Edward Jean Steichen (1879--1973) was a photographer, painter, and curator, renowned for his contributions to both artistic and commercial photography, his curatorial work, and his dedication to advancing the medium as a form of artistic expression. Born in Luxembourg, Steichen immigrated to the United States with his family in 1881. In the early 1900s, Steichen became a core member of the Photo-Secession movement, promoting the idea that a photograph could be more than simply a technical reproduction of what was in front of the camera--it could be an artwork in its own right, a subjective vision shaped by the photographer. His photographs from this period were exhibited in prestigious salons, establishing him as a leading figure in the art world.
During World War I, Steichen served in the United States Army Air Service (USAAS), where he played a crucial role in the development of aerial photography for military intelligence. Following his enlistment in July 1917, Steichen served as a deputy to Major James Barnes, the commanding officer of the newly created Photographic Division. Steichen, then 38 years old, brought considerable technical expertise to the job, organizing instruction, obtaining and reviewing technical information, and setting up photographic laboratories at US Army bases in the eastern United States.
When the Photographic Division deployed to France in the autumn of 1917, his duties intensified. His fluency in French and familiarity with French culture greatly facilitated collaboration with the French Air Service. In August 1918, Steichen was appointed to lead the renamed Photographic Section, where he was responsible for organizing, advising, and coordinating various aspects of photographic operations. Steichen's unit was responsible for capturing detailed images of enemy positions, trench systems, and battlefields from high altitudes, which were used to create accurate maps and inform strategic decisions. In contrast to his art photography of the previous decade, his work during the war showcased his ability to adapt photographic techniques to the challenging conditions of aerial reconnaissance, making sharp, clear pictures from vibrating, speeding airplanes.
One of Steichen's notable wartime contributions was his support for the establishment of the Aerial Photography School at the Second Aviation Instruction Center in Tours, France. This institution aimed to provide comprehensive training to new photographic sections arriving from the United States, ensuring they were well-prepared for the challenges of front-line operations. Steichen was also actively involved in the development and deployment of advanced photographic equipment, including the French 50 cm focal length camera and the de Ram Automatic Camera. Promoted to Major in October 1918, Steichen continued to lead the Photographic Section with distinction until the end of the war. His contributions not only advanced the field of aerial photography but also laid the groundwork for future developments in military reconnaissance.
In 1923, Steichen became the chief photographer for Condé Nast publications, including Vogue and Vanity Fair, where he revolutionized fashion photography with his innovative techniques and striking compositions. During World War II, Steichen served as Director of the Naval Aviation Photographic Unit, producing the Academy Award-winning documentary "The Fighting Lady." From 1947 to 1961, Steichen was the Director of the Department of Photography at the Museum of Modern Art (MoMA) in New York. His most notable achievement during this period was curating "The Family of Man" exhibition in 1955, a monumental project that showcased the universality of human experiences through photography. Steichen died in Connecticut at the age of 94.