Steichen

Edward Steichen
Self Portrait with Brush and Palette
1902
gum bichromate print
Art Institute of Chicago

Edward Steichen
Midnight, Lake George
1904
gum bichromate over platinum print
Art Institute of Chicago

Edward Steichen
Self Portrait with Camera
1917
platinum print
Art Institute of Chicago

Edward Steichen
Triumph of the Egg
ca. 1921
gelatin silver print
Art Institute of Chicago

Edward Steichen
Miguel Covarrubias
1927
gelatin silver print
Art Institute of Chicago

Edward Steichen
Helen Morgan
1927
gelatin silver print
Art Institute of Chicago

Edward Steichen
Zasu Pitts
1928
gelatin silver print
Art Institute of Chicago

Edward Steichen
Tilly Losch
1930
gelatin silver print
Art Institute of Chicago

Edward Steichen
Rose Hobart
1931
gelatin silver print
Art Institute of Chicago

Edward Steichen
Josef von Sternberg
1931
gelatin silver print
Art Institute of Chicago

Edward Steichen
Lily Pons
ca. 1932
gelatin silver print
Art Institute of Chicago

Edward Steichen
Anna Stein
1932
gelatin silver print
Art Institute of Chicago

Edward Steichen
Lillian Gish in Within the Gates
1934
gelatin silver print
Art Institute of Chicago

Edward Steichen
Katherine Cornell
1934
gelatin silver print
Art Institute of Chicago

Edward Steichen
Dolores del Río
ca. 1934
gelatin silver print
Art Institute of Chicago

Edward Steichen
Elisabeth Bergner
1935
gelatin silver print
Art Institute of Chicago

Edward Steichen
Fashion Shot
1935
gelatin silver print
Art Institute of Chicago

The Porcupine, from De Histrice

Her longer head like a swines snowt doth show;

Bristles like hornes upon her forehead grow.

A fiery heat glows from her flaming eye;

Under her shaggy back the shape doth lye

As 'twere a whelpe: nature all Art hath try'd

In this small beast, so strangely fortified. 

A threatning wood o're all her body stands;

And stiff with Pikes the spectled stalks in bands

Grow to the warre; while under those doth rise

An other troope, girt with alternate dyes

Of severall hue; which while a blacke doth fill

The inward space, ends in a solid quill.

That lessning by degrees, doth in a while,

Take a quick point, and sharpen to a Pile. 

Nor doth her squadrons like the hedghogs stand

Fixt; but shee darts them forth, and at command

Farre off her members aimes; shot through the skie

From her shak'd side the Native Engines flie.

Sometimes retiring, Parthian like, shee'l wound

Her following foe; sometimes intrenching round

In battaile forme, marshalling all her flanks,

Shee'l clash her javelins to affright the ranks

Of her poore enemies: lineing every side

With spears, to which shee is her selfe allied.

– Claudian (AD 370-404), translated by Thomas Randolph (before 1635) 

Gertrude Käsebier

Alvin Langdon Coburn
Portrait of Gertrude Käsebier
ca. 1904
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Mother with Baby in Cradle
ca. 1905
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Mrs R. nursing Baby
ca. 1905
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Mrs. Turner and Two Children
ca. 1900
gum bichromate print
National Museum of American History, Washington DC

Gertrude Käsebier
Mother and Child
ca. 1900
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Girl with Mirror
ca. 1910
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Caroline Caffin
1905
platinum print
Archives of American Art, Washington DC

Gertrude Käsebier
Florentine Boy
1899
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Two Bulls
(Dakota Sioux hired as performer
with Buffalo Bill's Wild West Show)
ca. 1898
platinum print
National Museum of American History,
Washington DC

Gertrude Käsebier
Zitkala-Sa
(Dakota Sioux hired as performer
with Buffalo Bill's Wild West Show)
ca. 1898
platinum print
National Museum of American History,
Washington DC

Gertrude Käsebier
Baron Adolf de Meyer at Newport
ca. 1900
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
F. Holland Day at Newport
1903
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Chester Beach (sculptor)
ca. 1908
platinum print
Archives of American Art, Washington DC

Gertrude Käsebier
George Luks (painter)
ca. 1900
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Joaquin Sorolla y Bastida (painter)
ca. 1911
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
John Sloan (painter)
ca. 1907
platinum print
National Portrait Gallery, Washington DC

Gertrude Käsebier
Self Portrait
ca. 1910
platinum print
National Museum of American History, Washington DC

from Metamorphoses

Ye Elves of hils, brooks, standing lakes and groves,

And ye, that on the sands with printlesse foote

Doe chase the ebbing Neptune, and do flie him

When he comes backe: you demy-Puppets, that

By Moone-shine doe the greene sowre Ringlets make,

Whereof the Ewe not bites: and you, whose pastime

Is to make midnight Mushrumps, that rejoyce

To heare the solemne Curfewe, by whose ayde

(Weake Masters though ye be) I have bedymn'd

The Noone-tide Sun, call'd forthe the mutenous windes,

And twixt the greene Sea, and the azur'd vault

Set roaring warre: To the dread ratling Thunder

Have I given fire, and rifted Joves stowt Oke

With his owne Bolt: The strong bass'd promontorie

Have I made shake, and by the spurs pluckt up

The Pyne, and Cedar.  Graves at my command

Have wak'd their sleepers, op'd, and let 'em forth

By my so potent Art.

– Ovid (43 BC-AD 17), adapted by William Shakespeare (1612)

(Medea's invocation in Ovid becomes Prospero's in The Tempest)

Adolf De Meyer

Adolf De Meyer
Portrait of Gertrude Vanderbilt Whitney
ca. 1913
platinum print
Archives of American Art, Washington DC

Adolf De Meyer
Portrait of Gertrude Vanderbilt Whitney
ca. 1913
platinum print
Archives of American Art, Washington DC

Adolf De Meyer
Portrait of Gertrude Vanderbilt Whitney
ca. 1913
platinum print
Archives of American Art, Washington DC

Adolf De Meyer
Portrait of Gertrude Vanderbilt Whitney
ca. 1913
platinum print
Archives of American Art, Washington DC

Adolf De Meyer
Portrait of Gertrude Vanderbilt Whitney
ca. 1913
platinum print
Archives of American Art, Washington DC

Adolf De Meyer
Portrait of Gertrude Vanderbilt Whitney
ca. 1913
platinum print
Archives of American Art, Washington DC

Adolf De Meyer
Vaslav Nijinsky in the Ballets Russes
production of L'Après-midi d'un Faune
1912
palladium print
Princeton University Art Museum

 

Adolf De Meyer
Vaslav Nijinsky in the Ballets Russes
production of L'Après-midi d'un Faune
1912
palladium print
Princeton University Art Museum

Adolf De Meyer
Vaslav Nijinsky in the Ballets Russes
production of L'Après-midi d'un Faune
Nijinsky-
1912
palladium print
Princeton University Art Museum

Adolf De Meyer
Vaslav Nijinsky in the Ballets Russes
production of L'Après-midi d'un Faune
1912
palladium print
Princeton University Art Museum

Adolf De Meyer
Vaslav Nijinsky in the Ballets Russes
production of L'Après-midi d'un Faune
1912
palladium print
Princeton University Art Museum

Adolf De Meyer
Maenad in the Ballets Russes
production of L'Après-midi d'un Faune
1912
palladium print
Princeton University Art Museum

Adolf De Meyer
Evening Gown
(fashion shot for French Vogue)
1918
gelatin silver print
National Gallery of Australia, Canberra

Adolf De Meyer
Tunic and Skirt
(fashion shot for French Vogue)
1918
gelatin silver print
National Gallery of Australia, Canberra

Clarence H. White
Portrait of Adolf De Meyer
ca. 1911-12
platinum print
Princeton University Art Museum

Clarence H. White
Portrait of Adolf De Meyer
ca. 1912
platinum print
Princeton University Art Museum

from Metamorphoses [Medea continues her invocation]

By charmes I make the calme Seas rough, and make the rough Seas plaine,

And from the bowels of the Earth both stones and trees doe draw.

Whole woods and Forestes I remove: I make the Mountaines shake,

And even the Earth it selfe to grone and fearfully to quake.

I call up dead men from their graves: and thee O lightsome Moone
I darken oft, though beaten brasse abate thy perill soone.

Our Sorcerie dimmes the Morning faire, and darkes the Sun at Noone.

The flaming breath of firie Bulles ye quenched for my sake

And caused their unwieldie neckes the bended yoke to take.

Among the Earthbred brothers you a mortall war did set,

And brought a sleepe the Dragon fell whose eyes were never shet.

By meanes whereof deceiving him that had the golden fleece

In charge to keepe, you sent it thence by Jason into Greece.

Now have I neede of herbes that can by vertue of their juice

To flowring prime of lustie youth old withred age reduce.

I am assurde ye will it graunt. For not in vaine have shone

These twincling starres, ne yet in vaine this Chariot all alone

By draught of Dragons hither comes. With that was fro the Skie

A Chariot softly glaunced downe, and stayed hard thereby.

– Ovid (43 BC-AD 17), translated by Arthur Golding (1567)