The young Edward Steichen was already simultaneously pursuing painting and photography when he first met Stieglitz in 1900. Recognizing his talent and the value to pictorial photography of yet another artist-photographer, Stieglitz maintained close contact with Steichen and heralded his success in both painting and photography. Though Steichen had a number of half-tones printed in Camera Notes, only one photogravure by him appeared in the journal. This was his Landscape, one of the three prints that Stieglitz purchased from Steichen when they first met. Also known as The Pool-Evening, this image reflects Steichen’s early interest in the mysterious and lyrical qualities of nature at dusk and dawn. Japanese in its flatly rendered space, Landscape also reveals the influence of the Impressionists’ interest in light for its own sake and Whistler’s nocturnal tonalities. P. 24
Frizot, Michael. New History of Photography. Place of publication not identified: Pajerski, 1999. Print p. 305
Hartmann, Sadakichi. Landscape and Figure Composition. New York: The Baker and Taylor Company, 1910. fig. 51
Homer, William I. Alfred Stieglitz and the American Avant-Guarde. Boston: New York Graphic Society, 1979. no. 13.
Kruse, Margret. Kunstphotographie Um 1900: D. Sammlung Ernst Juhl; Hamburg: Museum für Kunst u. Gewerbe, 1989 pl. 862
Rosenblum, Naomi. A World History of Photography. New York: Abbeville Press, 2008. no. 354 (platinum)