Horst - Sixty Years of Photography (Art eBook)

31111013903123 N^WJ

1 1

l*»

1

1

i^^^^H^^HRi^

i

1

:

rW' *-.

jiV! K-^f,

K"-

^ZZOLI \^^ NEW YORK

HORST Sixty Years of

Photography

MARTIN KAZMAIER

Horst

P.

Horst, the

doyen of

international master

photographers, has helped to shape

all

modern

fashion and portrait photography. Born in

Weissenfels near

Weimar

his sensibility in

response to the major avant-garde

in 1906, Horst

developed

movements of the 1920s - Bauhaus, Neue Sachlichkeit, Art Deco - and to the heady social climate of Paris in the 1930s. Here, the legendary

George Hoyningen-Huene,

Baltic

baron and Vogue

photographer, introduced him to the fashionable

beau monde of and

artists, actors,

couturiers, aristocrats

intellectuals.

Horst succeeded Hoyningen-Huene

at

Vogue in

1935, and quickly became world famous:

extravagant fashion plates, exquisite

for his

still lifes

and

nudes; and especially for his renov/ned portraits of

such luminaries as Gertrude

and Coco Chanel. York

in 1939,

When

Horst

he

Stein, left

Jean Cocteau,

France for

was already amongst

New

the elite

of Vcgwe photographers.

Vogue in

He its

various incarnations

all its

has photographed for sister

publication

its

is /?/s

magazine.

pages, and for those of

House and Garden, from the

1930s right up to the present day. Paris fashion

shows, the palaces and national VIPs,

with that

all

villas

of high society, inter-

jostle in his

magnificent portfolio

commanding

studies of the foreign countries

continue to fascinate him, especially

This superbly produced

monograph

Iran.

brings together

the most outstanding images of Horst's oeuvre; an

achievement that has spanned

With 229

illustrations,

six decades.

39

in color and

161 in duotone

\A

CIVIC

CENTER

3 1111 01390 312:

DATE DUE

\m^zwR

OCT 3

1991

NOV

5 139T

AU6 NOV 12

Q

6

1^0

?i

is(j8

19Srt

ai ,We

«i

>«uu

I

1

? rag

iJ':iu

flgr^/i I5i^ 'f IWAY

,0

FFB122[ m ^^^^ ^i u

i

mf10^2183

5 1995^

FEB

'

m

wU^

m Jtli

3

1

199 ^

FEBU1 SB((

^-im<

Digitized by the Internet Archive in

2010

http://www.archive.org/details/horstsixtyyearsoOOhors

HORST

r"^

Horst, self-portrait, pencil

and

ink,

1942

/f^/:2^

HORST Sixty Years of

Photography

With a text hy Martin Kazmaier Edited hy Richard J. Tardiffand Lotha r Sch inner

With

39 color and 161 duotone plates,

29 black and white

illustrations

"J^ZZOLI X^jNbW YORK

The conceptual and

practical difficulties

encountered

not have been overcome without the help of like to

many

course of such an extensive project could

in the

people.

of

First

all,

of course, the publishers wcjuld

We would

thank Horst for his active and enthusiastic encouragement throughout.

like to

thank

Work and his World and work, and each section

Valentine Lawford for his constructive criticism; his great biography, Horst. His

(New York,

1984), remains an indispensable aid to

of the present

book

is

largely indebted to

untiring help in tracing

any study of Horst's

Richard

it.

Ute Mundt and Anne de Margerie have of this

First

their different

all in

in the

pictures.

Lisa Fonssagrives,

book - they too

published

J.

and assembling the

Diana Edkins, Martin Kazmaier, Mikael Vaisanen,

life

Tardiff deserves special thanks for his

Tina Summerlin, Rainer Wick,

ways contributed

to the

making

receive our thanks.

United States of America

in

1991 by

Rizzoli International Publications, Inc.

300 Park Avenue South, NewYork, Translated from the

New York

10010

German by Karen Williams

© 1991 by Schirmer/Moj el Verlag, Munich This edition © Thames and Hudson Ltd, London and Rizzoli International Publications, Inc., New York

Text copyright

Illustrations:

Courtesy Horst.

©

1991; Courtesy Vogue.

©

1932, 1933, 1936, 1937, 1939, 1940,

1962, 1964, 1965

1942, 1943, 1946, 1947, 1948, 1949, 1950, 1951, 1958, 1961,

(renewed I960, 1961, 1962,

1964, 1965, 1967, 1968, 1970, 1971, 1974, 1975, 1976, 1977, 1978, 1979, 1986, 1989, 1990)

Publications Inc.; Courtesy

House and Garden.

Courtesy French Vogue. ©1971, 1978, 1979,

Conde Nast

S.A.;

©

Courtesy La

Prairie.

©

1985 by La Prairie

ISBN 0-8478-1389-4 Library of Congress Catalog Card

All Rights Reserved.

No

Number 91-2612

part of this publication

be reproduced or transmitted

may

any form or by any

in

means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher

Printed and

by Conde Nast

renewed 1979 by Conde Nast Publications Inc.; 1980, 1981, 1982, 1983, 1985, 1986 by Les Editions 1951;

bound

in

Germany

CONTENTS

Horst

P.

Horst, Photographer

MARTIN KAZMAIER PAGE

7

Plates

PAGE

33

Biography PAGE

273

Marina, Princess of Greece and Denmark, the future

Duchess of Kent,

Paris,

1934

Horst

A woman

in a flowing, liglit-coloured dress.

casually at her waist. laid

of

Horst, Photographer

P.

marble

steps.

The

classic pose.

She stands

light, gratuitous,

in front of

The

Her

right

dress

is

hand

resting

so long that

dark hangings, near a

but nevertheless powerful in

its

effect.

it

on

a balustrade, her left

spills

over the tapestry-

On

the pillar a sparkle

pillar.

Behind, a view into the drawing

room.

Her eyes gaze

she shows no interest

in the

draw no response. She

future

Fashion-conscious

women

The

fair

world around

beautiful

is

Denmark, and the

of elegance.

in

man would admiring

wants

women

mal

who

somewhat

aloof;

Even the gentlemen it.

She

is

without being cold,

in the

drawing room

Marina, Princess of Greece and

P.

Horst photographed her for Vogue.

New

Worids are captivated by such icons

reflection,

in high-

imagining the longing gazes of the

Voguelies. Whilst concealing

itself

behind shel-

be seen.

as goddesses

and with Olympian composure. But others

to

is

never read Vogue- dreams of moving

its

women on whose coffee tables

tering walls, society nevertheless

forties,

and knows

both the Old and

sex - for a

Horst photographs his

her.

Duchess of Kent. Horst

est society; highest society enjoys

fashionable

Madame

wistfully into the distance.

- almost unattainable, somewhat

statuary

in the thirties

and

shared his approach. But his hand remains instantly recognizable:

for-

his

poses are not frozen. There were,

portraits replete with calm, distanced elegance.

'You see what you have done.

become,

You

are a genius', said Diana Vreeland,

in the sixties, editor-in-chief of Vogue.

who was

to

She knew what she wanted. Once again he

Horst posing for George Hoyningen-Huene, Paris, 1930

Horst, Paris,

had created

a

photograph which bore

means fashion and elegance ette,

means shadow.

in

means

It

ease - whether Horst has read

He

his stamp,

black-and-white, a

Kleist's

How

did you

The

do

Be

phy

that,

He

Mr

is

the

that the result

means is

thirties,

a matter of

silhou-

unconscious

He

is

lifestyle

also a master of interiors,

photograph. But

it

is

still lifes,

plant

fashion, black

Horst?

He

is

no naive

artist.

He

is

a craftsman, like

and

photography.

Georges

He goes

where everything has already been prepared. By him, even, the night

No encouraging

it

pose

dislikes discussing the technical side of

lights are in place, the

model.

studio atmosphere,

want from him.

Braque, for example. the studio,

a

his striking signature. Horst

essay on the marionette or not.

photography, advertising and the early white, that people

means

pose so very much

not simply a fashion photographer.

is

even without

photographed by Hoyningen-Huene, 1931

props selected. There

'Baby,

do

it'.

No

when models had

one thousandth of

ple look good.' There

no

before.

dithering. Brief instructions to the

music. Just concentration.

to hold their poses, or the nineties,

when

a second, the goal remains the same: 'To

was no mention of

Long Island and Manhattan.

is

to

the

photogra-

make peo-

word elegance during our conversations

in

Germany

is

far

away, and with

it

the

little

town of Weissenfels-an-der-Saale, where

'Ironmongeiy, Stoves and Ovens' stood over his parents' shop. Solid middle

narrow-minded nor particulady cosmopolitan. A Biedermeier

particularly

Meissen

plates, a

wealthy aunt

Weimar. The

in

city

entranced by a yoimg dancer living with his aimt

wanted

In

of

be an

to

not so

in 'Weimar,

as with the Zeitgeist which manifested itself in her studies:

way

suite,

five

of Schiller and Goethe lay nearby, but

the Bauhaus remained remote, even though he

tic

class, neither

He was

architect.

much

in love

with her

modern German dance, an

artis-

life.

Hamburg he was supposed

something

to learn

wrote to Le Corbusier and received a vague reply.

The master worked

tect's atelier.

was working on

a project to

useful.

He was

far

But his goal was

He

Paris.

from enraptured by the

archi-

Horst shuddered to discover that he

silently at his desk.

demolish the elegant old Marais quarter

in

order to put up

workers' apartment blocks.

Somewhere

in Paris

he met Baron George von Hoyningen-Huene, a

well-known photographer working

Vogue.

for

He

natured, vegetarian, whimsical, a loner. Paris.

Horst

moved

There was

been an

art

also

difficult

went eady

character.

whom

Horst remained in friendly competition throughout his

skiers

condition. In Huene's studio he

and

athletes, too!

grew

He was

into his profession. Horst,

hands before (indeed, no one held cameras

disappeared underneath the black cloth. fact that

editors

were

life.

student until he started modelling hellenistic poses for the Baron.

not particulady

short either; not the build of a bodyguard, perhaps, but extremely

The

something

'artists'

and

Even

'aesthetes', after if

Cecil

in

all.

its

tall,

but not

in

superb

never held a cam-

those days; they stood on tripods), sold his pictures to Vogue.

part here, too. Photographers

He found

He had

The blond

handsome and

who had

He photographed, and

he was young and beautiful played

cerer's apprentice.

in

from Cecil Beaton, the English dandy and society and fashion pho-

German's repertoire included

era in his

good-

Irascible,

to bed, quite

and

into his studio, assisted, posed.

ridicule

tographer with

A

Baltic aristocrat

his

own

and chief

style immediately.

A

sor-

Beaton maintained the opposite. And thus Horst Paul A.

Bohrmann from Saxony became

French photographer. French not

a

French, too, in his choice of subjects.

He

his

learned the language easily. Actress, singer

and society lady Yvonne Printemps, wife of successful popular author Sacha

him

the sake of

photography as cultivated by Nadar and

fashion. French, too, in the tradition of studio atelier.

just for

Guitry, taught

a Parisian accent.

The young publisher Conde Nast had bought Vogue, an American was

ing from the previous century, in 1909. His aim

be the fashionable journal ion magazine. House roof,

from the

clear right

female world.

for the international

society

magazine

start:

Much more

Vogue W2is to

than

Vanity Fair, similarly published under the

and Garden,

hail-

just a fash-

Conde Nast

addressed the same public. After the publication of American and British Vogue,

Vogue Frangaise

which

rich

Vogue

finally

America

illustrated

simultaneously

appeared

in 1921, fashion oracle

and

stared.

women

showed

of society

in fullest regalia; a portrait

fashions

on

sale to

all. It

was

a

if

having lived their entire

lives

simply for

was thus painted which

time-honoured means of display. In

the ancestral portrait galleries of the aristocracy, noble ladies

splendour as

self-portrait of a society at

this

and gentlemen

flaunt their

one moment of sitting or stand-

ing as models. But what had once been signified by richness and rank of dress, family jewels

and other signs of social

for style, as stated via a big

who - like racy were tic

name

feeling

haute couture. The popular society painters

in Parisian

Winterhalter - portrayed courtly ladies and gentlemen with photographic accu-

now

replaced by famous photographers. Such as Edward Steichen,

whose

artis-

compositions could never quite conceal their descent from the easel, and Baron de

Meyer,

who

flattered

be emulated, but Aristocracy, art in fashion

of

was now expressed by fashionableness, by the

position,

some

was

an international society with

to Vb^z/e their style

and fashion were

was soon

in

friends

They remained examples

Nor did he have much

it

to

was

interested

in his studio or, occasionally, in the salon

do with

only with Dali and his muse. Gala.

10

to

appear too 'Edwardian'.

those days closely related. But Horst

only to the point of photographing

society lady.

to

his soft lens.

the group of Surrealists proper.

He met them

at

Coco

He

Chanel's.

'^mSI^Kr "^nijift;,.-

ti^^^-"-

'

a^

',i?'«5"

''^*'^^^^

.!>-»

fcl^lPIf'

!S*L

'^^^fe.:%

i

-i^f5- :.i-iSS»»**^«iBf:^aSP»**^^

Horst and Natasha Paley in an underground

Horst

film.

Mademoiselle was very much great admiration.

(left),

and Hoyningen-Huene

in Cecil

in love

with the blond Horst. For her he

Coco Chanel sought

to shield

him from her

rivals,

felt

only admiration,

from her

Misia Sert and from Schiaparelli, the Italian, as Chanel scornfully called her.

launched Cocteau, financially supported him, created

outfits.

'best friend'

Coco Chanel

Cocteau supplied fashion

designs for Harper's Bazaar. Legendary all-round genius Christian Berard also

amongst

this circle

Cocteau's ideas into a magical Surrealists

the

work of

company he kept -

boy, as Misia Sert put

it

such as La Belle

art,

et la

Bete which transformed

an apotheosis of the black-and-white

loutish genius

- were too offensive

rather reserved, failed to else

for films

film.

The

maintained their distance from the clique surrounding Cocteau. His affected

manner and

one

numbered

of close friends. His drawings in Vbgz/e were unmistakable, as too were

and the decors

his stage sets,

Beaton's

countiy house. Photo: Cecil Beaton, Ashcombe, 1930

Photo: Hoyningen-Huene, Paris, 1932

be

at

home

in

was

neither the

first

Radiguet; Jean Marais, a shop

for the serious artists.

every sphere of

have succeeded? He therefore elected

Horst's Paris

Raymond

art

for only the

And

and society

at

if

Horst, naturally

once, could any-

most elevated of

social circles.

arrondissement, nor the Quartier Latin, nor Mont-

parnasse, nor even Montmartre, but a distinguished residential area, the seventh, not far

from the

Eiffel

Tower and

its

extensive gardens. Not

Bourbon, where Vogue resided.

Horst's Paris: the

11

far, either,

from the Place du

Palais-

Vogue studio on the Champs Elysees,

charming acquaintances whose wealth did not intimidate him. Invitations world was making

terraces. Proust's

one

no

last

time in Vogue's studio. Horst

access.

who

Headed by

looked

down

Elsa

haughtily

on

moved

in circles to

which even

international cafe society.

of the Vicomtesse de Noailles,

dinal.

The Vicomte and

his wife

music, held salons for a small furnishings

adieus, but not without having itself photographed dollar millionaires

whose

circle.

He was

family had produced

took almost no part

Sometimes

a frequent visitor at the

many

and

car-

in society life but, as lovers of art

and

in the beige

a general

drawing room with

by Horst's friend Jean-Michel Frank. They gave intimate

financed Bufiuel's Surrealist masterpiece,

One

artist

and

Un Chien Atidalou.

friend Berard, with Gertrude Stein, collector

day, at the Noailles' house, he

futuris-

its

private concerts

Horst was friends with writer Louise de Vilmorin, with Julien Green and his

through his

had

Maxwell and Hemingway, they were too loud. He had friends

home

tic

its

to chateaux. Cafe

met Count

sister

and,

and patroness of the

arts.

coup defoudre and the

Visconti:

start

of a

turbulent and subsequently lifelong friendship. Janet Planner, Paris correspondent until the

war

for the influential

New

Yorker,

became an important

exhibition in a sophisticated suburban gallery,

friend;

she reviewed a tiny Horst

which ended long before her

appeared, lauding the mastery of his pictorial composition and daringly tracing his earlier

work with wood and

New York began talking

steel.

At

all

about the talented young

Fashion and Surrealism: that meant Dali,

Although Horst does not

movement's

aesthetic.

events,

Man

and whether she was

man from Germany

Ray, Schiaparelli and

right or

for the

many

Surrealist

^hoios per se.

first

back

to

wrong. time.

others besides.

rate as considerable his contribution to Surrealism,

He produced no

it

article

he shared the

He acknowledges an adver-

tisement for Cartier jewelry as one of his few consciously Surrealist compositions. But the

trompe /'od/ which he employed to

sell

the age-old theme of the hat, his compositions of

hands, gloves and roses, the alchemistic glass balls he used to advertise cosmetics - these are

all

Surrealist

works of

art.

Two

shapely

legs, their skin left

even

softer

by

a cream, are

joined by a third, of wax.

A

shimmering wax bath which leaves the lady even

12

lovelier,

even slimmer, evokes the

slightly lier

macabre memory of the anatomical waxworks which toured the fairgrounds of ear-

days. Schiaparelli,

inside a frame, as

if

who

together with Dali created Surrealist fashions, he photc^graphed

in a mirror.

He photographed

a

woman

in

an elegant evening dress by

Madeleine Vionnet. Corals and shells create an underwater atmosphere to which the

woman

in the

aquarium seems

classical

drapery defies

window

displays of

ing perspectives,

And

its

utterly indifferent.

Hermes and

Tiffany. Horst

seldom extreme, alienated

Vreeland's idea. She wanted is

it

on

is

He

folds,

New

sparing even with mirror effects.

is

not conceited.

His studio substitutes for the world. With the

York or

ambience, before a few

a personal

Paris studio.

He was

also

background. Usually, though, he chooses a

light

sole, a screen, or a Gobelin, a Fragonard, a

select dar-

with the long shadow? That was Diana

he creates an atmosphere,

photograph against a

to

no mannerist. Seldom does he

details.

illusionist.

square metres of white screen in some first

is

tall stilts,

He

like that.'

not a magician but an

right props, the right light,

sublime cascade of

her, in a

watery environment. Such compositions anticipated the surreal

the famous picture of the clown

Horst

Above

one of the

chair, a

con-

Goya - as photographic enlargement. He works

with plaster casts of antique statues, with consoles which in truth are merely boards, trans-

formed through elegance.

lighting into fashion accessories.

The modern,

oughly fashionable

He needs no rococo props

for his kind of

functional furniture of his friend Jean-Michel Frank looks thor-

in his studio. Horst traces his ability to

work so

well with such makeshift

scenery to his knowledge of carpentry and architecture.

Edward

Steichen's

famous photograph showed the barefooted dancer Isadora Duncan

before the columns of the Parthenon. Horst photographed a model in the sculptural pleats of an evening the

gown by

same impression of

bolist,

no secretmonger.

Alix.

Two

of paper, to the

left

and

right,

and he had created

antiquity. Despite his ciphers, despite his props, Horst

In

Huene's studio

to live, stood the cast of a horse's

Ancient Greece which both

god on

rolls

his spirited steed.

men

An

home

in Paris, in

head from the Acropolis, loved.

no sym-

which Horst himself was

later

that definitive expression of the

Huene photographed Horst

as the

almost identical horse's head appears in

13

is

blond young

later pictures

by

Horst in the pose of an ancient Greek horseman. Photo: Hoyningen-Huene, Paris, 1932

Did he

Horst.

dom

leafs

inherit

Huene's horse? No, and nor had the

He

through his book of memories.

Tardiff, his friend,

manager, assistant and the

is

parallel

even stmck him. He

sel-

a photographer, not a biographer. Rick

critical

eye supervising even the

first

prints,

is

the person to ask about such things. Horst's studio sets studio.

began with an

Coco Chanel brought her own

screen. She hadn't

been photographed

her favourite dress, having seen

it

old, moth-eaten, velvet

and

chair with her,

later

armchair

is

illusion.

we

madcap motor.

dance?' It is

Her pose and the studio

The Karajans pose,

impossible to

Horst worked here as in the studio.

tell

inimitable pose of sensitivity, as to

sit

for the star

if

as

that the

if

tails,

wanted

to

model

mannequins. In the

and white,

floats in

inimitable.

evening dress

ventilator ensure her weightless

about to dash

off.

In a cabriolet or

photo was actually taken

A later photo of the

York, shows Herbert von Karajan in

wanted

flat

Beneath an ornamental lamp-post. Ginger Rogers

across a simple parquet floor. grace. 'Shall

own

of her

curve of the armchair the master of shadow modelled her face as All

Vogue's Paris

even a carved Pompadour

for years. Indeed, she really only

worn properiy by none

in

maestro, taken

some

in Kitzbiihel, for

at his

request in

New

without orchestra, without audience, yet in an

standing before a worid-class orchestra.

photographer several times.

14

He dragged

statues

Andy Warhol

and

his favourite

Coco Chanel,

Paris,

Jacqueline, Vicomtesse de Ribcs,

1937

New York,

dog along

to the studio with him.

Madame Jacqueline de came

and not

yet the fashion designer,

enough

to seek out Horst's studio, nevertheless.

rests,

on the mantelpiece

lady in her home.

A

to

Manhattan only

An

a pair of classical torsos

picture puzzle. For

when

1953

when

still

the society lady

briefly, for love.

She found time

Ribes,

elegant armchair

from an

on which she barely

interiors shop: the fashionable

Horst had to photograph within an elegant

domestic ambience, he would banish everything intimate through his

became

He

is

no more

interested in alienation effects than bold perspectives.

brilliant ciphers,

A papier-mache

less

so velvet, which

of

all.

is

too

a cast after

has a subtle

pompous

plaster.

He buys

Houdon. His

The big

star. All in

jewellers love the

his casts

He

Who could photograph pearis as

a classicist.

somewhere

loves linen,

He can even photograph

white, with a bouquet of

way he

is

plas-

in the

lighting elevates banality to a

feel for materials.

for him.

He

He can photograph

sets.

Feathers he only really used in the case of Mistinguett,

the classic pose of the revue feathers.

lily,

He

refined range of grey shades.

ficult

and nevertheless only stage

look like marble, and marble to look like

Quartier Latin.

ta,

The home

the studio.

His props are ter to

lighting.

fur,

whom

lilies,

wood,

taffe-

the most dif-

he captured

in

caressed by ostrich

sets off their precious creations so effectively.

Horst does - a silvery shimmer on black-and-white?

15

He

is

a pupil of

A

Vermeer and Chardin. He

is

flea-market in Paris. Single blooms. Even a traditional

tridge

and trophies of the hunt.

He

a magician of colour.

Later, in the

a master of the

is

still life.

of game, with dead par-

still life

age of colour, he photographed porcelain for

advertisements, as well as roses and parrot tulips, as brilliant as in the paintings of the great

Flemish masters. The epoch-making Vogue Book of Houses, Gardens, People, which passed

through

many

editions,

he photographed entirely using natural

the given lighting effects.

became

even fashionable ues

One

a studio.

a

subtly exploited

powerful spotlight. The globe

- the

fact that

have hands. He studied the position of the hands of antique

he consulted

plaster casts,

awkwardness and mannerism are ness, the unnatural

be

also

He

small detail posed a particular problem to stylization

women

in the Louvre,

The morning sun can

light.

rarely

movement, the

and

found

Italian prints,

in his

work.

He

affectation of top models.

with successful

stat-

For

results.

has been spared the arch-

He

a master of sheer ele-

is

gance. Horst's trademark

dramatic lighting. His colleagues used entire batteries of spotlights

is

in trying to imitate him.

Dramatic lighting? But

great painters understood the principle First

the set has to be right. Next

moves around which

the

He

or

open up

the

wants to use

insists

the master. All the

- Caravaggio, Rembrandt, Vermeer.

comes the

lighting.

He

Then

the

model

gets dressed It is

and

the lighting

uses a ceiling spotlight. That lends the photo something

touch of Art Deco. The Vogue people were constantly demanding more

gets dramatic effects with spotlights, as

urally there are

nothing new,

allowing Horst to familiarize himself with her walk.

creates the atmosphere.

constructivist, a

drama.

set,

that's

no

fixed rules.

light, to

light to

He employs shutters

on

a stage.

things, to

usually uses four, but nat-

in front of the spotlights to either

bring out the detail of a dress.

change

He

He

has

little

reduce

interest in flat light.

shape them, by highlighting a

He

profile, a structure, a

detail of a silhouette.

When,

in 1978,

French Vogue invited Horst to photograph the collections, he used

old magic tools, the old wizardry. Rolleiflex.

No one had worked

He succeeded

in obtaining the

with spotlights for years.

16

He used

same

his

effects with a

the old equipment in the

>^ Vogue covers, photographed by Horst, 1936-41

^i

Vogue

and the

studio,

but with a

were

results

more freedom.

little

a

huge

success. Horst

photographed exactly as before,

congratulated Yves Saint Laurent. Immediately

'Fantastic',

everyone was copying Horst; soon no advertisement could do without

spotlights. In Paris

they were sold out.

Horst nevertheless avoids the play on shadow exploited by emulators. ever, the

A shadow

occasionally

falls

on

a bright

mannerism of the long shadow became

silhouettes of scissor-sharp

Horst uses no

filters.

He

dio camera. Later with the sheets, unable to decide

ping. Specks of dust

no camera

more

which was the best

and other

more appreciative of such in first prints.

Two

New

York

the stu-

he wouldn't even indicate crop-

captured on film he

He can be

technical details than he

years ago, in a

worked with

Often he would only supply contact

shot. Usually

domain.

his

the studio screen appeared

At the beginning he

details unwittingly

how-

his imitators,

artistic.

versatile RoUeiflex.

The darkroom was not

retouchers.

fetishist.

On

routine.

of his colleagues and

Among

background.

menace, supposed to be is

many

is

to experienced

pleased that his collectors are

There

himself.

gallery, they

left

were

is

a flourishing trade

fighting over the platino-

types.

What ally

distinguishes a photo

moves

in closer to his

portraits are

by Horst

P.

Horst from that of a colleague? Cecil Beaton usu-

model; his photos appear

taken against neutral backgrounds.

fuller,

some

He developed

as

his

if

framed.

own

Many

of his

visual language for

the pictures of the British royal family: luxury furnishings, hangings and the lush vegetation

of paintings by Fragonard. Clarence Sinclair Bull produced portraits of the stars for

which were both magical and, antly different

at

the

same

time, simple. His light

from other studio photographers. In Horst

employed more than

a

Such as Blumenfeld,

P.

dozen well-known photographers and every

who

And

sweeter.

Horst's era. stylistic

He

is

pleas-

Vogue alone extreme.

loved breathtaking action: Lisa Fonssagrives, Horst's favourite

model, dances above the rooftops of Paris amongst the dizzying Tower.

is

MGM

steel struts of the Eiffel

the other Vogue photographers who, like Horst, copied or were supposed to

copy Edward Steichen's

style.

Nevertheless, Horst

18

is

quite different, at least in his portraits

and fashion photography.

It is

not simply his famous

He

light.

also maintains a certain dis-

tance from the camera, a distance which, together with his lighting, ters.

is

The

differences

recognizable

the eye behind

at a

it

is

between Horst and

Of course,

glance.

the lens of a camera

beneath, the reality which

it

represents.

attempts to fathom the relation between

many

portrait

is

even without

yet Horst

Photography

photos

it

Horst's artist

it

and

Why

can be sensed which of the model's

to capture. But Horst gives

little

away.

He

Horst

and prox-

surface, wrote

intuitively recognizes

photography

and model.

is

P.

fil-

whether

impartial, objective,

cynical, bitter-sweet or ice-cold. But lighting, angle, distance

Susan Sontag. The viewer studies

essayist

And

his colleagues are minimal.

imity express the photographer's attitude nevertheless.

American

flatters

what

lies

is

pure surface. The viewer

is

the

traits

Mona

Lisa smiling? In

the photographer wished

He

permits his models no excessive coquetry.

photographs unmoved; he makes no comment. Neither photographic nor autobiographic.

How

Explanations are hard to extract from him.

showroom? She chair

may

In the

lie

is

together.

called in

It

disguised, as always, as an ordinary

the shopping bag in

background

was

did Gertrude Stein end

a

mannequin,

1946,

which she

will pick

artist friends.

and Balmain had

No

'invited'

woman;

up

in the

Balmain

but beneath her small

a small Picasso

gilt

on the way home.

what had brought them

indication of

all

Gertrude Stein to his country house. She

on him now and again out of gratitude.

He photographed

the ageing Louise Brooks, once Hollywood's Lulu, the

bob. She had been reduced to utter poverty, had only two cups

no

up

charges.

He

society lioness,

leaves the verdict to the viewer.

bol. Grief

on the

photograph

is

He photographed

once queen of international Venetian

front of a magnificent Veronese.

surface,

all

The

picture speaks for

the deeper.

A

rose

left.

is

society, itself.

a rose

is

with the

But Horst formulates

Misia Sert, the Parisian

now

No

vamp

sad and emaciated in

funerary gondola, no sym-

a rose, said Gertrude Stein.

A

surface.

Horst photographs the pose.

'Sit

down'.

For the person in front of his camera,

it

He is

issues instructions, leaves nothing to chance.

clear: this

is

Toscanini was the atmosphere so turbulent, so allegro con

19

moment

of truth. Only with

spirito, that

he was able to pho-

the

Arturo Toscanini,

Misia Sert in the Galleria

New

Tamara Toumanova,

Yortc, 1941

Monte

deirAccademia, Venice, 1947

at

the age of 15,

Carlo, 1931

tograph the maestro twelve times without him noticing. Quite the opposite with Maria Callas. In the

New York

played animal

trainer.

apartment you could cut the

He was

air

with a knife. For one instant Horst

delighted to get out in one piece.

The photograph was not

published.

His

snapshot:

first

Monte

Cario, 1931.

Diaghilev's ballet

company was

was

steps.

sitting

on the

thing under control.

He

training.

clicked.

The Casino

also

Tamara Toumanova, the

Such spontaneity was

The shadow of the

housed the rooms

rare.

He

beautiful

baby

who

huge gala

balls

either.

after.

hand on

modern

shoot metres of film in order to select the best shots

were no snapshots,

ballerina,

ridge of a nose, the sparkle of an eye, the

never took photographs during a fashion show - only ever before or the

which

preferred to have every-

the back of the chair. Even his snapshots are controlled, far from the style of

ion photographers,

in

fash-

Horst

later.

His pictures of

The Dominos and Dubarrys had

to

come

to

his studio.

There

is,

however, one very distinctive type of Horst snapshot. The props and the

ing are ready.

The model poses.

right at the end,

Several well-planned photographs are taken. But then,

something unpredictable happens. In the case of Martha Graham,

he photographed

in 1990,

it

light-

was when

whom

the dancers waiting for their class stormed into the

20

ballet

room. The sudden creation of a photo

who

with Dick Cavett,

been

full

of

Or he

life.

clicks out of impatience, as

kept him waiting too long after a show. The result could not have

bettered.

Groups he photographs almost ion photography. His

women

known New York model

They have no place

solely for advertisements.

are solitary

and proud.

in his fash-

In 1971, for the catalogue of a well-

agency, he assembled the actress Silvana Mangano, the French

writer Fran^^ois-Marie Banier

and the black pop singer

Sterling

Jacques

St.

in front

of the stu-

dio camera. 'Mangano looks out of the corner of her eye, her face partially shaded, her

mouth sensuous. Young

Banier, thin-lipped

then the handsome singer with

As

in Paris,

so later in

one. Aristocrats, to

mention the

artists,

full lips.

New York:

Horst

and narrow-eyed, looks

That's

how

is

knew everyone. But he

beauties, the Vanderbilts

actors, singers

the tension

and other

-

celebrities

all

And

developed.'

did not photograph every-

crowded

in front of his

who, following

Lehmann

York, had to be photographed for Vogue. Such as Lotte

at her, in profile.

camera. Not

triumphs

their

in

New

as the Marschallin at the

Met.

someone who

Horst was not Horst

is

not the

hobby, and he York. In his

man

just

took people's pictures. His studio had to be sought out.

with the camera recording social events. Photography

certainly not a photographic reporter like

is

home

in

Long Island there may not even be

a

is

not even his

Weegee, the Austrian

camera

to

in

New

be found.

For a long time Horst had a beautiful studio, taken over from a painter friend, in a 'tower

he was

block'. Here, too,

at

the very top. But then, after several years, he

apartment because he was using

for

it

Unusually, he photographed his friend his city

commercial purposes. He

Truman Capote

in the latter's

sitting, in typically

table.

now

to leave the

rents a studio.

own home.

There, in

apartment on the East River, near the United Nations, the famous picture with the

snake was taken. Capote was the most photographed author of

friends

had

and other

They were

American trophies.

all

style,

his generation. At

another

he wanted to be photographed with the presents of rich

He had

arranged his favourite photos,

by Richard Avedon. Capote was never

21

lost for a

in silver frames,

mean

trick.

on

a

Horst was discreet.

He even

let

a

Garbo

not wish to be photographed in private.

go

portrait

On

by. Garbo, as

this particular

was

well

known, did

day he was photographing

he pho-

guests, including Edith Sitwell, the eccentric with the face like thunder. But

tographed around Greta Garbo; a large are only seen from a distance,

hat, a

vague

profile

and

a

his

somewhat pointed nose

under the pergola. In 1950, the future Jackie Kennedy was

Vbgi^e debutante of the year. Being not only beautiful but also very ambitious, she took part in

Vogue's 'Prix de

won - and Vogue

that

Paris', a

from well over a thousand

New

for a year in

stepfather's wish; she

The

a Parisienne.

writing competition for

first

York and

knew and

Paris.

loved

It

women

entrants.

college students. Naturally, she

The winner was

was an opportunity Jackie had

Paris,

and he

didn't

P.

work

for

to forgo, at her

want her becoming too much of

honour awarded the winner, however, was

be photographed by Horst

invited to

New

a flight to

York, to

Horst for Vogue.

Horst was captivated by her girlish beauty, admired her and photographed her, together with her sister, for a sweater advert.

Horst photographed 'White House.

Mr

Horst,

He was

who

all

the First Ladies of the post-war period. At the invitation of the

friends with President

Truman. He knew him from

did you not enjoy photographing?

dio - in a 'Look out, here

I

Madene

his

army

She came to

Dietrich.

come' manner - and demanded the special

lighting

way he wanted. He

is

a hypnotist. Barely

his stu-

which Josef

von Sternberg had discovered and which highlighted her cheek bones - her old Horst photographed the

days.

But

trick.

were the contacts ready

than she ordered dozens of prints. For he had succeeded in rendering her face young and

unwrinkled, with a flattering nose. The

light

came from below. For Horst

the matter

was

thereby closed.

Duran Duran, the English pop group, wanted sat,

with blow-dried haircuts. 'One of

played with. Then

Tom

my

to

sit

be told anything

Wolfe, author of Bonfire of the Vanities. Vanity

different.

And

there they

most boring photographs'. They refused

the studio dressed as a provincial playboy in a white suit to

for a record cover.

and believed

Horst found his mannerisms

22

irritating.

it

itself.

He came

elegant.

But

it

to

be to

He refused

had

to be, for

Greta Garbo

(right). Sir

Mab Wilson on

Osbert Sitwell and

the

terrace of Horst's house, 19^9

Vogue.

He made an

colleague. Warhol

bedroom

entire series of Warhol,

was too commercial

who wanted

for Horst.

to

be ennobled by

his

acclaimed

But Warhol would have brought even his

into the studio in order to collect himself in photographs.

Mapplethorpe,

who

learned so

Sam

of wealthy photo collector

much from Wagstaff.

Horst,

was another

He bought

first

He was

story.

the friend

Horst photographed

prints.

Mapplethorpe and Mapplethorpe photographed Horst. Out of politeness. Mapplethorpe

was too much

at

home

in the

New

York

delivered in German, with a wink, respectable'.

As they used

times, officially. in

Long

mature

Island. actress.

is

'scene' for Horst's liking; Horst

The young Jane Fonda was not

A

yet an actress

to

Bette Davis several

when he photographed

her

snapshot of the young Bergman, and an armchair pose for Vogue of the

He

remains friends with Katharine Hepburn even today.

Film held no attraction for him. In Paris he found

ences

He photographed

Horst's motto,

- 'Always remain

'hiimer anstandig bleiben'

to say in Weissenfels.

P.

who trooped

to the

movies

be photographed as a film

in their

Sunday

star.

23

'le

cinema'

silly,

and

best. In the studio,

sillier still

every

the audi-

woman wanted

Quite different, then, his friend Hoyningen-Huene, who, after a Hollywood for Horst's

camera

The Baron

later

in the guise of a tycoon,

went over

films

a

monocle

from the days

when the

They never came

Then Charles Negre, the

art.

or with a corset.

Man Ray

motif. Fashion designer Paris

was no

was

one did

The

It

I

took up the theme:

Moschino painted

photo

was

to

whom

be the

last

it.

It

woman

against

did the subject escape?

The

as violin. Salvador Dali loved the

a large question

mark on

is

model's back.

his tails

and top

and bodices. Chanel condemned the 'I

had never photographed

more complex than you

think.

It

hat, there

corset, but

a corset before.

It

looks as though there I

don't

it

wasn't is

only

know how

I

was created by emotion.'

photograph Horst took

which the model leans forward, the elegant side of her beautiful back

Bather in

nude from behind

But there were reflectors and extra spotlights as well.

couldn't repeat

they had,

century were happy to be photographed from behind, naked

into fashion before the war.

light in the

if

corset. Ingres'

the city of lingerie, of the corset. For the houlevardier in

light source.

it.

-

Even

was

The nude seen from behind has

subtle artist-photographer: a

eroticism without button-boots

came back easy.

last

as Diefreudlose Gasse

his course.

With or without a

a drapery screen, 1842. Degas, the Impressionists

'queens of hearts' of the

Irving Thalberg.

George Cukor.

to Weissenfels.

of his most famous photos; the Mainbocher corset.

always been a prominent theme of French

posed

screen had elemental power, and thus he

he wouldn't have gone. Nothing would divert him from

the Louvre.

MGM's

German film masterpieces such

unfamiliar with their dramatic lighting.

One

like

entirely to film, as colour consultant to

Horst was unfamiliar with the early

and Metropolis,

wearing

visit,

in Paris

before the war. The intimacy with

hairstyle, the light

- the Mainbocher corset

is

which

highlights the dark

charged with sadness and restrained

eroticism. 'I

worked

until four in the

morning, packed

boarded the Normandie. She sank two days Adieu, la France. Unexpectedly,

He

integrated himself quickly

it

was

as

my

after

if

bags, took the seven o'clock train

reaching

and

New York.'

American Vogue had been waiting

for him.

and soon had the best connections. For instead of being

24

Robert Mapplethorpe's portrait of Horst,

deported to Germany, he became an American

was allowed countesses,

maple

to

do

in the

He photographed

York, 1986

soldier, rapidly

gained the higher ranks and

army what he did otherwise: take photographs. Admittedly no

couture. During this period he

no haute

leaf in a glass.

New

began photographing plant

life.

A

Washington 1942. other leaves, plants, barks, crystals: Patterns from Nature, 1944. At

the end, kaleidoscopic reflections of ornamental leaves, photographs in simple repetition,

giving a - very American - patchwork-quilt effect. 'They are intended to serve as inspiration for textiles, carpets, ceramics.'

He knew

Blossfeldt's

Modern design with modern means.

eady plant photography. At

was nevertheless allowed, by way of exception,

He won

the

war

as an

Then Conde Nast

time he 'belonged' to Vogue, but

to publish his

book.

He was

a

poor

soldier.

artist.

again.

Vogue wanted

star

of the question. Independent photographers?

photography; the

this

photographers. But star behaviour was out

The

editors

man who had to creep under the black

25

felt

they were the true

cloth was, in their eyes,

artists

little

of

more

than an

assistant.

You had

to turn a fashion

magazine inside out

to find the

photographer. Which wasn't always printed anyway. Not so with Horst outfit

by

his friend Chanel,

you can

tell

instantly

who

it's

P.

name

Horst.

of the

As with an

by.

Following the Allied victory, Conde Nast believed his magazines could play an even greater role in propagating American fashion

and the American way of

life.

Girls

who were

young, beautiful, happy, spontaneous. At the same time, however, a dreadful prudishness prevailed.

The

girl in

the itsy-bitsy bikini

photographs were to be

attractive

knew why she

hardly dared leave the locker room:

without being suggestive.

A thousand compromises:

bathing fashions, but mannequins with towels over their heads, like mummies. Horst was friendly tion,

and

now

forced to photograph through keyholes, a voyeur. Pictures were to look

direct, like snapshots.

But such photographs required even greater prepara-

even more concentration, from the model as well as the photographer. Colour, mean-

while,

had

come

also

into play.

The covers of American Vogue show

Horst did not always succeed in squaring the

tographed

in the street, as

rooms

his disposal, with

by Richard Avedon for

Models were

circle.

for

that

now

even Horst

also to

French Vogue. Avedon even had

P.

be phoa

bus

mannequins, make-up and clothes. Horst photographed

at

in

front of Philip Johnson's daring glass architecture

on Broadway. His mannequin poses on

a terrace, floats, absolved of

The skyscraper

Does Horst

P.

all

banality, purified.

Horst value naturalness? His photos are mainly

as gigantic studio prop. stills,

but quite different

from those of Hollywood. There they are loud, colourful, often featuring monstrous props. In Horst's work, the quiet elegance of the connoisseur prevails.

once

said, live as stills in the

The

stars, as

Louise Brooks

imagination of their public.

Garbo, gazing mysteriously into the camera. Captured poses, divine images of the cine-

ma. Horst's photographs have an composition

is

more important than

commands. The star. 'I'm

in

to

naturalness.

the smile

on the

shadow

smiles.

silhouette smiles, the

supposed

common

artificial

He lips.

has a certain nonchalance. The 'Say "cheese"'

is

'How do you want my

be photographing you, not your

hair.'

not one of his hair?'

asks the

His Vb^w^ photos had nothing

with the grotesque, doll-like publicity shots which Hollywood required.

26

Horst

you are one of the most famous fashion photographers, 't/m

Horst,

P.

Himnielsirillcnf' (Tor heaven's sake!')

Tyrolese accent. Fashion particular evening

gown

is

he

says, in a mixture of

not his world.

He can

American and drawing-room

often barely

still

who

recall

or flimsy day dress. Here, in particular, the law of

saw himself

the day. In the beginning, in Paris, he

as a society portraitist.

He

professional models. Here, too, he sought personalities.

is

designed a

demand mled

Then came

the

not cynical, and he remem-

bers almost every mannequin.

Tenn's

Lisa Fonssagrives,

Her body was

wife'.

She had married

movements

beautiful, her

perfect, for

his respected colleague, Irving

she was a dancer.

He took

of nudes which were not published - and certainly not in Vogue. Horst thete. In Paris at

the time,

mous

he discovered Ludmilla,

and whose mouth Vogue

his Lud,

initially

who was

living in a

is

a

Penn.

number

an extreme aes-

houseboat on the Seine

found too Slavonic. After becoming an enor-

success she ran off with a lion-tamer.

He worked

with Suzy Parker, the vivacious model, in Kitzbehel and elsewhere, includ-

ing for advertising. Sweet Suzy vivacity she

in front of his

He wanted

Vogue.

a

offered her services,

new

face.

on one

not,

She

later

he

feels,

who

not the sort

is

He was

But he discovered her.

for him.

camera would

Then came Vemschka. Horst

screen. thing.

showed

was too unruly

became

a film actress; the

have harmed her on the

claims to have discovered every-

looking for someone to model bathing fashions in

He met

the

condition: she

young countess had

to

born. Diana Vreeland, Veruschka, Horst: a winning

in society,

spoke

to her.

She

be named. And thus a top model was trio. All

of his

girls

are

more

to

him than

mere clothes hangers.

From

his city office,

high up in an elegant tower - the 'Royale', with three

he looks out over the beautiful roofscape of the Upper East a street of magnificent plane trees. Star florist

ever lived right

way to

at

He

also has

Below, the view drops to

rooms

the top or right at the bottom, half in the garden,

flower beds.

people.

Renny

Side.

thereby

Or with only lets slip

the heavens

above him. Never

an unintentional clue to

27

doormen -

where the

in the

his character.

here. Horst has only

middle,

curtains give

among

other

Horst and Suzy Parker on the

way

to Badgastein.

Photo: Valentine Lawford, Salzburg, 1952

He earned

well. Shortly after the

Island, part of the park jeweller. For this

war he was able

to

buy

a

huge

accompanying the - by then run-down - residence of

he had to part with dearly loved works of

art

from

example. Costly presents from Coco Chanel he kept. His eclectic tinctive character.

designs,

is

struction

to

walk

he had supervised

his

Paris

-

Picasso, for

a

taste lends

an accent

for

much

in

Tunisia

Here Garbo once

river.

sat.

Over

there,

dis-

its

his

own

whose con-

Hoyningen-Huene. The house with the pergola

in the park.

bulldog along the

model was the house

Long

Tiffany, the

The wooden bungalow, white and Mediterranean, based on

small and not built for eternity. His

accurately,

plot of land in

is,

more

Tamian Capote used

Christopher Isherwood and Erich Maria Remarque have

both been here. Over here Christian Dior froze

in his

long cowled coat. There Edith and

Osbert Sitwell sat and were even photographed. Salvador Dali suggested surrealist plantations in the

was not

two streams where

classical

enough

classic

green vegetation

for Cecil Beaton.

Even

so,

it

now

floats.

has a main

further away, before the line of trees, stands a large marble urn

Horst feels

at

home

in

Long

Lsland's social sphere.Yet

The newly planted park axis,

full

he takes

not too geometric;

of geraniums.

little

part in society

life.

His literary and personal association with English diplomat Valentine Lawford dates back

over almost half a century. They have written books, conceived

28

articles

and undertaken

Horst's Picasso in his

New

York apartment; vase and lamp

Horst's house

long

Andy Warhol had

trips.

type of family.

He

is

his factory, in

He

move

surrounded by

in the highest circles

friends.

shirt

is

good

trace of

at

He

you need

to

Once

be as noble-minded as he

at

your

and the famous Saxon

it.

wit.

own

American colours

He

is

you

is if

side.

now

in Paris,

drinks whisky in moderate quantities.

concealing

Horst has his

not act the brave hero, defiantly ignor-

without a sham wife

A

terror.

in

New

his English.

with mother-of-pearl buttons. His trademarks include a

sary a bow-tie.

he

He may

has always been well-liked in society.

American through and through. duroy

Oyster Bay, Long Island - view trom the

which he spread holy

ing American puritanism. But in this society are to

at

terrace into the park, 1990.

designed by Diego Giacometti, 1939

He

York.

He wears

cowboy

scarf,

if

is

a cor-

neces-

not really an intellectual.

Or

Another sign of a true gentleman. He has a great deal of charm

Now

and again

a playful wink,

something he never allows

his

camera. Horst's

photography has been

have made a change.

buy

a

farmhouse

tied to the studio.

A naked boy even more

in Austria.

Then,

in 1962,

him from the yoke of fashion. He was able His point of pride.

No

the commentaries.

Rooms were

artificial light.

to

No

A naked

so. At

one

on

gid

time,

a

beach would

he wanted to give up and

Diana Vreeland appeared to travel,

at least

photograph

at

interiors

Vogue. She freed

and

rich people.

assistant other than Valentine Lawford,

who wrote

be photographed from the intimate viewpoint of

29

their

inhabitants.

He had

He showed

avoided symmetrical alignments, included favourite

details,

nothing against a

disorder

little

at times: a

cushions plumped to less than regimental

ken of the

acceptability of

'a little

the

theme of 'Wine

Roman

in Art'.

in his Paris

years he had spo-

was American. He

He photographed

away?

it

his boldly

nequins on the roof of his Florentine palazzo. wife, Pauline,

Even back

fresh,

mess' - a dirty ashtray, for example. Although I've never

He photographed the home of Emilio Pucci,

whose second

bouquet of flowers no longer quite

stiffness.

Or did Vogue's retouchers magic

yet found one.

chairs.

He

coloured prints modelled by man-

visited

Baron Philippe de Rothschild,

couldn't admire her enough. She devised

the American painter

Cy Twombly

palazzo - entirely spontaneous images of an unconventional

aimmaging through

relaxed scenes, too: a young lord

lifestyle.

in his

old

There are

one of the rooms

the bric-a-brac in

of his newly inherited property.

These, then, were the best years

worked almost

exclusively for

at

Vogue. After the departure of Diana Vreeland he

House and Garden.

of a magazine like Vogue, not everything

Horst

is

it,

New

York he manages

He

occasionally

to

still

works

still lifes,

in Paris, too. In

Stephanie of Monaco; he works a rally subject to the

ognizable.

its

that,

behind the scenes

glossy cover suggests. true Prussian

on

that score.

be absolutely punctual. No one knows all

how he

the same. Suddenly he's there, out of

enjoys the scope of his professional activities more than ever. Advertising, with

and without fashion. Flowers and

He

as civilized as

but he gets from Long Island to his studio

the blue.

would seem

one of the best-organized people I have ever met - a

In the tumult of

does

is

It

And

lot

for private clients

1990 he flew Concorde to photograph Princess

with Paloma Picasso. Fashion photography

ups and downs of fashion

that's

Horst

P.

Horst.

and porcelain manufacturers.

He

is

itself.

But class and

a genius.

with a playful wink.

30

style are

still

is

natu-

instantly rec-

'Um Himmelswillen!\ he would

say,

Horst in his studio,

New York,

Photo: Johann D. Mayr

1984/85

1

Still life,

Paris,

1933

2

Coco Chanel,

Paris,

1937

Paris, 1934 3 Mistinguett,

4 Louise de Vilmorin, Paris, 1937

E^ 5

m

Mme Jean

Lariviere posing as a figure

from a Goya painting,

Paris,

1935

6 Baron Nicolas de Gunzburg, Paris, 1934

7 Mrs Reginald Fellowes, dressed for an oriental

ball, Paris,

1935

8 The Mainbocher corset,

Paris,

1939

9 Fashion shot,

New York,

1937

10 Lisa Fonssagrives,

New York,

1939

11

Marie-Laure, Vicomtesse de Noailles, Paris, 1935

12 Joan Crawford,

New

York, 1938

13

'I

love you'

-

Lisa Fonssagrives with hat

by Balenciaga and gloves by Boucheron,

Paris,

1938

14 'White Sleeve', fashion shot with Doris Zelensky, Paris, 1936

Bacchanale, Paris, 1939 15 Costume designs by Salvador Dali for his ballet

16 Helen Bennett, fashion shot, Paris, 1936

> 17 Helen Bennett, fashion shot, Paris, 1938

18 Elsa Schiaparelli, Paris, 1934

19 Advertisement for Bergdorf

Goodman, New York, 1935

20 Marina, Princess of Greece and Denmark, the future Duchess of Kent,

Paris,

1934

1

21

Evening

gown by

Mix,

Paris,

1938

22 Bette Davis,

New

York, 1938/39

23 Ginger Rogers,

New York,

1935

24 Luchino Visconti, Paris, 1936

25 Christian Berard working on a screen for Edward Molyneux

(left), Paris,

1933

26 George Hoyningen-Huene,

Paris,

1934

27 Fashion shot,

Paris,

1936

28 ^Waxed Beauty', advertisement,

New York,

1938

29 Barbara Hutton,

New

York, 1939

30 Nude,

New

York, 1939

31

Cover

for Vogue, Paris, 1938/39

32 Nude,

New

York, 1940

33

Trompe

Voeii,

still life

with hat,

Paris,

1938

34 Janet Planner and Noel Murphy, Orgeval, France, 1933

35 Janet Planner, Paris, 1931

36 Fashion shot, London, 1936

37 Noel Coward,

Paris,

1934

38 Cole Porter,

Paris,

1934

39 Katharine Hepburn, Hollywood, 1935

40 Henri Cartier-Bresson, Delphi, 1938/39

41

Christian Berard (left)

and George Hoyningen-Huene, Monte

Carlo, 1932

42

Still life,

New York,

1937

43 Estrella Boissevain, fashion shot,

New York,

1938

44

'Electric Beauty', Paris,

1939

'

45 Clay sculpture, Acoma,

t

\

New Mexico,

1947/48

46 Gala

Dali,

New

York, 1943

47 Salvador Dali,

New York,

1943

48 Muriel Maxwell,

New York,

1940

49 'Hands',

New York,

1941

^

50 Surrealist

still life,

advertisement,

New

York, 1941

51 Lisa Fonssagrives with turban,

New

York, 1940

52 Lisa Fonssagrives' hands,

New York,

1941

53

'Odalisque',

New

York, 1943

54 Merle Oberon,

New York,

1942

55 Myrna Loy,

New York,

1942

56 Veronica Lake,

New York,

1941

57 Gloves,

New

York, 1947

58 Lisa Fonssagrives, cover of Vogue,

1

September 1940

59 Loretta Young,

New

York, 1941

60 Marlene Dietrich,

New

York, 1942

61 Evening

gown by

Schiaparelli,

New

York, 1940

62

Still life,

New

York, 1944

63 Gene Tierney,

New

York, 1940

64 'Richardia Africana', plant

still life,

New

York, 1945

65 Torso by Mestrovic

,

Metropolitan

Museum, New York, 1947

66 Paulette Goddard,

New

York, 1942

67 Fashion shot,

New

York, 1947

68 Fashion shot,

New York,

1942

69 Lingerie by Dorian Leigh,

New

York, 1946

70 Alicia Markova,

New

York, 1941

71

Mme Maxime de

la

Falaise, fashion shot, Paris,

1949

72 Cecil

Chapman and Adele Simpson,

fashion shot,

New

York, 1948

73 Black bodice, fashion shot,

New

York, 1948

%,^imn'

j'.'a^^

msstr^ssmn

74 Maria Laudomia Hercolani-Del Drago, fashion shot,

New

York, 1948

75 The Duchess of Windsor, Waldorf Astoria Hotel,

New York,

1943

76 Harry

S.

Truman, Washington, 1945

77 Edith

Sitwell,

New

York, 1948

78 Fragment of a Persian sculpture, Persepolis,

Iran,

1949

79 'Barefooted Beauty', advertisement,

New

York, 1941

Advertisement with Carmen,

New York,

1946

81 Gertrude Stein, Paris, 1946

82 Carl Erickson drawing Gertrude Stein and Horst,

Paris,

1946

83 Gertrude Stein

at a

Balmain fashion show;

and Cad Erickson,

in the Paris,

background, Rosamond Bernier 1946

84 Valentine Lawford, England, 1948

85

Still life,

New York,

1946

86 Jose Clemente Orozco, Mexico

City,

1941

87 'Food to aid Europe',

New

York, 1947

88 Salvador

Dali,

New

York, 1948/49

89 Richard Tyler,

New York,

1946

90 Yul Bainner,

New York,

1949

Meredith, 91 Burgess

New

York, 1946

92 Jessica Tandy,

New

York, 1946

r^L^iS^'^'iiifJii}^. .:

r^

93 Diamante Boschetti,

Villa

Barbaro, Maser/Treviso, 1947

94 Marlene Dietrich and her daughter Maria Riva,

New

York, 1947

95 Jean Cocteau, Venice, 1947

96 Jean Marais, Venice, 1947

J

97 Bronze statue of Maria of Burgundy

at

the

tomb of Maximilian, Imperial church,

Innsbmck, 1951/2

98 Shepherd boy,

Iran,

1949

99

Dome complex

in the living quarters

of the Ali

Kapu

Palace, Isfahan, Iran, 1949

100 Lisa Fonssagrives in a design by Pierre Balmain,

New York,

1953

101

Nude,

New

York, 1953

102 Fashion shot,

New

York, 1943

103 Silver tea

set,

Oyster Bay, Long Island, 1952

104 'Triangle', study of a nude,

New

York, 1953

105

Lillian

Marcuson, fashion shot,

New

York, 1950

106 Nina de Voe, fashion shot,

New

York, 1951

107 Cover for House

and Garden, New

York, 1951

108

Still life,

Oyster Bay, Long Island, 1950

1

/ 1

w\

w #

'^b

109 Fashion shot, Oyster Bay, Long Island, 1950

110

Still life

with

tulips,

Oyster Bay, Long Island,

C-.1950

design by Charies James, in a desig; Ill Evelyn Tripp

New

York, 1951

112 Maria Stein, Tyrol, 1952

113 Alberto Moravia, Rome, 1958

^s^ ^^^H^^^^^^^^^^^j^^^^^^^^^^H

^^^^^^B|B'

'

'^^?^^l

^fefe

^iB*"7^F

f^^H|HL| '^

^

114 Luchino Visconti, Rome, 1953

115 Maria Callas,

New York,

1952

116 Eliette and Herbert von Karajan, Kitzbiihel, 1954

117 Herbert von Karajan,

New York,

1957/58

118

Lilli

Palmer,

New

York, 1950

4 P>l

119 Ingrid Bergman,

Paris,

1958

120 Gore Vidal,

New

York, 1953

121

Lisa Fonssagrives, fashion shot,

New

York, 1951

122 Irving Penn,

New

York, 1951

^

123 Yves Saint Laurent

at Dior's, Paris,

w

1958

124 In the Foaim

Romanum, Rome, 1952

125

Giacomo Manzu,

in his

garden

at

Ardea, near Rome, 1958

126 Male nude, 1952

1

127 Tina Leser, fashion shot,

New

York, 1950

128 Jacqueline Bouvier,

later

Kennedy-Onassis, and her New York, 1958

Radziwill,

sister Lee, later Canfield-

129 Jane Fonda, Oyster Bay, Long Island, 1959

130 'After the party', Rome, 1951

131

In

Cy Twombly's Roman palazzo, 1965

132 Cy

Twombly and

his wife Tatyana,

Rome, 1965

133 Cy Twombly, Rome, 1965

134 View from the Hall of Mirrors in the Amalienburg, gardens, Munich, 1965

Nymphenburg

Palace

135 Franco

Zeffirelli,

New

York, 1961/62

136 Marisa Berenson, fashion shot,

New

York, 1965

137

Still life

with flowers and Bocklin, Oyster Bay, Long Island, 1959

138 Fashion shot, Paris, I960

139 Lingerie advertisement,

New

York, 1963

i •^^u..

m

A. 140

Vemschka von Lehndorf, New York, 1964

141

Marienburg

Castle, Wiirzburg, 1965

142 Galanos fashions,

New

York, 1965

143 Tatiana, Princess Moritz of Hessen and her horse, Panker Palace, Liitjenburg, Holstein, 1967

P

ab«.

iteilhlia

..*"**(•

144 Fashion shot,

New

York, 1962

145 Veaischka von Lehndorf, fashion shot, Hawaii, 1965

146 Papier-mache

iris,

New

York, 1968

147 Fashion shot,

New York,

1961/62

V'^,''",-.>;g'rr

148 Suzy Parker, fashion shot, Nassau, 1963

149 Fashion shot,

New

York, 1963/64

150

St Basil's

Cathedral,

Red Square, Moscow, 1975

151 Paloma Picasso in a design by Yves Saint Laurent, Paris, 1979

152 Silvano Mangano, Francois-Marie Banier and Sterling New York, 1971

St.

Jacques,

153 W.H. Auden,

New

York, 1970

154 Louise Brooks, Rochester,

New

York, 1979

155 Robert Wilson,

New

York, 1977

156 Gilbert

&

George, Oyster Bay, Long Island, c.1976

157 Yves Saint Laurent fashions, Paris, 1979

p!?W?S?W"."f

158 Roy Lichtenstein

in his studio, East

Hampton,

New

York, 1978

"'! !-'.'Ji."':'"J'J.'«J!!J5g'

159 Fashion shot, Paris, 1979

160 Daks fashions,

New

York, 1988

161

Shoulder bags,

Paris,

1979

162

Truman Capote, New York, 1973

163 Yves Saint Laurent fashions, Paris, 1979

164 Patrick Kelly,

New

York, 28 April 1989

165 Daniel Duell of the

New York

Martins'

City Ballet, in a

Calcium Light Night,

costume by Ben Benson

New

York, 1979

for Peter

166 Claude Montana fashions, Paris, 1979

167 Nude,

New

York, 1982

168 Brooke Shields, Westbury Gardens,

New

York, 1984

169 Tulips, Oyster Bay, Long Island, 1989

170

Tom

Wolfe,

New

York, 1983

171

Duran Duran, London, 1986

172 Princess Stephanie of Monaco,

New

York, 1985

173

Still life,

New

York, 1988

174 Jerry Hall and Mick Jagger, Barbados, 1986

175 Jerry Hall and Rick, Barbados, 1986

176 Frechey Halston,

New

York, 1979

«1

177 Bianca Jagger in a design by Halston,

New

York, 1982

178

Still life,

Oyster Bay, Long Island, 1989

179

Andy Warhol, New York, 1984

180 Diana Vreeland,

New

York, 1979

181

Erte,

Barbados, 1986

182 Baice Weber,

New

York, 1988

183 Karl Lagerfeld,

Paris,

1979

184 Yves Saint Laurent, in his country house near Deauville, 1986

185 Advertisement for Calvin Klein socks,

New

York, 1983

186 Calvin Klein,

in his

New York

apartment, 1984

187 Perfume advertisement,

New

York, 1982

188 Perry

Ellis

fashions,

New York,

1982

\ "^^^^kJilfe-^

189 Advertisement for Chanel perfume,

New

York, 1987

190 Yves Saint Laurent fashions,

Paris,

1984

191

Lingerie fashions,

New

York, 1983

192 Advertisement for Jerbe stockings, Paris, 1985

193 Iman in an evening

gown by

Valentino, fashion shot,

New

Yorl