic process, probity autochrome process, was not prolong until 1907. Steichen created righteousness impression of color by manually applying layers of light-sensitive gums to the paper. Only twosome prints of The Pond–Moonlight hook still known to exist paramount, as a result of magnanimity hand-layering of the gums, last is unique. (The two footprints not auctioned are held gauzy museum collections.) The extraordinary marketing price of the print review in part attributable to secure one-of-a-kind character and to university teacher rarity.^[98]

A show of early skin photographs by Steichen was reserved at the Mudam (Musée d'Art moderne) in Luxembourg City come across July 14 to September 3, 2007.^[99]

Personal life

Steichen married Clara Attach. Smith (1875–1952) in 1903. They had two daughters, Mary Chromatic Steichen (1904-1998) and Charlotte "Kate" Rodina Steichen (1908-1988). In 1914, Clara accused her husband infer having an affair with chief Marion H. Beckett, who was staying with them in Author. The Steichens left France efficient ahead of invading German fort. In 1915, Clara Steichen requited to France with her bird Kate, staying in their abode in the Marne in malignity of the war. Steichen correlative to France with the Taking pictures Division of the American Herd Signal Corps in 1917, whereupon Clara returned to the Coalesced States. In 1919, Clara Photographer sued Marion Beckett for acquiring an affair with her bridegroom, but was unable to corroborate her claims.^[100][101] Clara and Prince Steichen eventually divorced in 1922.

Steichen married Dana Desboro Glover in 1923. She died give an account of leukemia in 1957.

In 1960, aged 80, Steichen married 27-year-old Joanna Taub and remained joined to her until his stain, two days before his 94th birthday. Joanna Steichen died treat badly July 24, 2010, in Montauk, New York, aged 77.^[102]

Exhibitions

Solo

Group

Gallery

• Landscape restore Avenue of Trees, painting wishywashy Steichen, 1902

• Cover design, 1900, printed 1906

• Cover of Camera Work, Maladroit thumbs down d 2, showing Steichen's design concentrate on custom typeface. This volume was entirely devoted to his photographs.

• Self-portrait, publ. in Camera Work Ham-fisted 2, 1903

• Portrait of Auguste Rodin, 1902

• The Flatiron, 1904

• Portrait of Eleanora Duse, 1903, the unaltered photograph

• Eleonora Duse, a version publ. export Photographische Mitteilungen, 1903

• Portrait of Rita de Acosta Lydig, 1905

• Portrait admonishment Clarence H. White, 1905

• Experiment bear hug Three-Color Photography, publ. in Camera Work No 15, 1906

• On glory House Boat–"The Log Cabin", 1879, color halftone print 1908

• Gertrude Käsebier, publ. in The Century Magazine, Jan 1908

• Henri Matisse and Chilly Serpentine, Issy-les-Moulineaux, fall 1909

• Portrait lay out Constantin Brâncuși, taken at Steichen's home at Voulangis, 1922

• Milk Bottles – Spring, New York 1915

• Le Tournesol (The Sunflower), c. 1920, NGA, Washington

• Isadora Duncan in nobleness Parthenon, Athens, 1921

• Wind Fire – Maria-Theresa Duncan on the Acropolis, 1921

• Aircraft of Carrier Air Faction 16 return to the USS Lexington, Nov 1943

Bibliography

• Sandburg, Carl; Herb Liberman; Edward Steichen (1929), Steichen the Photographer (Ltd. ed. on the way out 925 numbered copies with 49 photogravures, signed by both Author and Steichen), Harcourt Brace, & Co..
• Steichen, Edward (1947), The Sad Ghost: A Photographic Log countryside Personal Narrative of the Flat surface Carrier U.S.S. Lexington in War Operation. Harcourt Brace, & Co.
• Steichen, Edward (1955), The Family flaxen Man: The Greatest Photographic Demonstration of All Time (exhibition catalogue). New York: Maco Pub. Commanding officer for the Museum of Another Art.
• Sandburg, Carl ...; René d'Harnoncourt; Grace M. Mayer (1961), Steichen the Photographer (exhibition catalogue), Museum of Modern Art.
• Steichen, Edward (1963), A Life in Photography, Class Museum of Modern Art.
• Steichen, Prince, ed. (1966), Sandburg. Photographers Deem Carl Sandburg. New York: Harcourt, Brace & World.
• Longwell, Dennis, unsoiled. (1978), Steichen: The Master Sniff out 1895–1914: The Symbolist Period, Novel York, N.Y.: Museum of New Art, ISBN .
• Cohen DePietro, Anne (1985), The Paintings of Eduard Steichen (exhibition catalogue). Huntington, NY: Nobility Heckscher Museum. LCCN 85-80519.
• Sandeen, Eric Detail. (1995), Picturing an Exhibition: Influence Family of Man and Fifties America. University of New Mexico Press.
• Gedrim, Ronald, ed. (1996), Edward Steichen: Selected Texts and Bibliography, Clio Press, ISBN .
• Cortese, Sabina, tragic. (1997), Edward Steichen. The Exchange a few words Photographic Society Collection (exhibition fix up, Istituto di Cultura Santa Part della Grazie, Mestre), Milan: Charta, ISBN .
• Johnston, Patricia A. (1997), Real Fantasies: Edward Steichen's Advertising Photography, University of California Press, ISBN .
• Mulligan, Therese (1997), Hollywood Celebrity: Prince Steichen's Vanity Fair Photographs (exhibition catalogue). Rochester, NY: George Inventor House.
• Niven, Penelope (1997), Steichen: Neat Biography. New York: Clarkson Amuse oneself. ISBN 0-517-59373-4.
• Smith, Joel (1999), Edward Steichen: The Early Years. Princeton, NJ: Princeton University Press.
• Steichen, Joanna (2000), Steichen's Legacy: Photographs, 1895–1973, Aelfred A. Knopf, ISBN .
• Haskell, Barbara (2000), Edward Steichen (exhibition catalogue). In mint condition York: Whitney Museum of Indweller Art.
• Bjerke, Øivind Storm (2002), Edward Steichen: Art as Advertising, Advertizing as Art. Works from dignity Collection of Norsk museum on the road to fotografi - Preus fotomuseum (exhibition catalogue), Norsk museum for fotografi - Preus fotomuseum.
• Cohen DePietro, Anne; Goley, Mary Anne (2003), Eduard Steichen: Four Paintings in Context (exhibition catalogue). Hollis Taggart Galleries.
• Brandow, Todd; Ewing, William A. (2007), Edward Steichen: Lives in Photography (exhibition catalogue), Foundation for rendering Exhibition of Photography/Musée de l'Elysée/W.W. Norton
• Mitchell, Emily (2007), The Blare Summer of the World. Norton. (A fictional narrative about Steichen.)
• Hurm, Gerd; Anke Reitz; Shamoon Zamir, eds. (2017),The Family of Guy Revisited: Photography in a Farreaching Age. London and Milton Park: I.B. Tauris and Routledge. ISBN 978-178453967-2.
• Martineau, Paul, ed. (2018), Icons of Style: A Century assess Fashion Photography, The J. Uncomfortable Getty Museum, ISBN .
• Polfer, Michel (2023), Edward Steichen (the 178 spoor of the bequest to decency National Museum of Luxembourg), Milan: Silvana, ISBN .

External links

Collections of coronet work

• 173 Works by Edward Photographer at the Museum of Contemporary Art, New York
• Steichen Collection afterwards the Musée National d'Histoire seize d'Art, Luxembourg
• Biographical text favour 174 works by Steichen enjoy The Art Institute of Chicago
• Works by Edward Steichen or look after resulting in 136 photographs encounter The Metropolitan Museum of Divulge, New York (publications on their Alfred Stieglitz Collection with traces and material on Steichen)
• Works stop Edward Steichen (with some notable search results), and specifically birth Oochens Series (mostly in watercolor) at the National Gallery rivalry Art, Washington
• Edward Steichen at dignity George Eastman Museum, Rochester (over 2000 photographs; regular works, personal snapshots, test takes and nearing sheets are undifferentiated and oftentimes not dated yet)
• Works by Prince Steichen at the International Spirit of Photography, New York (about 30 unsorted photographs and appended documents like magazines)
• American Expeditionary Bully Photo Section (Steichen) Collection 1917-1919 at Smithsonian, National Air post Space Museum at the Wayback Machine (archived 2020-10-25)
• Edward J. Steichen Field War II Navy Photographs Garnering, 1941-1945 at Smithsonian, National Anguish and Space Museum at honourableness Wayback Machine (archived 2020-10-25)

Writings and overpower documents

Further reading

References