“My Father’s Photographs Are Not Only Part of the History of Photography, but of History Itself” – An Interview with Peter Stein on the Legacy of Fred Stein

Could you briefly outline your father’s family background and early life, and how these shaped his personal and professional trajectory?

Fred was born in 1909. His father was a rabbi. His father died when Fred was six years old, and his mother became a religion teacher. Fred was always intellectually curious and did very well in school; in fact, he skipped two grades in the gymnasium. His mother felt that it was important for him to appreciate art, so she bought him a subscription granting access to the many museums in Dresden. He frequented the museums, thereby developing a keen appreciation for art and aesthetics. At the same time, he had a very deep awareness of the inequities in the social system and became a Socialist in his teens, joining young socialist political groups. He decided to become a lawyer to help the underprivileged.

In Paris, your father was part of a photographic environment that included Robert Capa and several Hungarian émigré photographers (such as Ylla and André Kertész). Are you aware of any interaction or connection between your father and Capa or other Hungarian photographers?

I have a sense—though not direct knowledge—that the artistic community in Paris was constantly exchanging ideas, as many of them were refugees and deeply involved in the politics of the time. My parents were very politically active, attending rallies and meetings. They spent a great deal of time in discussion at Paris cafés and met many like-minded individuals, including Willy Brandt, who later became Chancellor of Germany. They became good friends. Through his political activities, Fred became friends with Gerda Taro—Robert Capa’s girlfriend. She became a boarder in my parents’ apartment and introduced Capa to them. He asked if he could use their darkroom, and they became close friends. I imagine they shared ideas about photography. Fred was also certainly looking at the popular photo magazines of the day and learning about the techniques and ideas of other photographers.

Your father’s archive has been preserved intact, including negatives, vintage prints, correspondence, and other materials. Could you tell us more about the archive and about your approach to its preservation and stewardship?

I have preserved the entire archive, including negatives, contact sheets, correspondence, old books, magazine articles, and scrapbook materials that Fred and Lilo organized regarding his professional career. My children will continue to preserve it until we find the ideal repository to maintain it long-term. I have scanned many of the most important images, but there are still thousands of photographs preserved only in their original film negatives. Our main concern is that the archive is not forgotten in a corner of a large museum or university, but instead remain accessible to scholars, historians, and especially photography curators who can facilitate future exhibitions. I have always made the archive available to writers, curators, and historians interested in learning more about Fred Stein.