Fred Holland Day (July 23, 1864 – November 12, 1933) was an American photographer and publisher. He was the first in the United States to advocate that photography should be considered a fine art.
Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License
A wealthy eccentric, Day took up photography in 1887 and began experimenting with the human form, regarding Classical Greece as the ideal. In 1896, he was elected to the Linked Ring, and in 1899, he embarked on his most well known project: a series of 250 negatives depicting the Stations of the Cross, with Day posing as Christ (after having grown his hair for one year, and fasted). Day did not join Alfred Stieglitz in the Photo-Secession group of 1902, suggesting there was a rivalry. He continued his work, photographing scenes from the legend of Orpheus, where one of the models was his protégé, Khalil Gibran. In 1914, his collection of photographs was destroyed in a devastating fire in his Boston home. Day led the rest of his life in a self-imposed exile.
Artist, Publisher, Photographer
F. Holland Day, Fred Holland Day, Frederick Holland Day, F Holland Day
Information from Getty’s Union List of Artist Names ® (ULAN), made available under the ODC Attribution License

If you would like to reproduce an image of a work of art in MoMA's collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at Motion picture film stills or motion picture footage from films in MoMA's Film Collection cannot be licensed by MoMA/Scala. For licensing motion picture film footage it is advised to apply directly to the copyright holders. For access to motion picture film stills please contact the Film Study Center. More information is also available about the film collection and the Circulating Film and Video Library.

If you would like to reproduce text from a MoMA publication or, please email If you would like to publish text from MoMA's archival materials, please fill out this permission form and send to

This record is a work in progress. If you have additional information or spotted an error, please send feedback to