Clement Greenberg reviewed Steichen’s “A Life in Photography.” [1964] and wasn’t impressed… only one photography was worthwhile: the 1921 Dancer’s Hands.
“one wonders at what must have been the lack of a capacity for self-criticism that let Steichen abandon the straightforwardness of these (early) works..”
Clement Greenberg reviewed Steichen’s “A Life in Photography.” [1964] and wasn’t impressed… only one photography was worthwhile: the 1921 Dancer’s Hands. Saying: “..nicely composed … would be artistically inert were it not for what the woman’s arms evoke of attractive femaleness…”
“Photography’s advantage over painting… the enormously greater ease and speed with which it achieves realism. This speed and ease have radically expanded the literary possibilities of pictorial art.”
The windblown “Wind Fire” image is of a student. It strikes me as being one flavor of the terpsichorean image of John Wimberley (a key person in the revival of pyro negatives)
Terpsichorean pose
Sources: https://www.academia.edu/30974476/Footprints_on_stone._An_outline_of_Isadora_Duncan_presence_today http://www.artnet.com/artists/edward-steichen/ https://www.christies.com/lotfinder/Lot/edward-steichen-1879-1973-wind-fire-therese-5972040-details.aspx https://huxleyparlour.com/artists/edward-steichen/ https://isadoraduncan.org/foundation/isadora-duncan/ http://www.isadoraduncanarchive.org/dancer/3/ https://www.theartstory.org/artist/steichen-edward/artworks/ https://theculturetrip.com/north-america/usa/california/articles/ladies-we-love-isadora-duncan/
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