Three Giants of 20th-Century American Photography: Stieglitz, Steichen and Strand

Alfred Stieglitz, Georgia O’Keeffe-Neck (1921)

Edward J. Steichen, The Flatiron (1904)

Edward J. Steichen, The Pond-Moonrise (1904)

Alfred Stieglitz, Georgia O’Keeffe (1918)

Alfred Stieglitz, Georgia O’Keeffe-Hand and Breasts (1919)

Three Giants of 20th-Century American Photography: Stieglitz, Steichen and Strand

Three Giants of 20th-Century American Photography is an exhibition that was presented recently at The Metropolitan Museum of Art, New York. The exhibition featured Alfred Stieglitz, Edward Steichen, and Paul Strand, whose works are among the Metropolitan’s greatest photographic treasures.

Alfred Stieglitz was a photographer of supreme accomplishment, as well as a forceful and influential advocate for photography and modern art.  Selections presented here from the exhibition include portraits, city views and numerous images from his composite portrait of Georgia O’Keeffe.

Stieglitz’s protégé and collaborator Edward Steichen was the most talented exemplar of Photo-Secessionist ideas, with works such as his three large variant prints of The Flatiron and his moonlit photographs purposely rivaling the scale, color and individuality of painting. Paul Strand’s photographs from 1915–1917 treated three principal themes: movement in the city, abstractions, and street portraits. Strands work pioneered a shift from the soft-focus Pictorialist aesthetic to the straight approach and graphic power of the emerging modernism.

Alfred Stieglitz: Pioneer of American Photography

The Art of Photography: Edward J. Steichen

The Life and Times of Paul Strand: Under the Darkcloth

Slide Show: Giants of 20th-Century American Photography/Stieglitz, Steichen, Strand

(Please Click Image to View Slide Show)

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The Old Gray Lady Has Moved: She’s Still a Victorian Dowager

The grand old 18-story Neo-Gothic structure on 43rd Street, home to The New York Times for nearly a century, had many sentimental charms. Its complex warren of reporters’ desks and piles of old, yellowing newspapers were reminiscent of a hallowed tradition, but it also had become increasingly tawdry, down-at-the-heels and conspicuously old-fashioned. The new 52-story Times building between 40th and 41st Streets, designed by the Italian architect Renzo Piano, is a towering modern composition of glass and steel all gussied up in a veil of ceramic rods.

Thirty years ago, Renzo Piano and Richard Rogers designed the Pompidou Center in Paris, which announced a new wave of high-tech architecture and culminated a decade later in Norman Foster’s Hongkong & Shanghai Bank. Since then, Foster has moved away from high-tech, as is displayed in his sleek Hearst Building, just up Eighth Avenue from The New York Times building.

Piano has moved away from high-tech architectural design also, and his 2006 addition to the Morgan Library in New York City characterizes his current low-key approach. However, in the New York Times Building, Piano has returned to his Pompidou Center roots; not exposed pipes and ducts, which were always clearly impractical, but rather with dramatic structural details that boldly proclaim, “This is how I am made.”

Building the Times

Photography by: Annie Leibovitz

Piano’s Times Building: An Architectural Review

The Historic Times Building: Views of the Past

The New York Times: Old and New

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