Tussen etherisch waas en harde lijn. Vormen van verleidelijkheid in de modefotografie
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Copy number Shelfmark Shelf mark R072563 Ned. Fotomuseum Ned. fotomuseum
TitleTussen etherisch waas en harde lijn. Vormen van verleidelijkheid
in de modefotografie
Author
Edition[nummer] 3
[tijdschrift; titel] KUNSTSCHRIFT
[tijdschrift; pagina] 76-81
Photographer
Iconographic keywords
Year of publication1988
Materialartikel
Document TypeArticle
Abstract
The author introduces her article by stating that, ""Fashion
photography is the most beautiful thing that fashion has
produced''. The article examines various constants within the
history of fashion photography: the glamourous style originated
by baron Adolphe de Meyer (inspired by his Linked Ring-friends),
Cecil Beaton's use of irony and the connection with 30s
surrealism, the exclusiveness characteristic of the photographs
of Hoyningen-Huene and reinterpreted by Irving Penn, and, as the
fourth denominator, the spirit of exaggeration, or the dynamic
life exemplified by Martin Muncacs and Erwin Blumenfeld, with
Avedon as the master of this snapshot-effect.
photography is the most beautiful thing that fashion has
produced''. The article examines various constants within the
history of fashion photography: the glamourous style originated
by baron Adolphe de Meyer (inspired by his Linked Ring-friends),
Cecil Beaton's use of irony and the connection with 30s
surrealism, the exclusiveness characteristic of the photographs
of Hoyningen-Huene and reinterpreted by Irving Penn, and, as the
fourth denominator, the spirit of exaggeration, or the dynamic
life exemplified by Martin Muncacs and Erwin Blumenfeld, with
Avedon as the master of this snapshot-effect.
| Copy number | R072563 |
| Institution name | |
| Shelf mark | Ned. fotomuseum |