【50摄影大师介绍】之二十七, 理查德•阿维顿 Richard Avedon

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50 Masters of Photography (27) --- Richard Avedon

Avedon, Richard (1923-2004), American photographer who appeared, with Irving Penn, as the most prominent of the younger generation of fashion photographers emerging during the late 1940s. Rejecting the sculptural formalism and dramatic lighting of his European predecessors, notably Horst P. Horst and George Hoyningen-Huene, he presented fashion photography as theatre. Models leaped and emoted, often out of doors, generating an aesthetic of spontaneity and light sexual candour that became the look of the post-war era.

Avedon first studied philosophy at Columbia University, New York (1941-2). In 1944, following two years in the merchant marine, during which he took identity photographs of servicemen, he enrolled in Alexey Brodovitch's Design Laboratory at the New School for Social Research, New York. Avedon began working for Brodovitch at Harper's Bazaar at the age of 22, and was a fashion photographer there from 1945 to 1965. During the 1950s he also contributed to Life, Look, and Graphis, and became staff editor for Theatre Arts in 1952. In 1965, he left Harper's to work under Diana Vreeland and Alexander Liberman at Vogue. By this time he had shifted from outdoor settings to the studio, developing a signature white-backdrop style. This approach, at once stark and highly polished, he adapted to portraiture of both celebrities and ordinary people, reasoning that 'a white background permits people to become symbolic of themselves'.

Avedon's penchant for blending fashion and documentary modes is especially evident in the numerous books and exhibitions of his work, over whose design he maintained a remarkable degree of control. Observations (1959), designed by Brodovitch with an essay by Truman Capote, comprises dynamic portraits of celebrities such as Marion Anderson interrupted by seemingly anomalous images of street life in Italy. The book's large format announced a distinctive bold style that Avedon has maintained throughout his career. Nothing Personal (1964), with an essay by James Baldwin, combines celebrity portraits with images of prisoners and the mentally ill. In the early 1970s, Avedon produced a series of portraits of his dying father; these were exhibited at MoMA, New York, in 1974. In 1976 he photographed American businessmen and political leaders for the magazine Rolling Stone. His most controversial project, In the American West, a typological study of labourers and drifters in the tradition of August Sander and Diane Arbus, was unveiled in 1985.

Avedon's career was celebrated in the 1957 film Funny Face, which starred Fred Astaire as a charismatic fashion photographer. More traditional recognition came in the form of an exhibition at the Smithsonian Institution, Washington, DC, in 1962; a survey of Avedon's fashion photography organized by the Metropolitan Museum of Art, New York, in 1978; and Evidence, a major retrospective of Avedon's work exhibited at the Whitney Museum of American Art, New York, in 1994. Avedon's An Autobiography (1993) is his own most personal statement.

 

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50 摄影大师介绍之一
50 摄影大师介绍之二
50 摄影大师介绍之三
50 摄影大师介绍之四
50 摄影大师介绍之五
50 摄影大师介绍之六
50 摄影大师介绍之七
50 摄影大师介绍之八
50 摄影大师介绍之九
50 摄影大师介绍之十
50 摄影大师介绍之十一
50 摄影大师介绍之十二
50 摄影大师介绍之十三
50 摄影大师介绍之十四
50 摄影大师介绍之十五
50 摄影大师介绍之十六
50 摄影大师介绍之十七
50 摄影大师介绍之十八
50 摄影大师介绍之十九
50 摄影大师介绍之二十
50 摄影大师介绍之二一
50 摄影大师介绍之二二
50 摄影大师介绍之二三
50 摄影大师介绍之二四
50 摄影大师介绍之二五
50 摄影大师介绍之二六
50 摄影大师介绍之二七
理查德·阿维顿 Richard Avedon

 

 

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