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NEW YORK
HORST
Sixty Years of
Photography
MARTIN KAZMAIER
Horst
P.
Horst, the
doyen of
international master
all
modern
Weissenfels near
Weimar
his sensibility in
in 1906, Horst
developed
George Hoyningen-Huene,
Baltic
beau monde of
and
artists, actors,
couturiers, aristocrats
intellectuals.
at
Vogue in
for his
still lifes
and
in 1939,
When
Horst
he
Stein,
left
Jean Cocteau,
France for
New
the elite
of Vcgwe photographers.
Vogue in
He
its
various incarnations
all its
publication
its
is /?/s
magazine.
with
that
all
villas
jostle in his
magnificent portfolio
commanding
monograph
Iran.
brings together
With 229
illustrations,
six decades.
39
in color and
161 in duotone
\A
CIVIC
CENTER
DATE DUE
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OCT 3
1991
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HORST
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and
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1942
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HORST
Sixty Years of
Photography
With
illustrations
"J^ZZOLI
X^jNbW YORK
practical difficulties
encountered
many
in the
people.
of
First
all,
We would
like to
thank
Valentine Lawford for his constructive criticism; his great biography, Horst. His
(New York,
of the present
book
is
largely indebted to
Richard
it.
First
their different
all in
in the
pictures.
Lisa Fonssagrives,
published
J.
life
ways contributed
to the
making
in
1991 by
New York
10010
Text copyright
Illustrations:
Courtesy Horst.
1942, 1943, 1946, 1947, 1948, 1949, 1950, 1951, 1958, 1961,
1964, 1965, 1967, 1968, 1970, 1971, 1974, 1975, 1976, 1977, 1978, 1979, 1986, 1989, 1990)
Conde Nast
S.A.;
Courtesy La
Prairie.
1985 by La Prairie
ISBN 0-8478-1389-4
Library of Congress Catalog Card
No
Number 91-2612
be reproduced or transmitted
may
in
Printed and
by Conde Nast
bound
in
Germany
CONTENTS
Horst
P.
Horst, Photographer
MARTIN KAZMAIER
PAGE
Plates
PAGE
33
Biography
PAGE
273
Duchess of Kent,
Paris,
1934
Horst
A woman
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
its
effect.
it
on
spills
On
pillar.
room.
in the
future
Fashion-conscious
women
The
fair
world around
beautiful
is
of elegance.
in
man would
admiring
wants
women
mal
who
somewhat
aloof;
She
is
in the
drawing room
P.
New
reflection,
in high-
itself
behind shel-
be seen.
as goddesses
to
is
its
forties,
and knows
sex - for a
her.
fashionable
Madame
statuary
in the thirties
and
for-
his
become,
You
who was
to
Horst,
Paris,
had created
means shadow.
in
means
It
He
his stamp,
black-and-white,
a
Kleist's
How
did you
The
do
Be
phy
that,
He
Mr
is
the
means
is
thirties,
a matter of
silhou-
unconscious
He
is
lifestyle
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
model.
studio atmosphere,
means
is
even without
photographed by Hoyningen-Huene,
1931
'Baby,
do
it'.
No
one thousandth of
no
before.
when
was no mention of
is
to
the
photogra-
make peo-
in
Germany
is
far
it
the
little
'Ironmongeiy, Stoves and Ovens' stood over his parents' shop. Solid middle
particularly
Meissen
plates, a
wealthy aunt
Weimar. The
in
city
wanted
In
of
be an
to
not so
in 'Weimar,
way
suite,
five
tic
class, neither
He was
architect.
much
in love
with her
artis-
life.
something
to learn
tect's atelier.
was working on
a project to
useful.
He was
far
He
Paris.
archi-
in
order to put up
Somewhere
in Paris
Vogue.
for
He
Horst
moved
There was
been an
art
also
difficult
went eady
character.
whom
skiers
and
athletes, too!
grew
He was
editors
were
life.
not particulady
The
something
'artists'
and
Even
'aesthetes', after
if
Cecil
in
all.
its
tall,
but not
in
superb
He found
He had
The blond
handsome and
who had
He photographed, and
cerer's apprentice.
in
from Cecil Beaton, the English dandy and society and fashion pho-
era in his
good-
Irascible,
to bed, quite
and
ridicule
tographer with
Baltic aristocrat
his
own
and chief
style immediately.
sor-
He
his
and society lady Yvonne Printemps, wife of successful popular author Sacha
him
the sake of
just for
Guitry, taught
a Parisian accent.
from the
clear right
female world.
society
magazine
start:
Much more
Vogue W2is to
than
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
and
stared.
women
showed
of society
fashions
on
sale to
all. It
was
if
lives
simply for
splendour as
self-portrait of a society at
this
and gentlemen
flaunt their
ing as models. But what had once been signified by richness and rank of dress, family jewels
who - like
racy were
tic
name
feeling
in Parisian
now
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
position,
some
was
was soon
in
friends
it
to
was
interested
do with
10
to
society lady.
to
He met them
at
Coco
He
Chanel's.
'^mSI^Kr
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Horst
film.
(left),
and Hoyningen-Huene
in Cecil
in love
to shield
rivals,
felt
only admiration,
from her
Misia Sert and from Schiaparelli, the Italian, as Chanel scornfully called her.
outfits.
'best friend'
Coco Chanel
designs for Harper's Bazaar. Legendary all-round genius Christian Berard also
amongst
this circle
the
work of
company he kept -
it
such as La Belle
art,
et la
loutish genius
for films
film.
The
maintained their distance from the clique surrounding Cocteau. His affected
manner and
one
numbered
Beaton's
be
at
home
in
was
neither the
first
every sphere of
Horst's Paris
Raymond
art
And
and society
at
if
Horst, naturally
most elevated of
social circles.
parnasse, nor even Montmartre, but a distinguished residential area, the seventh, not far
from the
Eiffel
Tower and
its
11
far, either,
Palais-
terraces. Proust's
one
no
last
access.
who
Headed by
looked
down
Elsa
haughtily
on
moved
in circles to
which even
dinal.
his wife
whose
circle.
He was
Sometimes
many
and
car-
and
in the beige
a general
One
artist
and
Un Chien Atidalou.
futuris-
its
private concerts
Horst was friends with writer Louise de Vilmorin, with Julien Green and his
through his
had
home
tic
its
to chateaux. Cafe
met Count
sister
and,
arts.
Visconti:
start
of a
turbulent and subsequently lifelong friendship. Janet Planner, Paris correspondent until the
war
New
Yorker,
became an important
friend;
appeared, lauding the mastery of his pictorial composition and daringly tracing
his earlier
steel.
At
all
movement's
aesthetic.
events,
Man
right or
for the
many
Surrealist
first
back
to
wrong.
time.
others besides.
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
sell
hands, gloves and roses, the alchemistic glass balls he used to advertise cosmetics - these
are
all
Surrealist
works of
art.
Two
shapely
even
softer
by
a cream, are
12
lovelier,
slightly
lier
macabre memory of the anatomical waxworks which toured the fairgrounds of ear-
days. Schiaparelli,
inside a frame, as
if
who
in a mirror.
He photographed
woman
in
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
it
on
is
He
folds,
New
is
not conceited.
York or
a personal
Paris studio.
He was
also
light
select dar-
he creates an atmosphere,
photograph against a
to
details.
illusionist.
is
tall stilts,
He
like that.'
sublime cascade of
her, in a
Horst
Above
one of the
chair, a
con-
with plaster casts of antique statues, with consoles which in truth are merely boards, trans-
formed through
elegance.
The modern,
oughly fashionable
work so
Edward
Steichen's
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,
In
Huene's studio
god on
rolls
men
An
home
in Paris, in
no sym-
later
as the
13
is
blond young
later pictures
by
Did he
Horst.
dom
leafs
inherit
He
is
parallel
sel-
critical
first
prints,
is
began with an
been photographed
it
and
later
armchair
is
illusion.
we
madcap motor.
dance?'
It is
impossible to
tell
sit
if
as
that the
if
tails,
wanted
to
model
mannequins. In the
and white,
floats in
inimitable.
evening dress
about to dash
off.
In a cabriolet or
wanted
flat
own
of her
Vogue's Paris
in
maestro, taken
some
in Kitzbiihel, for
at his
request in
New
14
He dragged
statues
Andy Warhol
and
his favourite
Coco Chanel,
Paris,
1937
New York,
dog along
Madame Jacqueline de
came
and not
enough
rests,
on the mantelpiece
to
Manhattan only
An
when
1953
when
still
Ribes,
elegant armchair
from an
became
He
is
no more
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
his casts
He
a classicist.
somewhere
loves linen,
way he
is
plas-
in the
for him.
He
He can photograph
sets.
lily,
He
ficult
Quartier Latin.
ta,
The home
the studio.
lighting.
fur,
whom
lilies,
wood,
taffe-
he captured
in
caressed by ostrich
15
He
is
a pupil of
is
tridge
He
a magician of colour.
Later, in the
a master of the
is
still life.
still life
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,
became
even fashionable
ues
One
a studio.
subtly exploited
- the
fact that
he consulted
plaster casts,
be
also
He
women
in the Louvre,
light.
rarely
movement, the
and
found
Italian prints,
in his
work.
He
with successful
stat-
For
results.
He
is
gance.
Horst's trademark
is
moves around
which
the
He
or
open up
the
wants to use
insists
comes the
lighting.
He
Then
the
model
gets dressed
It is
and
the lighting
touch of Art Deco. The Vogue people were constantly demanding more
nothing new,
constructivist, a
drama.
set,
that's
no
fixed rules.
light, to
light to
He employs shutters
on
a stage.
things, to
change
He
He
has
little
reduce
He
profile, a structure, a
detail of a silhouette.
When,
in 1978,
He succeeded
in obtaining the
16
He used
same
his
effects with a
>^
Vogue covers, photographed by Horst, 1936-41
^i
Vogue
and the
studio,
but with a
were
results
more freedom.
little
huge
success. Horst
'Fantastic',
spotlights. In Paris
A shadow
occasionally
falls
on
a bright
silhouettes of scissor-sharp
Horst uses no
filters.
He
no camera
more
and other
Two
New
York
the stu-
captured on film he
He can be
years ago, in a
worked with
shot. Usually
domain.
his
At the beginning he
details unwittingly
how-
his imitators,
artistic.
versatile RoUeiflex.
retouchers.
fetishist.
On
routine.
Among
background.
menace, supposed to be
is
many
is
to experienced
There
himself.
gallery, they
left
were
is
a flourishing trade
types.
What
ally
distinguishes a photo
moves
in closer to his
portraits are
by Horst
P.
fuller,
some
He developed
as
his
if
framed.
own
Many
of his
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
at
the
same
Such as Blumenfeld,
P.
who
And
sweeter.
Horst's era.
stylistic
He
is
pleas-
Vogue alone
extreme.
is
MGM
the other Vogue photographers who, like Horst, copied or were supposed to
style.
Nevertheless, Horst
18
is
It is
He
light.
tance from the camera, a distance which, together with his lighting,
ters.
is
The
differences
recognizable
at a
it
is
Of course,
glance.
it
represents.
many
portrait
is
even without
yet Horst
Photography
photos
it
Horst's
artist
it
and
Why
little
away.
He
Horst
and prox-
surface, wrote
intuitively recognizes
photography
and model.
is
P.
fil-
whether
impartial, objective,
essayist
And
American
flatters
what
lies
is
is
the
traits
Mona
Lisa smiling? In
He
How
showroom? She
chair
may
In the
lie
is
together.
called in
It
background
was
mannequin,
1946,
which she
will pick
artist friends.
No
'invited'
woman;
up
in the
Balmain
a small Picasso
gilt
indication of
all
He photographed
bob. She had been reduced to utter poverty, had only two cups
no
up
charges.
He
society lioness,
bol. Grief
on the
photograph
is
He photographed
surface,
all
The
the deeper.
rose
left.
is
society,
itself.
a rose
is
with the
now
No
vamp
surface.
'Sit
down'.
it
He
is
clear: this
is
19
moment
spirito, that
the
Arturo Toscanini,
New
Tamara Toumanova,
Yortc, 1941
Monte
at
Carlo, 1931
tograph the maestro twelve times without him noticing. Quite the opposite with Maria
Callas. In the
New York
played animal
trainer.
He was
air
published.
His
snapshot:
first
Monte
Cario, 1931.
Diaghilev's ballet
company was
was
steps.
sitting
on the
He
training.
clicked.
The Casino
also
rare.
He
beautiful
baby
who
huge gala
balls
either.
after.
hand on
modern
were no snapshots,
ballerina,
which
the back of the chair. Even his snapshots are controlled, far from the style of
ion photographers,
in
fash-
Horst
later.
His pictures of
to
come
to
his studio.
There
is,
however, one very distinctive type of Horst snapshot. The props and the
he photographed
in 1990,
it
light-
was when
whom
20
ballet
who
been
full
of
Or he
life.
kept him waiting too long after a show. The result could not have
bettered.
women
are solitary
and proud.
in his fash-
Sterling
Jacques
St.
in front
of the stu-
dio camera. 'Mangano looks out of the corner of her eye, her face partially shaded, her
Banier, thin-lipped
As
in Paris,
so later in
one. Aristocrats,
to
mention the
artists,
full lips.
New York:
Horst
That's
how
is
actors, singers
the tension
and other
celebrities
all
And
developed.'
crowded
in front of his
who, following
Lehmann
at her, in profile.
camera. Not
triumphs
their
in
New
Met.
someone who
is
not the
hobby, and he
York. In his
man
just
is
home
in
is
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
at
for
it
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
friends
had
and other
They were
American
trophies.
all
style,
his generation. At
another
He had
21
lost for a
in silver frames,
mean
trick.
on
He even
let
Garbo
go
portrait
On
by. Garbo, as
this particular
was
well
known, did
he pho-
guests, including Edith Sitwell, the eccentric with the face like thunder. But
hat, a
vague
profile
and
his
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
New
for a year in
The
a Parisienne.
first
York and
knew and
Paris.
loved
It
women
entrants.
Paris,
and he
didn't
P.
work
for
to forgo, at her
be photographed by Horst
invited to
New
a flight to
York, to
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
Madene
his
army
She came to
Dietrich.
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.
than she ordered dozens of prints. For he had succeeded in rendering her face young and
light
the matter
was
thereby closed.
Tom
my
to
sit
be told anything
different.
And
there they
and believed
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
the
Vogue.
He made an
colleague. Warhol
bedroom
who wanted
for Horst.
to
be ennobled by
his
acclaimed
Mapplethorpe,
who
learned so
Sam
much from
Wagstaff.
Horst,
was another
He bought
first
He was
story.
the friend
Horst photographed
prints.
at
home
in the
New
York
As they used
times, officially.
in
Long
mature
Island.
actress.
is
yet an actress
to
when he photographed
her
snapshot of the young Bergman, and an armchair pose for Vogue of the
He
ences
He photographed
Horst's motto,
- 'Always remain
to say in Weissenfels.
P.
who trooped
to the
movies
be photographed as a film
in their
Sunday
star.
23
'le
cinema'
silly,
and
sillier still
every
the audi-
woman wanted
camera
The Baron
later
went over
films
monocle
when the
art.
or with a corset.
Man Ray
was no
was
one
did
The
It
Moschino painted
photo
was
to
whom
be the
last
it.
It
woman
against
The
a large question
mark on
is
model's back.
his
tails
and top
think.
It
hat, there
corset, but
a corset before.
It
don't
it
wasn't
is
only
know how
Bather in
couldn't repeat
they had,
light in the
if
corset. Ingres'
light source.
it.
Even
was
subtle artist-photographer: a
came back
easy.
last
as Diefreudlose Gasse
his course.
With or without a
Irving Thalberg.
George Cukor.
to Weissenfels.
posed
the Louvre.
MGM's
One
like
and Metropolis,
wearing
visit,
in Paris
is
which
eroticism.
'I
worked
morning, packed
He
it
was
as
my
after
if
reaching
and
New York.'
for him.
24
was allowed
countesses,
maple
to
do
in the
He photographed
York, 1986
soldier, rapidly
no haute
leaf in a glass.
New
life.
Washington 1942.
other leaves, plants, barks, crystals: Patterns from Nature, 1944. At
giving a - very American - patchwork-quilt effect. 'They are intended to serve as inspiration for textiles, carpets, ceramics.'
He knew
Blossfeldt's
He won
the
war
as an
to publish his
book.
He was
poor
soldier.
artist.
again.
Vogue wanted
star
photography; the
this
The
editors
25
felt
artists
little
of
more
than an
assistant.
You had
to turn a fashion
to find the
by
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
life.
Girls
who were
young, beautiful, happy, spontaneous. At the same time, however, a dreadful prudishness
prevailed.
The
girl in
photographs were to be
attractive
A thousand compromises:
bathing fashions, but mannequins with towels over their heads, like mummies.
Horst was
friendly
tion,
and
now
even more concentration, from the model as well as the photographer. Colour, mean-
while,
had
come
also
into play.
tographed
in the street, as
rooms
by Richard Avedon
for
Models were
circle.
for
that
now
even Horst
also to
P.
be phoa
bus
at
in
The skyscraper
Does Horst
P.
all
banality, purified.
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
The
stars, as
Louise Brooks
Garbo, gazing mysteriously into the camera. Captured poses, divine images of the cine-
is
commands. The
star. 'I'm
in
to
naturalness.
the smile
on the
shadow
smiles.
supposed
common
artificial
He
lips.
is
hair.'
asks the
26
Horst
Horst,
P.
gown
is
he
says, in a mixture of
He can
often barely
still
who
recall
saw himself
as a society portraitist.
He
is
designed a
demand mled
Then came
the
Tenn's
Lisa Fonssagrives,
wife'.
movements
beautiful, her
perfect, for
He took
of nudes which were not published - and certainly not in Vogue. Horst
thete. In Paris
at
the time,
mous
he discovered Ludmilla,
his Lud,
initially
who was
living in a
is
Penn.
number
an extreme aes-
He worked
with Suzy Parker, the vivacious model, in Kitzbehel and elsewhere, includ-
in front of his
He wanted
Vogue.
new
face.
on one
not,
She
later
he
feels,
who
is
He was
for him.
camera would
screen.
thing.
showed
became
He met
the
condition: she
young countess
had
to
in society,
spoke
to her.
She
of his
girls
are
more
to
him than
From
way to
at
He
also has
rooms
flower beds.
people.
Renny
Side.
thereby
Or with only
lets slip
the heavens
an unintentional clue to
27
doormen -
where the
in the
his character.
middle,
curtains give
among
other
way
to Badgastein.
He earned
to
buy
huge
art
from
designs,
is
struction
to
walk
he had supervised
his
Paris
Picasso, for
taste lends
an accent
for
much
in
Tunisia
river.
sat.
Over
there,
dis-
its
his
own
whose con-
in the park.
Long
Tiffany, the
accurately,
plot of land in
is,
more
in his
Osbert Sitwell sat and were even photographed. Salvador Dali suggested surrealist plantations in the
was not
classical
enough
classic
green vegetation
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
full
he takes
of geraniums.
little
part in society
life.
His literary and personal association with English diplomat Valentine Lawford dates back
28
articles
and undertaken
New
Horst's house
long
trips.
type of family.
He
is
his factory, in
He
move
surrounded by
friends.
shirt
is
good
trace of
at
He
you need
to
Once
be as noble-minded as he
at
your
it.
wit.
own
American colours
He
is
you
is if
side.
now
in Paris,
concealing
terror.
in
New
his English.
sary a bow-tie.
he
He may
at
He
York.
He wears
cowboy
scarf,
if
is
a cor-
neces-
Or
Now
and again
a playful wink,
his
camera.
Horst's
buy
farmhouse
in Austria.
Then,
in 1962,
No
the commentaries.
Rooms were
artificial light.
to
No
A naked
so. At
one
on
gid
time,
beach would
at least
photograph
at
interiors
and
rich people.
who wrote
29
their
inhabitants.
He had
He showed
details,
nothing against a
disorder
little
at times: a
ken of the
acceptability of
'a little
the
theme of 'Wine
Roman
in Art'.
in his Paris
was American. He
He photographed
away?
it
his boldly
Even back
fresh,
whose second
stiffness.
chairs.
He
visited
Cy Twombly
aimmaging through
lifestyle.
in his
old
There are
the bric-a-brac in
worked almost
exclusively for
at
Horst
is
it,
New
York he manages
He
occasionally
to
still
works
still lifes,
in Paris, too. In
ognizable.
its
that,
on
that score.
how he
enjoys the scope of his professional activities more than ever. Advertising, with
He
as civilized as
the blue.
would seem
In the tumult of
does
is
It
And
lot
that's
Horst
P.
Horst.
He
is
itself.
a genius.
30
style are
still
is
natu-
instantly rec-
say,
New York,
1984/85
Still life,
Paris,
1933
Coco Chanel,
Paris,
1937
Paris, 1934
3 Mistinguett,
E^
5
Mme Jean
Paris,
1935
ball, Paris,
1935
Paris,
1939
9 Fashion shot,
New York,
1937
10 Lisa Fonssagrives,
New York,
1939
11
12 Joan Crawford,
New
York, 1938
13
'I
love you'
Paris,
1938
>
17 Helen Bennett, fashion shot, Paris, 1938
Paris,
1934
21
Evening
gown by
Mix,
Paris,
1938
22 Bette Davis,
New
York, 1938/39
23 Ginger Rogers,
New York,
1935
(left), Paris,
1933
26 George Hoyningen-Huene,
Paris,
1934
27 Fashion shot,
Paris,
1936
New York,
1938
29 Barbara Hutton,
New
York, 1939
30 Nude,
New
York, 1939
31
Cover
32 Nude,
New
York, 1940
33
Trompe
Voeii,
still life
with hat,
Paris,
1938
37 Noel Coward,
Paris,
1934
38 Cole Porter,
Paris,
1934
41
Carlo, 1932
42
Still life,
New York,
1937
New York,
1938
44
1939
'
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
New
York, 1940
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
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
still life,
New
York, 1945
65 Torso by Mestrovic
Metropolitan
66 Paulette Goddard,
New
York, 1942
67 Fashion shot,
New
York, 1947
68 Fashion shot,
New York,
1942
New
York, 1946
70 Alicia Markova,
New
York, 1941
71
Mme Maxime de
la
1949
72 Cecil
fashion shot,
New
York, 1948
New
York, 1948
%,^imn'
j'.'a^^
msstr^ssmn
New
York, 1948
New York,
1943
76 Harry
S.
77 Edith
Sitwell,
New
York, 1948
Iran,
1949
New
York, 1941
New York,
1946
Paris,
1946
83 Gertrude Stein
at a
in the
Paris,
85
Still life,
New York,
1946
City,
1941
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
New
York, 1947
at
the
Innsbmck, 1951/2
98 Shepherd boy,
Iran,
1949
99
Dome complex
of the Ali
Kapu
New York,
1953
101
Nude,
New
York, 1953
New
York, 1943
set,
New
York, 1953
105
Lillian
New
York, 1950
New
York, 1951
York, 1951
108
Still life,
/ 1
w\
w
#
'^b
110
Still life
with
tulips,
C-.1950
New
York, 1951
^s^
^^^H^^^^^^^^^^^j^^^^^^^^^^H
^^^^^^B|B'
'
'^^?^^l
^fefe
^iB*"7^F
f^^H|HL|<.;
^^^^^^^^^^^^^K
?-
MjtK^^II^K^
^.KVilii^
^^^
i^^lC_>
'^
New York,
1952
New York,
1957/58
118
Lilli
Palmer,
New
York, 1950
4
P>l
Paris,
1958
New
York, 1953
121
New
York, 1951
New
York, 1951
at Dior's, Paris,
1958
125
Giacomo Manzu,
in his
garden
at
New
York, 1950
later
Radziwill,
131
In
132 Cy
Twombly and
Rome, 1965
Nymphenburg
Palace
135 Franco
Zeffirelli,
New
York, 1961/62
New
York, 1965
137
Still life
New
York, 1963
i
^^u..
A.
140
141
Marienburg
New
York, 1965
143 Tatiana, Princess Moritz of Hessen and her horse, Panker Palace, Liitjenburg,
Holstein, 1967
ab.
iteilhlia
..*"**(
New
York, 1962
146 Papier-mache
iris,
New
York, 1968
New York,
1961/62
V'^,''",-.>;g'rr
New
York, 1963/64
150
St Basil's
Cathedral,
St.
Jacques,
New
York, 1970
New
York, 1979
New
York, 1977
156 Gilbert
&
p!?W?S?W"."f
Hampton,
New
York, 1978
"'! !-'.'Ji."':'"J'J.'J!!J5g'
New
York, 1988
161
Shoulder bags,
Paris,
1979
162
New
New York
Martins'
City Ballet, in a
New
York, 1979
for Peter
167 Nude,
New
York, 1982
New
York, 1984
170
Tom
Wolfe,
New
York, 1983
171
New
York, 1985
173
Still life,
New
York, 1988
New
York, 1979
New
York, 1982
178
Still life,
179
New
York, 1979
181
Erte,
Barbados, 1986
New
York, 1988
Paris,
1979
184 Yves Saint Laurent, in his country house near Deauville, 1986
New
York, 1983
in his
New York
apartment, 1984
New
York, 1982
188 Perry
Ellis
fashions,
New York,
1982
\
"^^^^kJilfe-^
New
York, 1987
Paris,
1984
191
Lingerie fashions,
New
York, 1983
gown by
New
Yorl<,
1982
New
York, 1985
suits, Paris,
1978
200 'Study on
ivory',
New
York, 1982/83
201
Nude with
article
on ready-to-wear
S^'?!,
Paris,
}-
1979/80
New York,
1984
in
her
New York
apartment, 1981
New
York, 1984
New
York, 1983
208
Still life,
BIOGRAPHY
Bohrmann and
Bohrmann born
is
is
member
Max
thriv-
in 1920;
On
1914
is
in Weissenfels to
buy
in
is
Through
made
called
to serve
on the Western
in
Weimar
he
is
soon
He spends
at
the
a meeting
at
the
daughters of wealthy
Hamburg Kunstgewerbeschule.
Hamburg
families,
Darboven, daughter of the coffee importer. Horst writes to Le Corbusier, asking him
ticeship in his Paris architectural office.
is
is
there include
up
in 1918.
Friends
a car.
artists,
ments
is
such as Mirzel
for
an appren-
Le Corbusier agrees.
visits
many
galleries
He spends
He makes friends
and museums.
the
summer
He meets
in Beriin as the
guest of brother and sister Francesco and Eleonora von Mendelssohn; highly cultured and musical,
273
Huene.
Among others
they
visit
the
Ashcombe home
in the
Max
Reinhardt Ensemble.
In the winter
he
Horst
England with
travels to
who
is
work-
1931
Voguehegins
in the spring,
New
first
York.
work
photo appears
Mehemed Agha,
photographer
as a
in the
art director
in Vogue's
of Vogue
Paris studio.
travels to the
His
South of France
with Huene.
1932 At the beginning of the year Vogue pubMsher Conde Nast invites Horst to work for him
USA
months.
for six
months
He
the
in
arrives in
New
York
in the spring.
Huene's house
in
Hammamet,
Dismissed by
to differences of opinion.
From
the
autumn he
stays
Plume d'Or
New
in the
Yorker.
1934 In February Horst works in England: photographs of Noel Coward and Yvonne Printemps.
Portraits of Lisa Fonssagrives,
Vogue
in Paris.
at
invites
him back
to
New
York.
by a holiday
Returns to
at
New York
at
Short trip to
to Paris
Kammer on
is
followed
the Attersee.
autumn.
in the
York
in Paris.
Kammer
with
Huene
at the
in July;
start
of a lifelong
New
autumn.
at
first
New
in Sutton Place,
Schloss
Kammer
in
exhibition in the
York. In
New
summer he meets
September.
USA -
portraits
274
in
New
in
York.
Germain
Cocleau
York
in
in Paris.
In July
11
December:
1942 In the
Horst
is
in
New
Hitler
summer
called
up
IKS citizenship.
by basic
receives
and Jean
1941
he stays
in
is
first
US army. Death
citizenship as Horst
posting
is
to
Camp
sworn
in
Horst.
P.
of
US
States.
is
for
1944
in
New
is
still
York.
Work
for the
weekly magazine
book,
first
Outfit,
and
for
Yank.
when he
is
new
new
Cecil
S.
in Paris.
He meets many
2l
collection of plant
in
New
still lifes.
of building himself a house in Oyster Bay, Long Island, and settling there, takes on concrete shape.
1947 Horst moves into the house in Oyster Bay. Christian Dior, Niki de Gunzburg and Salvador
Dali are
among
New York.
the
In the
first visitors.
summer he
travels to Paris
to Oyster
Bay
in
meets
British
and Lawford
travel
275
through Arizona,
is
New
Sert,
Jean Cocteau
visited there
by
Cecil
to
London and
1948
Goes
1949
In July Horst
to
Damascus, Dera
lowed by
and Lawford
(Syria),
1950 Second
Embassy
to
autumn spent
Part of the
trip to Iran in
in Iran, fol-
lat-
in California.
In the region
there.
visits to
Paris.
who
is
working
at
the British
between Chalus and Gurgan, near the Soviet border, they are twice
1951
York
Coco Chanel
studio; the
visits
photographers
now work
in their
own
ateliers.
down
travels to
Rome and
New
ously occupied by the painter Pavel Tchelitchew on the East Side to use as a studio. In
he
its
December
Kitzbiihel.
He
first
war. In February he returns to Paris to photograph the spring fashions for Vogue. In
March he pho-
work
for
summer
in the
Luchino Visconti.
An
in the Tyrol.
summer.
On
homes
his
in
Germany and
in January. In the
Austria, then
in the
in Italy.
He
visits
Visconti in
Bergman
Rome.
in Paris.
Large exhibitions in the USA: travel photography in the Country Art Gallery, Long Island, and
summer
Horst works in
Germany and
Austria. In
the Tyrol.
276
at the
October he buys
mountain farm
in
1960
Advertising
work
New
September he returns to
1961
in Florida.
York
his farm.
In
Amsterdam.
via
Diana Vreeland becomes editor-in-chief of American Vogue. She spurs Horst on to tackle an
entirely
new
area; series of
photos
neady
all
become one
1962 January: advertising photos in Florida and Hawaii. In February Horst sets off on a two-month
round-the-world
trip:
he goes
to California, Japan,
series begins in
Hong Kong,
1963 In January
first film,
Paris
Huene
ne Leopard.
1964
visits
Horst
tographs
a special edition
at
December he works
in
is
Visconti's
own house
in
in
in
March he pho-
and Cy Twombly
in
commissioned by Vogue
Vogue;
in
Hawaii.
York premiere of
on Denmark.
New
in Florence.
In
Copenhagen working on
to Italy
in
visits
series.
Coco Chanel
in Paris.
He
Germany, France,
last time.
1968 Publication of Vogue's Book of Houses, Gardens, People with photos by Horst and text by
Valentine Lawford.
Venice
when he
Several trips to France and Italy for Vogue in the spring/summer. Horst
277
is
in
1969
1970 Work
1971
Rome and
Paris.
trips to
which contains
spent in Normandy,
portraits
Coco Chanel
It is
published a year
down
1972
up
chiefly with
book, Salute
work
for
Italy.
Due
to the Thirties,
later.
dies in January.
his
celebrities series
he
to pressure of time
is
forced
stills
In
June he
travels to Istanbul
and
Romania where he photographs many of the old frescoed churches and monasteries
in
1973
Douglas Cooper
1978
Several
spends a week
Switzerland.
at the
work
in
art
historian
trip to
1977 Exhibition
Bordeaux and
chateau in Provence.
in his
visits
at
the
Sonnabend
Andrew Crispo
trips to
Gallery,
Gallery,
New York.
New York.
House and Garden.
TV
Paris
In
August he
in
haute couture
for
to
French Vogue
in
Santo
Domingo
In
September he
November he
also
now for
Italian
travels to
Morocco:
Vanity Fair
278
Yves
Saint
New York.
portraits of
Exhibitions
at
the Neikrug
and
American
Staley
Wise
in
New
York.
famous
later,
is
published,
New York,
fol-
portraits of
Center of Photography.
1985
May-July: the 'Horst - Photography 1931-84' exhibition in the Foituny Palace, Venice.
Richard
J.
Tardiff
becomes
1987 Exhibitions
at
at
Horst's manager.
the Stadtmuseum,
(November 1987-January
1988).
in
London
Hamburg (Museum
fiir
at
Toronto (October).
1989 In April Horst receives an honorary doctorate from the University of Bradford. Exhibitions
at
Hamilton's in London, the Fahey/Klein Gallery in Los Angeles (May) and the Holly Solomon
Gallery,
New York
1990 Exhibitions
at
(July).
Gallery, Toronto
(October). Exhibition of platinum prints of his photos from 1935 to 1989 in the Fay Gold Gallery,
Atlanta, Georgia
(December 1990-January
1991).
Mode
in the Louvre.
279
Musee des
Arts
de
in Stuttgart in 1941,
a dramatist,
now worked
decade as
editor
and
is
more than
on themes such
periodicals
fashion.
for
a regular contributor to
He
Germany
he has
a television
German
as opera, ballet
and
Paris
Hollywood
stills.
He
lives in
Wiesbaden and
New
Paris.
York:
APPEARANCES
Fashion Photography Since 1945
Martin Harrison
DAVID SEIDNER
Patrick Mauries
MAN RAY
Bazaar
Years
John Esten
THEATRE DE LA MODE
Susan Train, Edmonde Charles-Roux,
Herbert
R.
Katell le Bourhis
UGO MULAS
Introduction by
Germane
Celant
Printed in
10010
Germany
ISBN 0-8478-1389-4
90000>
780847"813896