Posts Tagged ‘Horst’

Books | Horst, Photographer of Nature

Friday, October 31st, 2014

Photographic pattern, (unidentified)

Horst: Patterns from Nature
By Martin Barnes
Merrell Publishing
Hardback + jacket
104 pages
50 duotone illustrations

Its title deviating by only the replacement of an apostrophe and an s with a colon, a new publication Horst: Patterns from Nature focusses in on a little-know series of photographs, nine of which appeared in the final pages of the 1946 book, Horst’s Patterns from Nature, augmenting them with a large number of mainly previously unpublished works made around the same time. The book is an expanded version of an essay by distinguished author Martin Barnes that appears in the main catalogue for the current exhibition, Horst, Photographer of Style at London’s Victoria and Albert Museum, edited by Susanna Brown, and as such complements the exhibition, while considerably widening our knowledge of the photographer, his methods, and the breadth of his oeuvre.

Photographic pattern, (Calladium)

Photographic pattern, (Xanthosoma Lindenii)

Barnes’ short introduction, succinctly places the esteemed German-born photographer, the former Horst Paul Albert Bohrmann (1906 >1999) – who later took the name Horst P Horst – into historical context. He provides us with an insight into how, starting out as an architectural draughtsman in Le Corbusier’s Paris office in 1930, taught photography by his lover, the great George Hoyningen-Huhené, Horst rose quickly to recognition and fame, becoming friends with Marlene Dietrich, Nöel Coward and Coco Chanel. Barnes describes how, Horst fled German conscription and was spirited away by Vogue to America, becoming a US citizen in 1943. Best known for his slick studio-lit fashion and beauty images – the sexy Mainbocher Corset (1939) perhaps the most well-known – there is evidence to suggest, Barnes explains, that Horst embraced natural light and organic forms towards the end of World War II, as a way of associating himself with such untainted pre-war German cultural figures such as Johan Wolfgang von Goethe (1749 > 1832). Goethe’s definition of art: ‘Art is Nature seen through a temperament,’ is quoted by Alexander Lieberman, a Horst collaborator and art director of American Vogue from 1943 to 1962, in his blurb on the back flap of the dust jacket of the 1946 Patterns book. The front of this jacket is shown inside the new book, as well as a number of the double page spreads that appeared in it. For comparison, examples of work as they appears in books by other revered, early to mid-twentieth century photographers of nature are included, notably by Edward Weston, Paul Strand and German teacher and photographer, Karl Blossfeldt (1864 > 1932), who Horst acknowledged as an important influence.

Via repetition and mirroring techniques, and some influence from surrealism – Horst also collaborated with Salvador Dali – he pushed nature into the realms of semi-abstract pattern. Helpfully, by showing a succession of images – first the single original shot, then a group of four of these fitted together, the top ones a mirror image of those below, followed by a complete picture made up of sixteen images arranged on the same basic principles, Barnes demonstrates how the complete final images were made up. Some of these, in the run of plates, which make up over two thirds of the book’s content, are very graphic, while others are much softer, prettier, almost dream-like. Somewhat reminiscent of the images one sees in a kaleidoscope, but in square rather than circular format, not all of them are constructed solely from close-up shots of plants. For some the photographer has stepped back, thus changing scale in order to include, for instance, large palms trees, or palm fronds together with architectural details, or sections of a wicker chair.

Photographic pattern, (Prunus Pennsylvania Bark)

Photographic pattern, (Palm Trees)

Horst’s Kodak negative album of 1946, fits into the palm of the hand, and is reproduced at actual size in the new book, along with one of the negatives and a representative selection of the contact prints it contains. Barnes discovered that the negatives used to make the original large prints are not the same as those chosen for the construction of the complex patterned images that became the subject of the new publication. Ever the modernist, despite his respect for classical influences, Horst said of these: ‘[They] are photographs shown in simple repeat. The resulting patterns are immediately applicable to industrial fields, such as textiles, wallpaper, carpets, plastics, glass, ceramics, china, leather, bookbinding and jewellery.’ He went on to explain that they were also a demonstration of how modern design can be achieved through modern means. It’s possible that some of them may indeed have made it to a production line somewhere, but, so far, Barnes has been unable to uncover any evidence of this having happened.

Horst: Patterns from Nature is the end-result of inspired and painstaking investigative research by Martin Barnes, who, as it happens, is also Senior Curator of Photographs at the V&A. The images in this book are as surprising as they are beautiful. While the text in photography and art books can sometimes feel like unnecessary padding, here the writing is an integral and indispensable element of the package. Merrell Publishers are pretty choosy about what publishing projects they get involved in, and with obvious relish have gone to town on this slim volume’s production values, reproducing all of the images in exquisite quality duo-tone, spot-varnished on heavy matt coated paper.

All images from Horst: Patterns from Nature
All images © Conde Nast / Horst Estate

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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you.

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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mouth2mouth | Philip Treacy on Photography

Friday, February 1st, 2013

mouth2mouth | interview
philip treacy | milliner

Over 30 of his hats were worn at HRH Prince William and Kate Middleton’s wedding. Probably the world’s best-known hat designer, Philip Treacy began his career in 1990, in London, having been taken under the wing of the late Isabella Blow. Milliner of choice for many top fashion designers, he created hats for Alexander McQueen’s white haute couture collection at Givenchy, for Karl Lagerfeld at Chanel, as well as for Valentino, Ralph Lauren and Donna Karen. In 2000 Treacy was invited to present the first ever Paris couture show dedicated to millinery. Named British Accessory Designer of the Year five times at the British Fashion Awards, he created hats for film – Harry Potter – for Grace Jones, Daphne Guinness, Naomi Campbell, Lady Gaga and Madonna. A new book, Philip Treacy by Kevin Davies, the result of a 20-year collaboration between the milliner and his long-time friend, photographer Kevin Davies, is published in February by Phaidon. Former creative director at Tatler turned photographer, Pedro Silmon asked Treacy about his passion for photography and photographers.

In the introduction to your and photographer Kevin Davies’ book you say that every hat you ever made began, in your mind, as a photograph. Who is the photographer?
Always Irving Penn. He was the quintessential hat photographer.

A hat is an idea. A suggestion. A hat isn’t an inanimate object you put on your head – it’s supposed to do something – you’re drawing with material to create an illusion. I identify with photographers because they’re doing the same thing as I am.

Is there a particular genre of photographer you like best?
Iconic Hollywood. Greta Garbo’s photographer, Clarence Sinclair-Bull, George Hurrell. Those I discovered in the books I saw for the first time when I went to art college in Dublin. The photographers who invented glamour and made people look beautiful: Hoynigen-Huhne, Edward Steichen, Horst, Cecil Beaton, Angus McBean.

Which other photographers’ work do you like?
Helmut Newton. He was very persuasive and impressed me so much with his charm that I felt I couldn’t seriously say no when he asked to photograph me, who hates having his photograph taken – topless!
Bruce Weber is amazing. His black and white is really colour. So many tones… He put my hats on male models. Such a simple idea but it worked and just looked fantastic. Avedon asked me to make a hat specifically for an Egoïste cover he was shooting with Stephanie Seymour as the model. He was like a teenager – full of energy – really excitable.

Photographers are engaging and obsessive and I understand that. I like photographers that have a point of view and who put their stamp on a picture as if they’ve painted it. You can always tell a Sarah Moon, a Deborah Turbeville, a Paolo Roversi – they have a signature look and extraordinary personality. People like Nick Knight continue experimenting but his pictures are always identifiably his. I like David LaChapelle, who’s charming and has amazing vision. Although I haven’t worked with him a lot, I find Steven Meisel’s work exceptional and unusual – unlike anyone else’s.
One of the biggest influences on me and someone who has been a great inspiration, is Jean-Paul Goude. He’s so talented he doesn’t need to be an arse-hole. He’s a intriguing and charismatic. A designer’s dream. He has incredible ideas that are so simple they show he’s a genius.

What about newer photographers?
I think Mert & Marcus are great. They asked me to make a lace mask for them for the 90th Anniversary cover of French Vogue (2010). I’ve also been working with the German photographer, Cathleen Naundorf, who produces massive, very stylised polaroids.

Which photographers you haven’t enjoyed working with, and why?
I don’t think I’ve come across any… Photographers are like a race of people. I like working with them all.

Sometimes my hats are sent out by publicists to be photographed and I hate it when the photographer tries to do something edgy that just doesn’t work. The best photographers just photograph the hats – no tricks.

Do you like to go on shoots?
Shoot culture has become very irritating and makes going to a shoot daunting experience. So many people. And every time an image pops up on the computer screen, everyone has something to say. I remember when it was the photographer’s point of view that was important. That’s why I was such a fan of Irving Penn, who once took a portrait of me for American Vogue in his little glass-roofed Paris studio, where there was no lighting, no assistant, just a simple chair and a small table, his little camera, him and his charm. Fascinating!…

Do you collect photographs?
I have two wonderful Penn prints – one black and white, one colour – and five of Garbo by Clarence Sinclair Bull, plus a few others by Bruce Weber, Arthur Elgort and Ellen von Unwerth.

Do you have a preference for black and white or colour photographs?
I prefer black and white – it’s more dramatic. But it depends… Colour is a different language. Black and white is more romantic… But, I don’t see it in black and white. I love all the colours in it. What I also love are the really dark pictures that people like Clarence Sinclair Bull did in the 1920s and 30s. The pictures were about darkness, not about light – a lot of photography now is too bright.

You mention in the book that there were always photographers around the studio at 69 Elizabeth Street in the 1990s. Who were they?
Isabella (Blow) was always bringing people in: Michael Roberts, Alastair Thain – all absolutely obsessed – it was wonderful, manic!

Do other photographers still come in or does Kevin now have exclusive access?
They do, Yes. Kevin doesn’t have exclusive access but with him it’s not in your face. He’s a one man band. Quiet. Not loud. Easy. Often, I don’t notice he’s around. I didn’t really understand the pictures when he first starting doing them. They seemed to be the opposite of what people would imagine – not really about the hats, more about the environment. Now I have some of them framed and up on the wall.

Which photographers’ work is on your mood board right now?
… Everybody’s! Because I’m developing another book, with Rizzoli, that won’t be out for another couple of years.

Images from top
In the Studio, 10th February, 1999

The Royal Wedding, Battersea Studio, 27th April, 2011

In the Studio, 69, Elizabeth Street, 11th November

Images by Kevin Davies from the book
Philip Treacy by Kevin Davies
192 pages, hardback, £39.95/€49.95, February 2013

All photographs © Philip Treacy

Tell us what you think
The Blog is about art, architecture, gardens, books, design and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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Photography | Big Nudes

Friday, June 24th, 2011

Le Imaginaire du Nu
Hotel Drouot, Paris. Exhibition 27th & 28th June 2011. Sale 28th June

Nudes, especially as a subject for books, exhibitions and auctions, are big right now, especially in France. Not that the nudes themselves are huge in proportions, you understand, with the possible exception of the amazons in high stilettos in Helmut Newton’s classic, Big Nudes (1990) that is among a list of 10 books on this particular génre of photography selected for La Lettre de la Photographie by photographer and collector, Bruno Mouron, prompted, almost certainly, by the huge up coming auction and exhibition L’imaginaire du Nu at Hôtel Drouot in Paris.

Early daguerreotypes and prints will be sold back to back with photographs from the beginning and middle of the 20th century: Bill Brandt, Robert Doisneau, Horst, Krull, Man Ray, Willy Ronis and contemporary works by, among others, Araki, Bourdin, Ralph Gibson, David Hamilton, Sam Haskins, Horvat, Lindbergh, George Platt-Lynes, Jeanloup Sieff, Bert Stern and Joel Peter Witkin. The majority, as might be expected, are images of women but male nudity is also represented in pictures by, for example, Bruce of Los Angeles and Robert Mapplethorpe.

Interesting to note, though, that despite the current vogue, we’re already halfway through the year and Mapplethorpe’s Nudes 2011 calender, which includes graphic black and white images of both males and females of our species is still available from Te Neues.

Pamela Hanson, Carla Bruni, Vogue Hommes, 1994, top
Man Ray, Meret Oppenheim, 1935, below

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