I R01777 IbbTT 779.9391 A948av Avedon- -photographs 1947-1977 NO LONGERnD ppr HUM ' L P£* *!» /^ DENVER PUB
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R01777 IbbTT
779.9391 A948av Avedon- -photographs 1947-1977
NO LONGERnD
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1979
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I
once began a story almost
Marcus
way:
Weill, the photographer, has said he
how we
with
in this
live
considering that there
is
chiefly
is
death.
I
concerned
would say
our virtues and arts have to do with the fear of death.
He
his
theme
that
is
we
believes that
seriousness and logic because seriousness and logic remind us that
much
photographs
in his
we
most of
flee
will die.
from
But
il-
amusement is beauty and truth, that nothing is worth grief or is certain, not even death. He thinks we look at every face to see if it alone is perfect enough or clever enough to help us escape a sense of worthlessness or of unused time. Or if it is a rival. Or is the hint of a life we might have had or might yet have. He quotes Robert Herrmann, the emigre philosopher: "My life's work logic
is
and
frivolity say
nothing makes
sense, that
demonstrate not Euclidean but mortal geometry."
to
that a photograph, like flesh or love,
hundred axioms fashions, to
in the
is
a clock.
He
said to
Herrmann has
me
it
was a truism
"There are
written,
a
mortal geometry that have to do with games, with clocks and
make time seem
pleasurable for a while, that use a quarrel or temperament
or the flash of a talent to drown the noise of the clocks in the room.
.
.
.
Perhaps the
Marcus has photographs of women in tears, women with dizzying smiles of confused meaning, women dancing: and in these photographs there are often no walls, and no real shadows, just now and then.
rich
and beautiful and talented hate time the most.
in the
.
.
."
angles and points of a composition, a scarf or a face, a
crease of agitation, a clear statement of folk and of pride.
model shout, "Ah God
I
am
And
so on.
is
a Jew.
snout of terror, a
once saw him make
a tired
so happy," and crazed with exhaustion and careful pretti-
ness she suddenly realized she almost meant
He
I
fish
it.
He
took the picture then.
You
Time. Oh, yes.
Time
see, well, the question
often time.
is
as wreckage, time as threat, time as obscurity.
pulse
isn't a single
—
time varies by
No one can
human measurements
amusement or boredom; in a sense, time is local; each of us time in some form is sewn to each atom; whatever time
—
everything: words, childhood and children, manuscripts, well or fail in,
we
dismay
of intelligence
—
In dreams and visions,
we
—and
which we
tell
ourselves.
have come
life's
is
a dream.
is
little
is. It
our
it,
born into a private envelope of
it is
lips.
that time does,
Much
it
does
it
to
of what we do not do
A common
statement of
more time.
which does not belong to the time of the world
in
our dreaming minds invent a time for us untied to
meanings, and the duration of such time has only to do with stories we
The word dream
dream. The book
Is
find a time
will die: this is a silkier time:
anything but our
had a
If only I
us what time
other than our sense of
are constrained to by lack of time to do otherwise. is
tell
It
is
almost always in our mouths a term of praise. The dress
seems
a dream
like
to
experience
this.
is
a
Look: all your dreams
true.
time painful? For a child in front of a mirror, a child alone
in a child's mirror, the questions, the helplessness; the child runs:
someone makes something. Some any time that
is
artifacts are
made
The slow time
in a field?
we
act.
Fashion, as a verb:
to suggest that present time
past, to suggest that Fate has taken a
new
turn, that
we
is
unlike
be unlike what
will
—
we take older objects and imagine virtues in the past dead or stilled virtues and we reform, we reverse time, rescue those virtues (we think) and objects, we hint that time makes beauty, proves value. Neither an emotion nor a pyramid, not beauty, not elephants can sustain the weight of time: our emotions change and we don't quite remember we don't know what the truth is here. Objects, feelings, gestures our moods, our emotions as we express them or name them, are fashion. Fashion, as a noun, means things that have been made for us to use as we try to live now. older people were; or
—
—
—
—
Fashion
is
us
—
trying to live.
Fashion, as a noun, can
mean
joined together only uncertainly in
a way, anyone's
common methods
attempt at superiority to immediate time; or
combined
in a
verses
itself,
a swindle.
we can have
salesmen.
A
style
restores
Style
it is
more
it
—
it.
can mean us
of attempt. Style, austere or not,
is
an
useful fashion, fashions strung together
grace or contract of rebelliousness against too-short-a-time
assert ourselves so
sonal worth then.
way of doing anything. Or
—we need
to
a sense of personal will in the face of time, a sense of per-
is difficult
to judge unless
one has time. Often history mocks
Usually, to say a style for
—
elegance or beauty
now
is
to joke
—
bitterly
—
it,
re-
or to intend
those words used a certain way are words for
— But
in
another sense they describe an
Style, realistically,
is
art.
a perception of hope, of a triumph of a kind.
Within the propositions and extent and grossness of time.
The amount of a maker's life and vested when it is fashioned matches
—
looking at
—
it,
in valuing
it.
care, time of that sort, with which an object
the approximately similar time and care
Such a symmetry
exists but not exactly.
first
most hidden order of time's quality
in
photograph may be seen
to
is
being con-
have a further and
something that provokes a second and,
it,
in
comprehension,
which may be as quick as a camera shutter's closing, which may indicate time efficiency, with technology, a
we take
Something sketched or
photographed, apparently quickly, may include years, so that after the
quered with
is in-
al-
in a sense,
an endless look. gives us an image.
It
I
want to say that
photograph there
in a
is
a
and enchants the hunting and scavenging animal
Our
lives, if
our attention
a hideous agony of love, say, lysts
is
we
caught,
if
we
romance of magical capture
in the
human
it
without
so?
see that our lives confuse us; and
Our own cleverness? Ah,
much
viewer.
are hectored by self-examination, because of
and Proust, does not explain much or hardly anything:
make
I
that deludes
memory,
in spite of ana-
not explicable: what would
life is
haven't that sort of pride. Our narratives are,
sense and are, therefore, astonishing
like
a novel: I could
tell
I
think,
you things
and you could make them into a book that would get you a fortune. Our senses and minds cannot grasp a present moment either: we say, "Christ. I m going crazy," we feel so harassed. We cannot, except willfully, make sense of anything. After all, actuality is not sane: what principle would make it sane or arrange it sanely? It is what we do in regard to it which we judge sane or not. A photograph aids our senses and bestows on our memory a gift of the stillness of an object or a face for study so that we can stalk it at leisure: we are flattered by seeing and remembering for study with such seeming exactness. The untruth and distortion in a photograph which makes it humanly true and important sometimes we often ignore in order to .
imagine another truth
— —
—
of testimony
.
.
—
in the
photograph, a romance of the true and untrue
mixed, of the ideal and the carnal reality inconsistently but often enough intoxicatingly joined.
What does
a photograph
show?
It
shows something never seen
in lite: in lite,
the light,
the object, the face are part of time, of a sequence, a parade of moments: of change, therefore: a in
long chain of variations.
these molecular chains
bits.
We make In a lie,
failure to
is
The
real nature of faces
too difficult for us.
We
and objects and
leap and seize and
dream
our perceptions in
portions and
parables, examples, the legendary, the dreamlike, a set of lies about
meaning, rightly or wrongly, can be certain (what makes
be believed
rate existence
ot
—
then
it
is
nonsense) because
from our mode of dealing with
it:
in a lie,
how we
a
4
lit
meaningless
meaning does not have
utter
it.
fixity.
what we sa\
is
is its
a sepa-
everything:
3
but this
not so
is
if
we make
a conscious attempt at '"truth": then
form and content do
separately and problems of expression begin to tease us. 'Truth," so far as fuses purpose,
must
such an overriding purpose
it is
settle for a half-accuracy as
and
times;
dangerous
our
really,
—and
in itself;
we go about our
lives feel strange in us,
—
lovely
animals,
A
think.
I
becomes part of human boastfulness; and
we know
and we cannot always give
business. This
is
it
exist
it,
dif-
time but
vertiginous for us some-
—which makes
around us
us sudden and
photograph by representing superior senses
we
we were looking at photographs we don't often try very hard to see anything very clearly in life: we use common sense: we get along we are not perfect viewers how can we be? The interposition of machinery doesn't change the human quality of making or of seeing a photograph. A machine is
—
—
ness and finality
try to see as if
—
machine-like, not supernatural.
in a
in life
we wish
And
human
in the
to photograph,
we
photograph but only abstractions of
can,
lights
if
how much
order of things, no matter
we
still-
are honest, find no final subject matter
and darks, limitations and successes of the
camera, devices, simple and complex, of the photographer, the date we look
at the picture,
the date the picture
we look
is
fashioned, the light
—
—
actual or mental
with which
at
various representations, visually and emotionally misinterpreted or merely interpreted.
it,
We
don't like to admit this.
Nor an
art;
is
it is
photography an ancient form and
this
an old convention of misrepresentation
recent and perhaps temporary: photography
—
may turn
—
in
medium in short know how satisfying
out to be a
new methods will replace it holography, perhaps we do not the medium of photography is for us only that it is satisfying now. The romance of human flattery and aid and apparent instruction in a photograph causes love of a sort and so we prefer it if the picture can be regarded sentimentally, if it makes us gasp with admiration or some such feeling at ourselves; a soft love being easier for us than a hard one. A photograph that makes us see too much forces us sometimes to hate it, or to manage not to see it quite it slides by us, misunderstood, mislabeled. Most of us like the idea of a photograph of someone famous as mythically caught for all time: we don't like to admit that we are confronted with constructed testimony. Love wants us to lie, to comprehend generously, even ourselves: photographs should be docile, not sly dreams. To accept an actual photograph is a complex business in reality and can involve a great many kinds of romance. A photograph of a real person who is also a movie star is of little interest if that is all there is to the photograph: the photograph of the star is more important to us. Photographs use and
—
—
sell
and
the
woman
and
will
distill
a peculiar heroism: timelessness: the athlete in a
being
fully expressive of
not define
itself: it is
and misfortune are not
mersed is
in
some
success,
it is
inevitabilities but
quality or other.
what
we become
an okayed insanity restless
—and
—
Modern
succeed,
it is
is
entirety of being,
life, like
history.
misfortunes of the system so
time and in our times that fashion
sanity, or
will
spasm of
It
old religion, lies
argues that death
far.
We
often an evidence of respectability,
are so imis
an okay,
not too great an insanity. Language becomes inverse
say something
is
incredible but
we mean
the opposite:
—and
we mean
our individual existences and daring are safe somehow, but not so safe we are bored or must
—
accept our Fates as humans private inclination,
a
less
and
less possible
— —
and admired
—
it is
too singular:
it
meaning of a dissolves the
Good taste God if you recall was supposed to be timeless, like a religion. It with time. But our tastes die in a welter of arguments, bargain, it was a communion
congregation.
was
is
as like the Fates of our ancestors. Taste, in the
—
facts,
i
change, commercial pathos, and cultural and personal exhaustion.
ial
:
we trembled with
know more, to comprehend the world, we wanted things to hold still and to speak simply. As children we stared do you remember? As adults we consume and give orders and make clumsily make lives. Sometimes we create surprisingly primitive celebrities who stand for those childhood longings who are the dumb things and people we loved as children, and who will stand still, who will be looked at, who will be objects now, who will be fit subjects for photographs of a certain kind. Lies are sometimes predictions of what we will do. The staring child creates a culture arly in our lives
fugitive longings to
— —
—
based astonishingly on the eye and on a dementia which perhaps ought not
The
idea, after
Must
If
all, is
new
that all of us
must
try to live.
speak of something stirred his career, his
my
in
me.
produce a
I
flurry of
work and the occasion of this preface.
It
sense of the adventures of his eye.
book of
would be a multi-layered and
my
unreli-
words about Avedon
is
The photographs
erratic.
they are not pretensions: they are a particular
Avedon never was much
man
exist.
They do not represent moods;
as he lives.
influenced by painting. His photographs are always photo-
graphs, and they do not play sentimentally with the stillness of the photographic image
unearned or mechanical tion, the hint of
he can manage
stillness. In
Avedon's photographs, that
motion, or by feeling: that it,
a single picture:
is
to say, emotion.
He
on the motionlessness of a
perimpose the movement of a sequence
—movements
stillness is will
single
photograph a fact
odds with romance which
is
—and
backgrounds are
motion.
If
all
the
often refuse to have,
photograph he
of comparisons,
it
will su-
movements of
the
in a single
always so self-consciously present or so ab-
powerfully part of the effect on the mind.
settings or white
gence
at
—
ravaged by mo-
mind. Didactic and godless, kinetic and beyond moralizing (usually), he gives
it is
in
his photographs.
The photographer
sent
I
language and views aroused by him.
able and affectionate joke, the fiction of words applied to him, of a
be rebuked.
somehow.
live
speak of the actual man, the photographer,
I
to
The
shapes, angles,
name
of the
elements of a seduction by excitement, truth,
you see naivete and patience
in a face or
sitter, intelli-
an unlikely or almost
alle-
gorical juxtaposition of people or objects (or parts of people: their noses, say), you are invited to enter a fragmented novel, a special ist.
form of duration of time, by
a wordless novel-
His pictures are always blasphemous, are always prepared for misinterpretation
—
some-
comedy of misinterpretation: sometimes as an acid "truth": these, too. are further movements of the mind. Re gives no pictures to the viewer, he detaches them from himself, lets them be stolen or found. Much of the technique, the placement of heads, the secret times as a
meaning
in
an eye, the
detail of ill-grace or other grace in a hand, the build
up
of fluid or
means of divorce from him as photographer, are the elements of the gift he makes: an active gilt. He has become famous by claiming least, as a photographer by being the most modest of them all. Part ol the m\ stcrv in any
fleshy geometries, a stomach, a dress, a
photograph of
his
is
gown
are
the resonance of his personality. Hut the resonance
is
not defined
—
as
idealism or lunacy or bitterness, as anything but changeable, quick, often Inspired, maniacal,
inventively photographic: this
bothersome
is
dangerously, he invites words. There
to critics.
He
the model, the photograph in sequence are
is
at
photographs
Avedon
is,
on study,
most
—
but he too
is
in
most of these photographs there
in
you look blankly but from within yourself and time exist that is, don't divorce the photograph from time, yours, his, that of what pictured: Marella Agnelli, Suzy Parker, Penelope Tree, Irene Castle: observe the
—
games with over
if
time.
Have any
reaction you like, misuse the photograph however you wish.
stillness are
always there inside the
stilled
The movements
frame, beneath the necessarily
This relentlessness of opposition to the mechanical, this assertion of
stilled surface.
spirit is usually
part also of the subject matter; sometimes a lapse from this assertion of spirit
subject matter. Tensions of opposition and of echo plus the inevitable
graph combine to produce the resonance that evoke. His photographs have that photographs flatter in us
—made
dreams made actual
merge unexpectedly
in the
little
to
his
do with sentiment and even
and that mimics night dreams: actual foolishly, bravely. Real
part of the
romance of the photo-
his life
else's
less with the egocentricity
work has more
to
do with
and dream and daydream
queer ambience of photographic time. Language, so we are
wants to deal with meaning or feeling must
speak requires the connivance of lying
is
photographs more than anyone
taught nowadays, must be factual, must stick to numbers, or else
all
lie: it
it
lies:
so language
if it
cannot be factual. To make a photograph
sorts of facts
—and
—
but then the
processes of fact
must begin and a photographic language created which was not used by painters
their different is
and touch:
invisible: the shapes,
moments
at various
way but
in a private
something that appears most clearly
let
to see
not graspable quite.
is
Everyone looks is
mind
a careless, even suicidal self-revelation in the
is
innocent-seeming of his photographs but the revealed self motion; he
invites the
games with time and
truth and objects and faces.
comprehensible and the conventional
banal, banality
itself.
The
is
.
.
.
Only the conventional
the subject of most photographs perhaps
singular, the strange
is
the
human
in
—
the
voice, only half-comprehensible,
an importunate and important murmur, not an ideogram, not comprehensible
—
but present.
compounded of lie and "truth"; the tensions between these make up much of the structure of a work of art: the contrariety of elements of "truths" generates the desperate beauty or electricity of some performances, some accomplishments. We love and fear this. We embrace it: we run away. We are only human. We have our fashions. Avedon gravitates to those moments in which the oscillation between pretense and revelation is most intense. The subject of any of his photographs is likely to show in part isolation or gro-
The
best illusions are
tesquerie, courage to the point of madness, isolation-and-defiance or sly tion
and
wit, pride
and
sterility,
amusement, desola-
pride and triumph. Victories, defeats mingle in the same
moment sometimes or on adjoining pages. He is an extraordinarily hasty, careless, earnest man an artist. Each photograph is a confession by him, by the sitter, by the process of
—
—
—and
often a ribald or im-
a sexuality, a wryness, a madness, a
madness of love and
photography: and the conspiracy of confession has here a gaiety passioned or implicated sarcasm
excitement a
—
that
is
purposefully movement, moving, a dance and a confession
form of meaning. Avedon's work.
Avedon' s Art.
—
—
a defiance:
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Designed by Perugia Place \ Balcnciaga
Coat by Canlin
Suit
Pans
Place Francois-Premier, Paris
l.e
Dorian Leigh
7
Klise Daniels
and
Moiii7
ork studio
June l«M)0
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October Leslie
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\be Schrader
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\ icointcsse Jacqueline de Kibes with Kavilllindo de arr.ini
1 1
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Eveaksa slipper Designed bj Roger
Pan* studio Vugust L963
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for
Dior
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70
71
F
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70
82
Marilyn Monroe Dress by Norell
New York May 1957 71
72
75
studio
Katharine Hepburn New York studio March 1955
76
Suzy Parker Dress by Nina Ricci Champs-Elysees, Paris
77
Mrs. Cordelia Biddle Robertson New York studio September 1956
Suzy Parker and Mike Nichols Suit by Simonetta-Fabiani
Paris studio
Rue Franqois-Premier,
August 1961
Paris
79
Marella Agnelli Hair by Kenneth New York studio December 1959
80
Vicomtesse Jacqueline de Ribes Hair by Kenneth New York studio December 1959
81
Vicomtesse Jacqueline de Ribes Hair by Kenneth New York studio December 1955
82
Antonella Agnelli Hair by Kenneth New York studio January 96
The House of Dior Mitza Bricard. Jacques Rouet. Kouka, Suzanne Luling, Yvonne de Peyerimhoff Evening dress by Dior
August 1962
73
Suzy Parker and Mike Nichols Evening dress by Dior Maxim's, Paris August 1962
August 1962
78
74
Margot McKendry and China Machado members of the French press
Suzy Parker and Mike Nichols
with
Evening dress by Lanvin-Castillo Maxim's, Paris August 1962
Dresses by Lanvin-Castillo and Heim Paris studio
August 1961
1
I
93
94
95
96
92
China Machado Suit by Ben Zuckerman Hair by Kenneth
83
84
Princess Elizabeth of Yugoslavia Hair by Claude New York studio December 1961
New York
88
Naty Abascal and Ana-Maria Abascal with Helio Guerreiro Dresses by Ricano
Dolores Guinness Hair by Kenneth New York studio November 1961
Ibiza,
93
Spain
September 1964
Paris studio
Ana-Maria Abascal and Naty Abascal
94
Jean Shrimpton
Dolores Guinness
with Helio Guerreiro
Toga by Forquet
Hair by Alexandre Paris studio
Bathing suit by Brigance lbiza, Spain
August 1965
January 1959
September 1964
Paris studio
95
86 Conlcssa
90 Jeanne Moreau
Jean Shrimpton
Hair by Kenneth
Dress by Cardin
New York
Paris studio
Evening dress bj GefittnM Hair In Alexandre studit P
August 1962
August 1965
Christina Faolozzi studio
June 1961
87
Marchioness of Tavistock Coat by Cardin Hair by Alexandre January 1959
89 85
studio
November 1958
llrigittr
Han
!>\
Bardot
Alexandre
Paris studio
January 1959
«>
1
li li /.ilx Taylor Cock feathers b) AneUoof Emms New York studio July 1964 I
i
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Maya
IMisctskaya Hat b\ Halston New , ork studio t
Max
1
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97
110
109
Lauren Hutton Bathing suit by Oscar de la Renta Great Exuma, the Bahamas October 1968
98
108
107
106
102
Viva and Michel Auder New York studio October 1969
107
Twiggy Dress by Roberto Rojas
New York
Lauren Hutton Sweater by Van Raalte
103
New York
Great Exuma, the Bahamas October 1968
April
Janis Joplin
studio
1967
studio
August 1969
108
Penelope Tree Dress by Cardin
99 Claude and Paloma
Picasso
104
Paris studio
January 1966
100
Jacquetta, Lady Eliot
London
studio
Tilly Tizzani Raincoat by Main Street
New York July
1964
studio
January 1968
109 105
January 1965
101
Paris studio
Penelope Tree New York studio June 1967
106
Donyale Luna
Joan Baez New York studio
Dress by Paco Rabanne
June 1965
December 1966
Penelope Tree Mask by Ungaro
New York
110
studio
Jean Shrimpton Hair by Alexandre
Paris studio
Paris studio
January 1968
August 1965
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121
111
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New York
116
studio
113
117
Sunglasses
Hair by Ara Gallant New 'I ork studio
January 1970
October 1970
Veruschka
122
Penelope Tree Evening dress Paris studio
February 1965
January 1967
Sandal
118
(
lai
119
123 Mass
London
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rusehka Wrap by Giorgio New ^ oi k studio
China Maehado
120 dj Sant'
\ngelo
Paris studio
121
1
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Pans studio >70 Januan (
l
Jean Shrimpton Jump suit l>\ Courreges Pans studio Januan 1970
studio
Jean Shriiupt\
January 1968
January 1967
Julie DriscoU
March L972
Bill
New York
studio
l>\
studio
Veruschka Dress by
New in k studio December L968 ir>
Paris studio
New York
Bracelets
i
Sophia Loren
Paris studio
August 1970 1
121
Dress by Kimberly
I'.u is
1
125
Designed by Courreges
Designed bj Serge Lutens
1
Ingrid Boulting Coat by Dior
November 1967 12
124
Penelope Tree Dress by Dorcia Originals Hair by Ara Gallant
1
123
122
125
Penelope Tree Suit
1>\
I
ngaro
Pans studio Januan 1968
136
133
130
137
Dovima and Betsy Pickering Dresses by Lanvin-Castillo Paris studio
August 1958
126
Veruschka Antony Arland New York studio March 1972
131
Twiggy
132
Suit by
127
Bene Midler New York studio
135
Evening dress by Lanvin-Castillo Cafe des Beaux Arts, Paris August 1956
December 1971
Lauren Hutton and Alan Lewis Great Exuma, the Bahamas October 1968
Hair by Ara Gallant Paris studio
136
December 1977
133
Barbara Mullen
Suzy Parker
Dress by Traina-Norell
Evening dress by Dior
New York
Paris studio
January 1950
134 Suzy Parker Antigua, West Indies January 1962
137
Marisa Berenson as Josephine Baker New York studio December 1975
138
Dorian Leigh
studio
August 1956
129
Loulou de La Falaise Paris studio
January 1968
128
Suzy Parker
Elise Daniels Hat by Paulette Place Vendome, Paris
August 1948
Hat by Paulett Paris studio
August
;
949
171 t 1
139
144
150
119
152
151
151
153
119
Dovima Cape by Lanvin-Castillo Place Krancois-Premier. Paris
114 1
39
August 1955
Apartment 60. Hotel San Regis. Paris August 1955
Ingrid Boulting Hair !>\ Aia Gallant New York studio July
Evelyn Avedon
150
Elizabeth
New
115
1969
l-
Avedon
ork studio
October 1977
Liz Pringle Bracelet by Schlumberger
1
10
Doe Avedon
Round
Hill. Jamaica February 1959
New York
Fire Island,
151
New ork studio December 195 \-
June L948
116 1
II
Priscilla Rattazzi New oik Btudio
Ingi id Moulting 1
\
cuing dress
!>\
Gres
152
ina
Turner
New York
January 1970
Ma) 1977
1
Dress bj Vtxaro
Paris studio)
i
Gloria Yanderbilt
studio
June 1071 1
12
Maxinic. Comtesse de Suil
and
1
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li\
1
.i
Falaise
1
17
Fath
Hianca Jagger Holhueod studio
153
1
13
Aujcliea Huston Han li\ Serge Lutens
New > oik Btudio November >72 (
l
i"
ork studio
Jannarx 1958
January 1948 1
Home
Lena \i'«
January L972
Paris studio
18
Diana \ reeland. l)o\iiua. and Richard \\edon Knru o CarUSO
Hair
l>\
New
\ oi k studio
Juiv
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151
Snaj Parker and Mike Nichols Coal bj Saiat aurenl l'be \niencan Hospital. Paris 1
tugUSl 1962
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155
158
157
160
159
Lauren Hutton
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mmM
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156
-
1
162
161
159
Dovima with elephants Evening dress by Dior Cirque d'Hiver, Paris
Great Exuma, the Bahamas
October 1968
August 1955
156
Dovima Dress by Claire McCardell Great Pyramids of Giza, Egypt January 1951
157 Zouzou New York
160
Saint Martin. French
161
Marella Agnelli New York studio December 1953
162
June Leaf Mabou Mines. Nova
October 1972
November 1976
West Indies
March 1978
studio
158 Marella Agnelli New York studio
Renata Adler
July
1975
Scotia
Anna Avedon Carmel Snow Alexey Brodovitch Diana Vreeland Evelyn Avedon
John Avedon Laura Kanelous
Marvin
Israel
Nancy White Marie-Louise Bousquet D. D. Ryan China Machado Henry Wolf Ruth Ansel Bea
Feitler
Yvonne Petitgerard Marian Capron Alexander Liberman
Grace Mirabella
Robert Bishop Polly Hatch
Virginia
Pat Knack
Andre Gremela
Waldman
Suzanne Mosel
Betti Paul
Alicia Grant
Ingrid
Drotman
Norma Stevens
Frank Finocchio Earl Steinbicker
Yasuhiro Wakabayashi Peter
Sidney Rapoport
Joanna Brown
Heyman
Polly Mellen
Jeff Niki
Alen MacWeeney
Eiishiro Sakata
Henry Mattison Kazutaka Nakamura
Sebastian Chieco
Gideon Lewin
74 1 039
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II
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