and Morocco. Major retrospective exhibition, Philadel-
phia, 1971. Died 31 March 1976, Orgeval, France.Selected Exhibitions
1916 An Exhibition of Photographs of New York and Other
Places by Paul Strand; Gallery of the Photo-Secession;
New York, New York
1917 Three Photographers; Modern Gallery; New York,
New York
1925 Alfred Stieglitz Presents Seven Americans; Anderson
Galleries; New York, New York
1929 Forty New Photographs by Paul Strand; Intimate Gal-
lery; New York, New York
1932 Photographs by Paul Strand, Paintings by Rebecca
Strand; An American Place; New York, New York
1933 Exposicion de la Obra del Artista Norte ́americano, Paul
Strand; Sala de Arte de la Secretariat de Educacion;
Mexico City, Mexico
1945 Photographs 1915–1945 by Paul Strand; Museum of
Modern Art; New York, New York
1967 Photographs by Paul Strand; Worcester Art Museum;
Worcester, Massachusetts
1971 Paul Strand: Photographs 1915–1969; Philadelphia
Museum of Art; Philadelphia, Pennsylvania; traveled to
St. Louis; Boston; New York; Los Angeles; San Francisco
1990 Paul Strand: An American Vision; National Gallery of
Art; Washington, D.C.
1998 Paul Strand circa 1916; Metropolitan Museum of Art;
New York, New York (traveled to the San Francisco
Museum of Modern Art; San Francisco, California)
Selected Works
Wall Street, 1915
Blind, 1916
Chair Abstract, Twin Lakes, Connecticut, 1916
New York, Man Five Points Sq., 1916
Buttress, Ranchos de Taos Church, New Mexicoi, 1932
Cristo with Thorns, Huexotla, from ‘‘Photographs of Mex-
ico,’’ 1933
Young Man, Gondeville, France, 1951
Columbine, Orgeval, 1974Further Reading
Greenough, Sarah. Paul Strand: An American Vision.
Washington, D.C.: National Gallery of Art in associa-
tion with Aperture Foundation, 1990.
Hambourg, Maria Morris.Paul Strand: Circa 1916. New
York: Metropolitan Museum of Art and Harry N.
Abrams, Inc., 1998.
Strand, Paul.Time in New England. Text selected and edited
by Nancy Newhall. New York: Oxford University Press,
1950; revised ed., New York: Aperture, 1980.
———.La France de Profil. Text by Claude Roy. Lau-
sanne: La Guilde du Livre, 1952; revised ed. in English
and French, New York: Aperture, 2001.
———.Un Paese. Text by Cesare Zavattini. Turin: Guilio
Einaudi, 1955; revised ed. in English, New York: Aper-
ture, 1997.
———.Tir a’Mhurain. Text by Basil Davidson. Dresden:
BEB Verlag der Kunst, 1962; London: MacGibbon and
Kee, 1962; New York: Aperture and Grossman, 1968.
———.Living Egypt. Text by James Aldridge. Dresden:
VEB Verlag der Kunst, 1969; London: MacGibbon
and Kee, 1969; New York: Aperture and Horizon
Press, 1969.
Paul Strand: A Retrospective Monograph. Millerton, N.Y.:
Aperture, 1971, 2 vols.
———.Ghana: An African Portrait. Text by Basil David-
son. Millerton, N.Y.: Aperture 1976.
Paul Strand: Sixty Years of Photographs. Profile by Calvin
Tomkins. Millerton, N.Y.: Aperture, 1976.
Paul Strand: The World on My Doorstep, 1950 –1976. Texts
by Catherine Duncan and Ute Eskildsen. New York:
Aperture, n.d. [1994].
Stange, Maren, ed.Paul Strand: Essays on His Life and
Work. New York: Aperture, 1990.STREET PHOTOGRAPHY
In general, the history of urban photography can be
divided into two trends. On the one hand, cities have
been depicted within a topographical approach
favoring the distant gaze and the panoramic view.
In these photographs, all attention is focused on the
buildings and on the relations with their urban or
natural surroundings. No or merely a few people can
be detected in these photographs. In the beginning,
this was undoubtedly the result of technical restric-
tions. However, already early on, aesthetic and artis-
tic motives started to generate a vast production of
empty or deserted urban images: some emulated the
clarity of architectural drawings, others drew atten-
tion on the abstract play of light and volumes, still
others evoked feelings of sublime terror, fear, or
modern alienation.
On the other hand, urban photography contains a
tradition that favors the street-level view. In someSTREET PHOTOGRAPHY