Published in Vanity Fair, 1927. Between 1926 and 1931, Charles Sheeler worked as a commercial photographer for Condé Nast, creating fashion images and portraits for Vanity Fair and Vogue. This remarkable body of work has never been publicly displayed—until now. Comprising photographs and paintings by Sheeler along with fashions of the era, Charles Sheeler: Fashion, Photography and Sculptural Form evokes the personalities, glamour, and promise of the Jazz Age, and reveals for the first time how Sheeler’s “day job” at Condé Nast shaped his aesthetic vision and artistic career. (https://www.townplanner.com/doylestown/pa/event/arts-and-entertainment-art-museum/charles-sheeler-fashion-photography-and-sculptural-form/20170528/284558/) n 1909, he went to Paris, just when the popularity of Cubism was skyrocketing as he was inspired by works of Cubist artists like Picasso and Braque. Returning to the United States, he realized that he would not be able to make a living with Modernist painting. Instead, he took up commercial photography, focusing particularly on architectural subjects. He was a self-taught photographer, learning his trade on a five dollar Brownie. When starting out, he was dramatically impacted by the death of his close friend named Schamberg who paints great machine paintings that portrays technology in a great light. He became to admire the technology. His first use of technology was photography in order to support himself as a painter, making him self-taught in the medium. His work made him prominent in describing human progress with modern technology iconic. (https://en.wikipedia.org/wiki/Charles_Sheeler)