Horst - Sixty Years of Photography (Art eBook)
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^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
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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.
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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
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