Word: steichen
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...century, and the 20th century inventory is light on landscape and street photography, heavy on fashion and portraiture. But it's a highly credible assortment, brainy and fun, with samples from most of the major episodes of 20th century photography. There's a fair selection of greatest hits - Edward Steichen's 1924 portrait of Gloria Swanson behind a scrim of black lace, Dorothea Lange's inevitable Migrant Mother of 1936 - and some less familiar examples by big names. Everybody has seen Edward Weston's nudes, but probably not the one here, from 1927, which turns a pair of legs, tightly...
...Edward Steichen and Alfred Stieglitz open the Little Galleries of Photography in New York City championing photography as an art form...
...women's movement, especially within Catholicism, is often linked to other emotional positions, including acceptance of birth control, abortion and homosexuality. It is by no means only men who view these developments with alarm. The movement's goal, warns traditionalist Donna Steichen, author of Ungodly Rage, is nothing less than "the overthrow of Christianity. It's not about advancing women in positions in the church. It's about a complete change in theology. Are we talking about a church founded by the Son of God made man? Or are we talking about simply a social gathering that we can rebuild...
...things that have acquired a sort of timelessness as artistic stereotypes, like Myron's Discobolos or Rodin's The Thinker. But few of them are immediately recognizable, and they all derive from other kinds of art, including photography. The looming profile of Moskowitz's Flatiron Building comes from Edward Steichen's famous gray-silhouetted photo of that structure, made almost three-quarters of a century before; Thinker begins with another moody Steichen photograph. But because the shape of the Flatiron Building is so close in value to its background, black on black, it induces a perceptual hiccup, like stepping...
...sometimes felt that because photographs are the product of a mechanical tool, a camera, that some of the great pictures made by photojournalists are simply lucky shots, accidents. One day when Edward Steichen, the late dean of American photography, was taking a group of visitors through an exhibition of pictures by photojournalists, he was asked, "If you were to take all the lucky pictures, the accidents, out of this exhibition, how many pictures would you have left?" Steichen pondered that, and then he said, "Not many, perhaps. But have you ever thought how many great accidents have been made...