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10-05-2007
  46
rising star
 
fredo's Avatar
 
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and three photos of Garbo, source greta Garbo les photographies, scanned by me
steichen edward 044 1928 greta garbo new york fb

steichen edward 045 1928 greta garbo new york fb

steichen edward 046 1928 greta garbo new york fb

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10-05-2007
  47
Of a bastard line.
 
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Fredo I was wondering when you would enter, and there you are with your wonderful scans! Thank you! :p ... I love the Greta Garbo "series" he did ...

Quote:
Originally Posted by SomethingElse
I love the match fabric photograph especially. I wonder what sparked the resulting image?
Yes the whole construction is spellbinding, it's one of these you just keep starring at, following the different patterns it construct ... I'm not aware of what sparked this and I had a look through a couple of books I have on him, but couldn't find any information on this photograph! ...

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10-05-2007
  48
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^ thanks, Multitudes. I suspect it was conceptualized after a fun fun fun dinner party with Lee Miller and Man Ray... it just has that feel about it.

Fredo Fabulous scans! Here comes some karma!

Shirley Temple



Norma Shearer (all of the following)







Moonlight



absolutearts.com . divasthesite.com . mentalfloss.com

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18-05-2007
  49
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three others images with schiaparelli work (source : elsa schiaparelli by dilys e. blum, ed. by philadelphia museum of art, scan by me)
steichen 1931 la comtesse de Zoppola en Schiaparelli fb

steichen 1931 robe du soir schiaparelli fb

steichen 1932 robe schiaparelli n°445 fb

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19-05-2007
  50
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Thank you, Fredo! The images are fantastic!


Alfred Steiglitz and Kitty (visibledarkness.com), photographed by Steichen

Quoted from Robert Leggat, 1999 CAMERA WORK

This is the title given to an influential quarterly journal which appeared in 1903 in the wake of the Photo-Secession movement. It was edited by Alfred Stieglitz, and among the many contributors were Frank Eugene, Clarence White and Edward Jean Steichen.

The first edition reads:

"Only examples of such work as gives evidence of individuality and artistic worth, regardless of school, or contains some exceptional feature of technical merit, or such as exemplifies some treatment worthy of consideration, will find recognition in these pages."

This magazine was beautifully produced. Some of the pictures were printed on fine Japanese tissue, and pasted in by hand. Many of the articles were written by leading authors.

The reception by British photographers to the publication was immediately favourable. That same year "Photography" reported:

"There can be no other verdict but that Camera Work beats all previous records for dignity, good taste, and...value."

"Amateur Photographer" for 1st January 1903 also was full of praise. (See Stieglitz). There were in total fifty editions. The last publication was in June 1917, when the Photo-Secession movement had begun to lose its way. The script clearly shows that further editions were at the planning stage. The June edition contains a letter (17 November 1916), addressed to Stieglitz, from Frank Eugene, which reads as follows:

"I have not received Camera Work for a very long time, probably due to the war, censorship, etc. etc....

The older I grow the more I appreciate what you have accomplished with your very wonderful publication. When I see you I shall be delighted to tell you how largely the possession of Camera Work has helped me in my work as a teacher, and what an incentive it has always been to my pupils towards a higher standard. It does...for the man with the camera, what the Bible has...for centuries, tried to do for the man with the conscience...."

Sadly this, the fiftieth edition, turned out to be the last of this remarkable series, of which few copies now remain.


Since this was written, Camera Work has been republished by Taschen Publications (ISBN 3-8228-8072-8) The book contains all the illustrations, and a masterly introduction by Pam Roberts, formerly curator at the Royal Photographic Society. It comes in paperback, and if one were only allowed to recommend one book, it must surely be this one, as it contains a simply excellent collection of outstanding photographs. A "must" for any serious photographic historian.

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Last edited by SomethingElse; 19-05-2007 at 10:05 AM.
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12-10-2007
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Quote:
The Spiral shell, France Vers, 1921.


Quote:
Marlene Dietrich, 1934.


time.com

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12-10-2007
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Quote:
In Memorium, 1904.


Quote:
Anna May Wong, 1903.


time.com


Last edited by SomethingElse; 12-10-2007 at 06:58 PM.
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12-10-2007
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Quote:
Fred Astaire in "Top Hat". New York, 1927.


Quote:
Brooklyn Bridge, 1903.


time.com


Last edited by SomethingElse; 12-10-2007 at 06:58 PM.
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15-10-2007
  54
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I will try to see next week an exposition about Steichen in Paris. Of course, i will buy the catalog and send news pictures. Before, for Something else and all others people, some of my old scans. Source : op. cit.
steichen 1925 anita chace fb

steichen 1925 ensemble de suzanne talbot fb

steichen 1926 mode McAffe Oxfords fb

steichen 1927 ensembles de madame frances et de jay thorpe fb

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15-10-2007
  55
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I just post some toehrs garbo's pictures in her thread. I think you will like them.
fred
Quote:
Originally Posted by Multitudes View Post
Fredo I was wondering when you would enter, and there you are with your wonderful scans! Thank you! :p ... I love the Greta Garbo "series" he did ...



Yes the whole construction is spellbinding, it's one of these you just keep starring at, following the different patterns it construct ... I'm not aware of what sparked this and I had a look through a couple of books I have on him, but couldn't find any information on this photograph! ...

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15-10-2007
  56
V.I.P.
 
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Thanks for the contributions! I love Steichen's coloring and lighting. Some very great, familiar moments captured.

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19-01-2008
  57
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Quote:
c. 1930, reprinted in 1966. This photograph appeared in the American edition of Vogue fashion magazine. It epitomises the glamour of 1930s fashion and captures the desirable look of the period. Here you can see a dress made of extravagant and luxurious fabrics. Dramatic contrasts of light and dark bring out the tactile and visual qualities of the silk georgette, satin and ermine fur trim.

Many of the most important photographers of the day worked for Vogue, which became well-known for the quality of its fashion photography. Edward Steichen took this photograph. In the late 1930s he was the principle 'in-house' photographer for Condé Nast, the publisher of Vogue.

vam.ac.uk

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05-02-2008
  58
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wow, lovely photographs
thank you all!

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12-02-2008
  59
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I don't know if we have people onto tfs from Switzerland....
but if you go around Zurich... go at the Kunsthaus

Quote:
Edward Steichen. In High Fashion
11 January – 30 March 2008
The Kunsthaus Zürich offers a glimpse at an unknown facet of the work of the great 20th-century American photographer. Forty years after the artist’s death, original prints by Edward Steichen (1879-1973) for Vanity Fair and Vogue are only now available to the public. In the 1920s and 1930s Steichen was at the height of his career as a photographer, and some of the images he created during that period for the magazines published by Condé Nast are among his most striking.
Organized by the Musée de l'Elysée, Lausanne, and the Foundation for the Exhibition of Photography, Minneapolis, in collaboration with Kunsthaus Zürich.
that's funny they're saying this (in bold) because actually i just know him through fashion photography....
do you need some help at the Kunsthaus???? I'm here.....

they published a catalogue but unfortunately only in german!!!!

the poster : (you can buy it for 25CHF = 20$ / 15€ - kind of expensive for a poster!!!)


cover of the catalogue :


kunsthaus.ch

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12-02-2008
  60
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I guess it's the same exhibition than fedro talked about.
so I guess a french and even english catalogue do exist....

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