Photos - Fotos: Horst P. Horst - Part 1 - 16 photos - Bio data in English y espanol - Links
Posted by Ricardo Marcenaro | Posted in Photos - Fotos: Horst P. Horst - Part 1 - 16 photos - Bio data in English y espanol - Links | Posted on 15:14
Horst P. Horst - Hats
Horst P. Horst - Nude
Horst P. Horst - Cigarette
Horst P. Horst - Gloria Vanderbilt age 17 - NY 1941
In the history of twentieth-century fashion and portrait photography, Horst's contribution figures as one of the most artistically significant and long lasting, spanning as it did the sixty years between 1931 and 1991. During this period, his name became legendary as a one-word photographic byline, and his photographs came to be seen as synonymous with the creation of images of elegance, style and rarefied glamour.
Born on 14 August 1906, Horst Paul Albert Bohrmann was the second son of a prosperous middle class Protestant shop owner, Max Bohrmann and his wife, Klara Schoenbrodt.
...
The first pictures that carried a Horst credit line appeared in the December 1931 issue of French Vogue. It was a full-page advertisement showing a model in black velvet holding a Klytia scent bottle in one hand with the other hand raised elegantly above it... Horst's real breakthrough as a published fashion and portrait photographer was in the pages of British Vogue... starting with the 30 March 1932 issue showing three fashion studies and a full-page portrait of the daughter of Sir James Dunn, the art patron and supporter of Surrealism.
...
War was declared between America and Germany on 7 December 1941. Horst was called up for service, though he was not officially enrolled until July 1943. The late 1930s and early 1940s were his most productive years, during which he excelled at working with 10-x-8 inch colour transparencies both for covers and for portrait and fashion sittings...
As a typical example of wartime escapism, the Rita Hayworth film Cover Girl (1944) provided Horst with the opportunity to produce one of his most sumptuous film-star covers in a montage of seven different portraits of the cover girl Susann Shaw set against a silk design. His picture of Loretta Young became an almost immediate classic when it was featured in a special edition of Vogue which included masterpieces of photography selected by (classic photographer Edward) Steichen to show off the first hundred years of the medium.
...
Pictures taken in Europe in the 1950s, away from studio interference from the new Vogue editor, had a startling plein-air quality. They ranged from Ian Fleming shot at Kitzbeuhel to an extended essay on the German conductor Herbert von Karajan in his modern sports car at his Austrian retreat... Horst's first important trip to Austria occurred in 1952, to work on a major advertising campaign with the new model Suzy Parker, who would become a major star in the 1960s before attempting a film career. In America that same year, he took his first lifestyle house and interior photographs; the sitter was Consuelo Vanderbilt, Duchess of Marlboro and now MMe. Jacques Balsan. This series, encouraged by Diana Vreeland during her time at Vogue, was to continue into the 1980s in both Vogue and House and Garden and was to be collected in the book Horst: Interiors by Barbara Plumb (1983).
...
The 1960s started well for American Vogue with the appointment of the larger than life 'Empress of Fashion', Diana Vreeland, as Editor-in-Chief. Vreeland served from 1961 until 1971, when a change of approach was deemed necessary. Horst was assigned some of the leading players of the time and produced a number of archetypal images of this energetic decade.
...
The 1970s remains the decade that good, timeless style overlooked, and work for Horst was necessarily sparse... However, Horst's rediscovery by a new group of 1980's style-seeking enthusiasts resulted in increasing commissions...
Horst was commissioned to take nine photographs which appeared in February 1980. This was the most popular issue of Life in that year, selling 1.5 million copies. It led to a book contract and continued work with (editor James) Watters, whose encyclopaedic knowledge of early Hollywood stars made him the ideal interviewer as the two men travelled round America to produce their best-selling book Return Engagement: Faces to Remember - Then and Now (1984).
...
Horst' career can be said to have reached Old Master status when the world's most famous pop goddess, Madonna, created her celebrated hymn to classic fashion photography with her single Vogue in 1990. In the video directed by David Fincher, she posed as a recreation of Horst's most iconic fashion image, a model seen from behind, wearing a partially tied, back-laced corset made by Detolle.
...
In his approach to portraiture, Horst set out to create a parallel aspirational universe in which his subjects became mysterious and alluring. Bruce Weber, one of many photographers influenced by Horst, artfully described his feelings about Horst's work in a 1992 television documentary: 'The elegance of his photographs ... took you to another place, very beautifully ... the untouchable quallity of the people is really interesting as it gives you something of a distance ... it's like seeing somebody from another world ... and you wonder who that person is and you really want to know that person and really want to fall inlove with that person'.
-- excerpted from Terrence Pepper's essay "Always in Vogue" from the book Horst Portraits, 60 Years of Style. National Portrait Gallery, London, 2001
Taken from his site
Born on 14 August 1906, Horst Paul Albert Bohrmann was the second son of a prosperous middle class Protestant shop owner, Max Bohrmann and his wife, Klara Schoenbrodt.
...
The first pictures that carried a Horst credit line appeared in the December 1931 issue of French Vogue. It was a full-page advertisement showing a model in black velvet holding a Klytia scent bottle in one hand with the other hand raised elegantly above it... Horst's real breakthrough as a published fashion and portrait photographer was in the pages of British Vogue... starting with the 30 March 1932 issue showing three fashion studies and a full-page portrait of the daughter of Sir James Dunn, the art patron and supporter of Surrealism.
...
War was declared between America and Germany on 7 December 1941. Horst was called up for service, though he was not officially enrolled until July 1943. The late 1930s and early 1940s were his most productive years, during which he excelled at working with 10-x-8 inch colour transparencies both for covers and for portrait and fashion sittings...
As a typical example of wartime escapism, the Rita Hayworth film Cover Girl (1944) provided Horst with the opportunity to produce one of his most sumptuous film-star covers in a montage of seven different portraits of the cover girl Susann Shaw set against a silk design. His picture of Loretta Young became an almost immediate classic when it was featured in a special edition of Vogue which included masterpieces of photography selected by (classic photographer Edward) Steichen to show off the first hundred years of the medium.
...
Pictures taken in Europe in the 1950s, away from studio interference from the new Vogue editor, had a startling plein-air quality. They ranged from Ian Fleming shot at Kitzbeuhel to an extended essay on the German conductor Herbert von Karajan in his modern sports car at his Austrian retreat... Horst's first important trip to Austria occurred in 1952, to work on a major advertising campaign with the new model Suzy Parker, who would become a major star in the 1960s before attempting a film career. In America that same year, he took his first lifestyle house and interior photographs; the sitter was Consuelo Vanderbilt, Duchess of Marlboro and now MMe. Jacques Balsan. This series, encouraged by Diana Vreeland during her time at Vogue, was to continue into the 1980s in both Vogue and House and Garden and was to be collected in the book Horst: Interiors by Barbara Plumb (1983).
...
The 1960s started well for American Vogue with the appointment of the larger than life 'Empress of Fashion', Diana Vreeland, as Editor-in-Chief. Vreeland served from 1961 until 1971, when a change of approach was deemed necessary. Horst was assigned some of the leading players of the time and produced a number of archetypal images of this energetic decade.
...
The 1970s remains the decade that good, timeless style overlooked, and work for Horst was necessarily sparse... However, Horst's rediscovery by a new group of 1980's style-seeking enthusiasts resulted in increasing commissions...
Horst was commissioned to take nine photographs which appeared in February 1980. This was the most popular issue of Life in that year, selling 1.5 million copies. It led to a book contract and continued work with (editor James) Watters, whose encyclopaedic knowledge of early Hollywood stars made him the ideal interviewer as the two men travelled round America to produce their best-selling book Return Engagement: Faces to Remember - Then and Now (1984).
...
Horst' career can be said to have reached Old Master status when the world's most famous pop goddess, Madonna, created her celebrated hymn to classic fashion photography with her single Vogue in 1990. In the video directed by David Fincher, she posed as a recreation of Horst's most iconic fashion image, a model seen from behind, wearing a partially tied, back-laced corset made by Detolle.
...
In his approach to portraiture, Horst set out to create a parallel aspirational universe in which his subjects became mysterious and alluring. Bruce Weber, one of many photographers influenced by Horst, artfully described his feelings about Horst's work in a 1992 television documentary: 'The elegance of his photographs ... took you to another place, very beautifully ... the untouchable quallity of the people is really interesting as it gives you something of a distance ... it's like seeing somebody from another world ... and you wonder who that person is and you really want to know that person and really want to fall inlove with that person'.
-- excerpted from Terrence Pepper's essay "Always in Vogue" from the book Horst Portraits, 60 Years of Style. National Portrait Gallery, London, 2001
Taken from his site
Horst P. Horst – Birthday Gloves, New York, 1947
Horst P. Horst - Round the Clock New York, 1987
Horst P. Horst - “Seafood Girl from The Dream of Venus 1939
Horst P. Horst - Photograph from Vanity Fair
Horst P. Horst - September 15, 1939
Horst P. Horst - Madonna Ciccone
Horst P. Horst - Odalisca sentada
Horst P. Horst - Eva With Rosa, 1988
Horst P. Horst - Model in woollen swimsuit between screens 1953
Horst Paul Albert Bohrmann, conocido como Horst P. Horst o sólo Horst (14 de agosto de 1906 - 19 de noviembre de 1999), fue un fotógrafo alemán conocido por su fotografía de modas. Emigró de Alemania primero a París y posteriormente a Estados Unidos adoptando la nacionalidad estadounidense.
Desde que en su adolescencia conoció a Eva Weidemann en casa de su tía mostró interés por la vanguardia, en consecuencia se fue a estudiar a la Escuela de Artes de Hamburgo y en 1930 a París con Le Corbusier.1 Allí conoció a George Hoyningen-Huene que trabajaba en Vogue y con él viajó a Gran Bretaña donde entraron en contacto con Cecil Beaton que preparaba sus fotos para la edición británica de la revista. En noviembre de 1931 Horst publicó por primera vez en la edición francesa de Vogue.
Realizó su primera exposición en 1932 en el local La Plume d'Or de París y tuvo mucho éxito haciendo famoso a Horst tras la publicación de la crítica de Janet Flanner en The New Yorker. A partir de ese momento realizó numerosos retratos entre los que se pueden destacar Bette Davis, Noel Coward, Yvonne Printemps, Lisa Fonssagrives, Natasha Paley, Cole Porter y Elsa Schiaparelli en el plazo de un par de años. En 1937 se trasladó a Nueva York donde conoció a Coco Chanel y se convirtió en el fotógrafo de la firma de moda durante treinta años.2
En 1943 adoptó la nacionalidad estadounidense y tomó el nombre legal de Horst P. Horst con el fin de no tener parecido en el nombre con Martin Bormann.2 Al enrolarse en el ejército estuvo trabajando como fotógrafo y la mayor parte de su obra apareció en la revista Belvoir Castle y al finalizar la guerra hizo un retrato de Harry S. Truman y se convirtió en fotógrafo de las diferentes primeras damas durante la postguerra. En 1947 se trasladó a una casa en Oyster Bay.
Es muy conocido por su fotografía de moda aunque también por sus fotografías de arquitectura, interiores y naturalezas muertas con plantas. Es el creador de algunas de las imágenes más famosas y reconocibles del estilo Art Decó, como su fotografía titulada The Mainbocher Corset, que es considerada un icono fotográfico.1 En su obra se nota con frecuencia la influencia del surrealismo y de los ideales de belleza en el clasicismo griego.3 En su obra se observa una gran planificación de las escenas y una utilización particular de la iluminación, así en la mayoría de los casos empleaba cuatro focos estando uno de ellos apuntando hacia abajo desde el techo. Realizó la mayoría de su trabajo en blanco y negro, sin embargo se limitaba a realizar la toma de la fotografía encargándose otras personas de su revelado, positivado, retoque y edición. Realizó también algunas fotografías en color, sobre todo de interiores; entre ellas se encuentran interiores diseñados por Robert Denning y Vincent Fourcade.
En el retrato hecho a Marlene Dietrich en 1942 ella protestó por la iluminación que tenía al tomar la fotografía, sin embargo le gustó el resultado final y empleo esa foto para su propia publicidad.
A partir de 1960 realizó una serie fotográfica para Vogue sobre el estilo de vida de los miembros de la clase alta internacional, con textos escritos por su compañero Valentine Lawford que era un diplomático inglés.
Murió en su casa de Palm Beach Gardens el 19 de noviembre de 1999.4
http://es.wikipedia.org/wiki/Horst_P._Horst
Desde que en su adolescencia conoció a Eva Weidemann en casa de su tía mostró interés por la vanguardia, en consecuencia se fue a estudiar a la Escuela de Artes de Hamburgo y en 1930 a París con Le Corbusier.1 Allí conoció a George Hoyningen-Huene que trabajaba en Vogue y con él viajó a Gran Bretaña donde entraron en contacto con Cecil Beaton que preparaba sus fotos para la edición británica de la revista. En noviembre de 1931 Horst publicó por primera vez en la edición francesa de Vogue.
Realizó su primera exposición en 1932 en el local La Plume d'Or de París y tuvo mucho éxito haciendo famoso a Horst tras la publicación de la crítica de Janet Flanner en The New Yorker. A partir de ese momento realizó numerosos retratos entre los que se pueden destacar Bette Davis, Noel Coward, Yvonne Printemps, Lisa Fonssagrives, Natasha Paley, Cole Porter y Elsa Schiaparelli en el plazo de un par de años. En 1937 se trasladó a Nueva York donde conoció a Coco Chanel y se convirtió en el fotógrafo de la firma de moda durante treinta años.2
En 1943 adoptó la nacionalidad estadounidense y tomó el nombre legal de Horst P. Horst con el fin de no tener parecido en el nombre con Martin Bormann.2 Al enrolarse en el ejército estuvo trabajando como fotógrafo y la mayor parte de su obra apareció en la revista Belvoir Castle y al finalizar la guerra hizo un retrato de Harry S. Truman y se convirtió en fotógrafo de las diferentes primeras damas durante la postguerra. En 1947 se trasladó a una casa en Oyster Bay.
Es muy conocido por su fotografía de moda aunque también por sus fotografías de arquitectura, interiores y naturalezas muertas con plantas. Es el creador de algunas de las imágenes más famosas y reconocibles del estilo Art Decó, como su fotografía titulada The Mainbocher Corset, que es considerada un icono fotográfico.1 En su obra se nota con frecuencia la influencia del surrealismo y de los ideales de belleza en el clasicismo griego.3 En su obra se observa una gran planificación de las escenas y una utilización particular de la iluminación, así en la mayoría de los casos empleaba cuatro focos estando uno de ellos apuntando hacia abajo desde el techo. Realizó la mayoría de su trabajo en blanco y negro, sin embargo se limitaba a realizar la toma de la fotografía encargándose otras personas de su revelado, positivado, retoque y edición. Realizó también algunas fotografías en color, sobre todo de interiores; entre ellas se encuentran interiores diseñados por Robert Denning y Vincent Fourcade.
En el retrato hecho a Marlene Dietrich en 1942 ella protestó por la iluminación que tenía al tomar la fotografía, sin embargo le gustó el resultado final y empleo esa foto para su propia publicidad.
A partir de 1960 realizó una serie fotográfica para Vogue sobre el estilo de vida de los miembros de la clase alta internacional, con textos escritos por su compañero Valentine Lawford que era un diplomático inglés.
Murió en su casa de Palm Beach Gardens el 19 de noviembre de 1999.4
http://es.wikipedia.org/wiki/Horst_P._Horst
Horst P. Horst
Horst P. Horst - Photo by Stathis Orphanos
Horst P. Horst - Horst with Valentine Lawford Photo by Stathis
Photos - Fotos: Horst P. Horst - Part 1 - 16 photos - Bio data in English y espanol - Links
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