Edward Steichenアメリカ合衆国, 1879–1973Midnight Lake George
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『Midnight Lake George』は今どこに？ 所蔵: シカゴ美術館, シカゴ. 現在は展示されていません. 確認 2026年9月29日.
シカゴ, アメリカ合衆国
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- この状態になった日
- 出典
- 美術館
作品について
Edward Steichen, a painter as well as a photographer, was an early adherent of Pictorialism, which promoted photography as a fine art and emphasized handcraft in printing. A protégé of the photographer Alfred Stieglitz, he designed the cover and layout of Stieglitz’s journal Camera Work, a publication championing the medium’s artistic potential. Steichen excelled at the gum bichromate process, which allowed artists to layer different colors and manipulate the emulsion, while still wet, in a painterly fashion; here, he was able to enhance highlights by removing pigment with a brush. As he wrote in the first issue of Camera Work, “every photograph is a fake from start to finish, a purely impersonal, unmanipulated photograph being practically impossible.”
For more on Edward Steichen’s work in the Art Institute’s collection visit the website: Edward Steichen's World War I Years.
続きを読む
For more on the Alfred Stieglitz collection at the Art Institute, along with in-depth object information, please visit the website: The Alfred Stieglitz Collection.
シカゴ美術館CC BY 4.0
作品データ
- 収蔵番号
- 1949.829
カタログ収録
出典
- シカゴ美術館
- 画像： シカゴ美術館 — © the artist or rights holder
その頃、Edward Steichenの人生では
生涯をすべて見る1902
The Camera Work logo and the Photo-Secession
When Stieglitz is planning the magazine that becomes Camera Work, he asks Steichen to design its logo with a custom typeface; Steichen becomes the most frequently shown photographer in the journal. In the same year he is one of the founders of the Photo-Secession in New York.
1904
First experiments with colour photography
He begins experimenting with colour photography and becomes one of the earliest in the United States to use the Autochrome Lumière process.
1904年7月1日
Daughter born: Mary Calderone
1905
The Little Galleries of the Photo-Secession
With Stieglitz he creates the Little Galleries of the Photo-Secession in what had been Steichen’s portrait studio; the gallery later becomes known as 291 after its address and presents some of the first American exhibitions of Rodin, Matisse, Cézanne, Picasso and Brâncuși. Constantly crossing between Europe and the US by steamship, he becomes, in the art historian William A. Ewing’s words, one of the earliest “jet setters,” bringing European art to America.
