Word: steichen
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...lactation record for goats was announced, and the standard-shatterer was no ordinary goatnik but a good old Flat Rock (N.C.) nanny. Her breeder: a University of Chicago Phi Bete ('04) now specializing in capralogy, Lillian Steichen Sandburg, 78, sister of Photographer Edward Steichen and wife (since 1908) of Poet-Lincoln Lord Carl Sandburg. The record: 191 Ibs. of butterfat, 5,750 Ibs. of milk in a 305-day period...
Last week, as the majestically bearded Steichen reached a vigorous 82, Manhattan's Museum of Modern Art honored him with a retrospective of his work that was like opening windows on more than half a century of war and laughter, depression and song, tragedy and triumph. The world and the camera had come a long way since Steichen began, but at no time was there any doubt that the man behind the camera was an artist. And the fact that the word "artist" could be used in discussing photography at all was in part Steichen's doing...
...Secession. The son of Luxembourg immigrants who had settled in Milwaukee, Steichen started out to be a painter. But on his way to Paris in 1900, he stopped long enough in Manhattan to call on the already famous Alfred Stieglitz and to show him some photographs he had taken back home. Photographer Stieglitz looked them over, bought a batch for $5 apiece. "Well," he said as his 21-year-old visitor was leaving, "I suppose now that you are going to Paris you will forget all about photography." Steichen was already in the elevator when he blurted his reply...
...also painted-somewhat in the manner of Whistler with a dash of Monet-he kept his word. In 1905 he helped Stieglitz start the Photo-Secession Galleries in New York, a rallying point for those who wanted to "secede from the notion that photography is only literal representation." Steichen wanted to "push out the realm of the camera." He loved "wet days, yellow, foggy days, twilights," and to catch the mood, he would purposely blur the picture by kicking the tripod or wetting the lens. In developing his famed Steeplechase Day, Paris; After the Races, a carefree scene...
...Bonfire. When war came, Steichen got on General Billy Mitchell's staff as officer in charge of aerial photography. That experience only increased his desire to communicate through art with as wide an audience as possible. His own paintings-"so much wallpaper in gold frames"-were obviously not the answer. One day he collected every unsold canvas he had and destroyed them in a bonfire...