Change of direction of Edward Steichen

When the United States entered the war in 1917, Steichen volunteered for service and was commissioned as a lieutenant in the Signal Corps; soon he was made head of aerial photography for the American Army in France. His experience with the rigorous technical demands of this work changed his view of the medium, and after the war he replaced the rather vaporous symbolism of his earlier Pictorialist style with optical clarity and greater objectivity of description. Steichen spent several years experimenting with realistic effects of light, tone, and shadow; during this period, he famously photographed a white cup and saucer against a black velvet background more than one thousand times, hoping to achieve a perfect rendering of subtle gradations of white, black, and gray.

In a further reaction to what now seemed to him pious Photo-Secessionist attitudes, Steichen threw himself wholeheartedly into commercial photography, establishing a successful commercial studio when he moved to New York City in 1923. He devoted the next 15 years of his life primarily to fashion photography and celebrity portraiture for Condé Nast publications such as Vogue and Vanity Fair and to advertising photography for the J. Walter Thompson agency. Most notably, as part of his work for Condé Nast, Steichen created striking portraits of figures such as Gloria Swanson, Greta Garbo, and Charlie Chaplin that helped to define the era. He closed his very successful studio on January 1, 1938, and spent much of the next four years pursuing his long-time avocation of plant breeding at his home in Connecticut, concentrating on the delphinium in particular.

Curatorial work

One month after the attack on Pearl Harbor in December 1941, the U.S. Navy made Steichen a lieutenant commander in charge of directing a photographic record of the naval war in the Pacific. In 1946 he compiled a selection of these pictures in the book U.S. Navy War Photographs; Pearl Harbor to Tokyo Harbor. During World War II, Steichen also began his association with the Museum of Modern Art in New York City. In 1942 he was guest director of “The Road to Victory,” an exhibition that showed photographs not as independent works of art but as the threads of a tapestry—the subservient parts of a larger whole. The coherence and emotional force of the exhibition was widely admired. Steichen followed this in 1945 with the exhibition “Power in the Pacific.”

In 1947 Steichen was named director of the department of photography at the Museum of Modern Art, a position he would hold until his retirement 15 years later. “The Family of Man,” an exhibition he curated in 1955, was arguably the most important work of art in his long career. The exhibition was based on the concept of human solidarity, and Steichen selected 503 images from countless prints submitted from all over the world. It is said that the exhibition was seen by almost nine million people in 37 countries. Steichen went on to curate many smaller exhibitions at the museum, some of which were the first substantial shows of the work of important younger photographers, thus continuing his role as a tireless advocate of the medium throughout the remaining years of his career. His autobiography, A Life in Photography, was published in 1963.