Biography (Courtesy of Christian Peterson)
 
Steichen, one of this countryÂ’s most recognized twentieth-century photographers, led a long and varied career in the field. He was a practitioner, working in many genres after giving up pictorialism around 1915, and a curator, organizing exhibitions at the Museum of Modern of Art, New York.
 
Eduard Jean Steichen was born on March 27, 1879, in the small European country of Luxembourg. Two years later, he immigrated with his family to the United States and settled in Michigan. From 1889, he lived in Milwaukee, where he served a one-year apprenticeship at the American Fine Art Company, a lithographic printing firm. He helped organize the Milwaukee Art StudentsÂ’ League in 1897 and served as its first president.
 
After photographing for about four years, Steichen burst upon the American photographic scene in 1899, when he exhibited three particularly impressionistic pictures in the second Philadelphia Photographic Salon. He was determined to be an artist, and the next year set out for Europe to continue his studies. Stopping in New York on the way, he met Alfred Stieglitz, who purchased three of his pictorial photographs.
 
For the next few years, Steichen lived in Paris, where he painted and made photographic portraits of famous writers and artists, such as August Rodin. His photographs were included in the 1900 London and 1901 Paris showings of the New School of American Photography, organized by F. Holland Day. In 1901, he was elected to membership in the Linked Ring Brotherhood, EnglandÂ’s most advanced order of photographers. In addition, his paintings were seen in Paris in the 1901 salon and the next year in a one-person exhibition at La Maison des Artistes.
 
In 1902, Steichen returned to New York and set up a portrait studio. The same year, he became a founding member of the Photo-Secession, StieglitzÂ’s elite cadre of artistic photographers, when his work was included in the groupÂ’s inaugural show at New YorkÂ’s National Arts Club. Stieglitz featured SteichenÂ’s work in all of the SecessionÂ’s subsequent museum exhibitions, occurring in 1904 at the Carnegie Institute (Pittsburgh) and Corcoran Gallery of Art (Washington, D.C.), in 1906 at the Pennsylvania Academy of Fine Arts (Philadelphia), and in 1910 at the Albright Art Gallery (Buffalo).
 
Steichen’s artistic and printing background led him to design the cover of Stieglitz’s new quarterly, Camera Work, in 1903. Over the next fifteen years, Steichen was privileged to have more of his work seen in the magazine than any other pictorialist, usually as high-quality photogravures. Stieglitz devoted three full issues to his work, in 1903, 1906, and 1913. In 1905, Steichen also helped Stieglitz establish the Little Galleries of the Photo-Secession, which later became known as 291, for its address on Fifth Avenue. There, Steichen’s photographs were featured in an unmatched four solo shows, in 1906, 1908, 1909, and 1910. His work was also seen at major pictorial presentations in this country and internationally throughout the first decade of the century. Making primarily landscapes and portraits during this time, he used a variety of photographic printing processes, like platinum and gum bichromate, as well as Lumière Autochrome plates, which created softly focused, color transparencies.
 
From 1906 to the outbreak of World War I, Steichen resided again in Paris, where he continued to both paint and photograph. From there, he secured the work of such avant-garde artists as Rodin, Henri Matisse, and Paul Cézanne for their first American showings, at 291. During the war, he served in the U.S. Army, helping establish its department of aviation photography.
 
In 1923, shortly after giving up painting with a ritualistic burning of many canvases, Steichen returned to New York. For the next fifteen years, he was the chief photographer for Condé Nast, his pioneering fashion work appearing in the pages of Vogue and Vanity Fair. He also performed advertising work for the J. Walter Thompson Agency and became the world’s most well-compensated professional photographer.
 
Steichen retired from commercial work in 1938, but during World War II directed all U.S. Naval photography. In 1947, he was appointed director of the curatorial department of photography at the Museum of Modern Art, New York. Among the important exhibitions he organized there over the next fifteen years was the Family of Man, perhaps the most widely traveled photography show ever.
 
In 1963, a year after leaving the museum, Steichen was awarded the Presidential Medal of Freedom and issued his autobiography, A Life in Photography. He died ten years later in West Redding Connecticut, on March 25, 1973, two days shy of his ninety-fourth birthday.
 
Christian A. Peterson Pictorial Photography at the Minneapolis Institute of Arts (Christian A. Peterson: Privately printed, 2012)
 
This biography is courtesy and copyright of Christian Peterson and is included here with permission.
 
Date last updated: 1 June 2013.
 
Biography provided by Focal press
 
A pivotal figure in the growth of creative photography in America, Steichen was one of the founders, with Steiglitz, of the Photo-Secession (1902) and The Little Galleries of the Photo-Secession (known as 291) in New York. Introducing the modernist work of Picasso, Matisse, Cezanne, and Rodin to America with debut exhibits at 291, he was also a frequent contributor to Stieglitz' Camera Work magazine. He produced images of rich tonal depth and romantic sensibility; his early pictorialist use of manipulated gum and pigment printing processes were abandoned for a more precise, pragmatic style. His stylized fashion and celebrity images of the 1920s, published frequently in Vanity Fair and Vogue, were notable for their simple, theatrical settings; dramatic lighting and architectonic backdrops; and had an aura of impersonal cosmopolitan elegance. Shaped by his entrepreneurial spirit and his infatuation with celebrity and prestige, Steichen's career flourished as Director of Photography for Condé Nast publications (1923-1938). His career, twice punctuated with army and navy combat photographic service during both world wars, eventually led to the museum world. One of his most celebrated achievements came as Director of the Photography Department, Museum of Modern Art, New York (1947–1962) with his marketing of large themed exhibitions of photography, including the hugely popular The Family of Man (1955).
 
(Author: GW)
 
Michael Peres (Editor-in-Chief), 2007, Focal Encyclopedia of Photography, 4th edition, (Focal Press) [ISBN-10: 0240807405, ISBN-13: 978-0240807409] (Used with permission)
 
Wikipedia
 
Edward Jean Steichen (March 27, 1879 - March 25, 1973) was a Luxembourgish American photographer, painter and curator and a pioneer of fashion photography. His gown images for the magazine Art et Décoration in 1911 were the first modern fashion photographs to be published. From 1923 to 1938, Steichen served as chief photographer for the Condé Nast magazines Vogue and Vanity Fair, while also working for many advertising agencies, including J. Walter Thompson. During these years, Steichen was regarded as the most popular and highest-paid photographer in the world. After the United States' entry into World War II, Steichen was invited by the United States Navy to serve as Director of the Naval Aviation Photographic Unit. In 1944, he directed the war documentary The Fighting Lady, which won the Academy Award for Best Documentary Feature at the 17th Academy Awards. From 1947 to 1961, Steichen served as Director of the Department of Photography at New York's Museum of Modern Art. While there, he curated and assembled exhibits including the touring exhibition The Family of Man, which was seen by nine million people. In 2003, the Family of Man photographic collection was added to UNESCO's Memory of the World Register in recognition of its historical value. In February 2006, a print of Steichen's early pictorialist photograph, The Pond-Moonlight (1904), sold for US$2.9 million-”at the time, the highest price ever paid for a photograph at auction. A print of another photograph of the same style, The Flatiron (1904), became the second most expensive photograph ever on November 8, 2022, when it was sold for $12,000,000, at Christie's New York - well above the original estimate of $2,000,000-$3,000,000.