Past Imperfect: Works on Paper

•02/08/10 • Leave a Comment

Photographer, Deborah Turbeville’s haunting images may not be to everyone’s liking. The squeamish might find her work offensive, conspicuous, disturbing, brazen and, yet, her compelling and controversial images are nearly impossible to ignore. I find them evocative, delicate and often dreamlike, conveying a narrative with a highly distinctive visual aesthetic that entices, seduces, and like that which can simultaneously inspire and repel — lingers.

Deborah Turbeville has been one of the world’s most important and recognized fashion photographers since the mid-1970’s when her atmospheric images of small groups of female models in evocative locations first appeared. Her New England upbringing gave her an appreciation of weathered and storied environments, which is still reflected in her work today.

Turbeville began her career working for the avant garde designer Claire McCardell, who she credits as a major influence, and then as a fashion editor for Harper’s Bazaar and Mademoiselle. She turned her interest from editing to photography, originating a highly distinctive style known for its soft-focus use of mise-en-scene and grainy, pointillist printing technique.

Turbeville’s vision is unorthodox–at once haunted and haunting. She creates those effects with the help of favorite actresses and models, largely unknown, acting as a repertory cast.

They interpret her endangered species, anachronisms, out of sync with their time and context, playing mutations in a mannequin workshop, statues in a Paris art school, and automatons in a derelict factory.

And they help to create a characteristic sense of fragmented dreams, of dislocation, hallucination and time without boundaries–the past imperfect.

Past Imperfect looks into the heart of Turbeville’s oeuvre, surveying her groundbreaking narrative work of 1974 through 1998, when she pioneered a look of antique decadence, using distressed film and prints to capture models as Miss Havishams in faded fin-de-siecle glory. Some 15 series, structured like short stories or novellas, encapsulate that unique sensibility and elegant aesthetic.

They remind the viewer, as one critic has written, of films they would have liked to have seen, and inspire comparisons to Luchino Visconti, Jean Cocteau, Rainer Werner Fassbinder and Joel-Peter Witkin.

Her influential, cinematic work appears regularly in American, British, French, Italian and Russian Vogues, and L’Uomo Vogue and W magazines, among others, and her work has been exhibited internationally. She has published several books, including her two most recent, Past Imperfect (Steidl, 2009), and Casa No Name (Rizzoli, 2009).

Staley-Wise
New York, New York
February 5 – March 20

 

 

Farewell 22 Jermyn Street (Eyrie Mansion)

•02/07/10 • 3 Comments

I had just settled in my easy chair when a key turned in the lock and a nattily-dressed man in his 60s let himself in. He held a bottle of Teachers’ scotch under his arm. He walked to the sideboard, took a glass, poured a shot, and while filling it with soda from the siphon, asked me, “Fancy a spot?”

“I’m afraid I don’t drink,” I said.

“Oh, my.”

This man sat on my sofa, lit a cigarette, and said, “I’m Henry.”

“Am I…in your room?”

“Oh, no, no, old boy! I’m only the owner. I dropped in to say hello.”

This was Henry Togna Sr. He appears in a Dickens novel I haven’t yet read. I’m sure of it. He appeared in my room almost every afternoon when I stayed at the Eyrie Mansion.

 


 

“I Met a Character from Dickens”
Roger Ebert,

Chicago Sun-Times
, February 5, 2010

 

 

A Touch of Halftime Class

•02/06/10 • 14 Comments

The republic’s annual distraction of rapacious “super-sized self importance,” as one of my more delightfully haughty friends used to sniff, is upon us, with the airwaves so fiercely inundated with Super Bowl hype, blitz and buzz, an aesthete has to seriously consider escaping it altogether or embracing it with a modicum of dignified gusto. With mammoth snows forecast in the east and recessionary nerves craving a bit of guilt-free jauntiness, I thought I might introduce a small semblance of sensibility into the equation by suggesting a few refined counter measures one might take to keep what marketers are hailing as “the last Tyrannosaurus roaming the Earth” in perspective.

First, a bit of reality. While I enjoy the game of football as much as the next, the program appearing on your over-sized wall mounted plasma screen TV is so far removed from the actual sport, one wonders if, like politics, being duped, manipulated and desensitized is seriously embedded in the national consciousness. With so much competition for air time between exorbitantly paid, stylishly suited, excessively caffeinated on-air talent bellowing out play by plays amidst mind-numbing statistics spliced against obscenely expensive ad messages, (ten yard penalty flag brought to you by Anheuser-Busch), and those over preening stage-struck ticket holders in the stands mugging for the camera, exhibiting all manner of sophomoric stunts, the world is reminded once again that we Americans are, in fact, something of a crass lot of people.

Lest you feel shame and remorse for the colossal vulgarity of it all, herewith, a small sampling of food, a common sense bit of etiquette and a cherished memory taken from another gourmand from the 1950’s when football was still a game of pass and catch.

I can think of no better role model for this day than our lady of the ladle herself – Julia Child who once declared “life itself” as “the proper binge.” Julia would have marked this day with friends, food, conviviality and, of course, a well-laden table, not a tricked out digital console, serving as her centerpiece.

My recommendation for the ideal accompaniment to football (in lieu of woefully unappetizing chicken wings and nachos) is Julia’s version of Bruschetta, made by Julie Powell in the film “Julie and Julia,” one of the more memorable culinary scenes in cinematic history. Ironically, the dish featured in the movie was not part of Julia’s repertoire, but was developed for the film by food stylist Susan Spungen.* Yet, with all due respect to the Master of French Cooking herself, I feel certain she and her beloved husband, Paul, would have relished a dish that drools down the chin.

 

Bruschetta the Julia Child Way

Ingredients:
1 loaf of quality rustic bread, sliced into one inch slices
1 clove garlic, peeled and halved
Olive Oil to coat your frying pan, or as much oil as you like!
An assortment of ripe heirloom tomatoes , cut into smallish chunks
Fresh basil leaves, torn or cut into pieces
Olive oil to dress the tomatoes
Salt (preferably Sea) and Pepper to taste
Grated Parmesan cheese – optional.

Method:

Mix the tomatoes and basil. Drizzle on olive oil and toss gently; then salt and pepper the tomatoes. The more salt you use, the more juice is released. Allow to marinate while you prepare the bread.

In a skillet, brown the bread slices in the olive oil on both sides, until it’s a nice golden color. Remove the bread from the pan.

Rub cut half of garlic over one side of fried bread so the garlic “melts” into the bread.

Place the toasted bread on a beautifully decorative platter or cutting board.

Spoon the tomatoes (with oil and accumulated juices) over bread. Top with chopped basil, Parmesan and more sea salt to taste.

Serve with plenty of napkins on hand along with wine, beer, and cocktails of choice.

It is hard to imagine a day free of friends when all the world is reminding you that you bloody well need them to share in this cataclysmic event of unsurpassed proportion. Even sports naysayers are condemned to participate through the sheer decibel levels of the collective national will.

While this aesthete is well aware of the group drink mentality that prevails at such gatherings, (each time hurricane Katrina is mentioned, drink one, each time they show Kim Kardashian in the stands, drink five), do make an attempt to err on the side of prudence for the sake of your reputation, your livelihood, future friendships, and marital tranquility. Nothing is more stunningly offensive or long remembered as a loquacious dipsomaniac, or to the more illiterately inclined, babbling drunkard.

Again, I defer to the quintessential high priestess of propriety in matters of decorum and behavior, Emily Post, who wisely advises abstinence when it comes to the art of conversation.

 

Emily Post on Conversation

“Don’t pretend to know more than you do. To say you have read a book and then seemingly to understand nothing of what you have read, proves you a half-wit. Only the very small mind hesitates to say “I don’t know.”

Stop and think what you are saying! This is really the first, last and only rule. If you “stop” you can’t chatter or expound or flounder ceaselessly, and if you think, you will find a topic and a manner of presenting your topic so that your neighbor will be interested rather than long-suffering.

Cynics say that those who take part in social conversation are bound to be either the bores or the bored; and that which you choose to be, is a mere matter of selection.”

And finally, a bit of old world charm from Christopher Kimball, editor and founder of Cook’s Illustrated magazine, who grew up during the 1950s in rural Vermont, where he spent many summers working as a farmhand. His most cherished memories were of the yellow farmhouse, where an eclectic gathering of workers met at noon for hearty meals of roast, potatoes, boiled greens, baking-powder biscuits, molasses cookies, and perhaps a pie. Some consider him the Julia Child of country cooking.

While the first Super Bowl wasn’t televised until January 15, 1967, and was known as the AFL-NFL World Championship Game (the term Super Bowl was officially anointed in 1970), simple games of football were being played all over dirt lots throughout the American landscape. Interestingly, from its earliest days as a mob game, football was considered a violent sport and was nearly banned in 1905 by President Theodore Roosevelt, who threatened to shut down the game for good unless changes were made to reduce death and injury. But suffice it to say that a board of well connected money grubbing jocks with dreams of former gridiron glory was assembled to intervene and … well, history tells the rest.

It was the spirit of those times in the 1950’s that say much about a softer, gentler way of life where simple ingredients were simply prepared and people found fellowship and warmth in the presence of each other.

Taken from The Yellow Farmhouse Cookbook.

”The Parlor seems smaller today than it did back in the 1950s. The faded green sofa where old Floyd used to hunker down with a cigarette hanging from his lower lip is gone, as is the sink with the hand pump and the dining table covered with the red and white checkered oilcloth, which was in use all day either for eating bread, or preparing dinner.

It was a busy room, never empty of visitors at any hour, really the town center for many decades. It is quiet now although I remember the stories told in the small parlor, tales that filled the room with a special cadence, a flash of wit, and a drawn-out adjective that spoke to the uncertainties of country living.

Perhaps most fondly I remember the smell of that parlor, the ripe scent of yeast, molasses, fresh bread, green wood, maple syrup, wood smoke and the pickled meats, a heady perfume that seeped into the wallpaper and floorboards and that remains today. It was a dark, still room, even in summer, since the closed windows were often steamed from the simmering water on the stove.

It was a world submersed in half-light, visitors appearing suddenly from the outside without warning, the sun at their backs, their approach having gone unnoticed. Marie Briggs was a short woman but sturdy, a good Vermont stock. With graying hair always turned in a bun, thick black framed glasses and sturdy black shoes. Like a well-conditioned athlete, she kept a steady pace all day, taking only two breaks, one for noon dinner and the other at four o’clock for tea, served with warm slabs of just baked country bread spread with a thick layer of rich yellow butter”.

However you choose to spend this nation’s de facto holiday, do it with verve, an abundance of joy, a dash of irony, and a few well practiced grimaces of wry amusement.

 

Photo (Top): The Roman Coliseum. Also known as the ancient version of television, a place of entertainment for the citizens of Rome. Today’s multimillion dollar stadiums of sponsored entertainment and gratuitous violence in the name of sport are the new amphitheatre of our times.

Photo: Emily Post by Miguel Covarrubias.

 

 

Irving Penn: Unpretentious Perfection

•02/04/10 • 7 Comments

“Sensitive people

faced with the prospect

of a camera portrait

put on a face

they think is one

they would like

to show the world…

very often

what lies behind the facade

is rare and more wonderful

than the subject knows

or dares to believe.”

Irving Penn, 1975

While the gloom of winter sets most in various postures of hibernation, this is truly the season of exhibitionism — from the catwalks of Paris to the galleries of New York. Yet if this aesthete could choose one exhibit to witness, explore, study and tuck away in the long remembered, it would be the ambitiously curated exhibit of famed photographer, Irving Penn Portraits, at the National Portrait Gallery in London, running 18 February through 6 June 2010.

Irving Penn put Marcel Duchamp in a corner, exposed Colette’s forehead and swaddled Rudolf Nureyev’s lithe body in layers of winter clothing. His subjects, who included many of the greatest creative talents of the 20th century, emerged from their portrait sessions with their carefully shaped personas profoundly shaken. Mr. Penn died on Oct. 7, 2009; he was 92. “RIP: Penn, The Grand Master,”

A courtly man whose gentle demeanor masked an intense perfectionism, Penn adopted the pose of a humble craftsman while helping to shape a field known for putting on airs.

Penn was a purist who mistrusted perfect beauty, which brought an engaging tension to his fashion photographs as well as his still lifes and portraits.

One of his best-known shots for Vogue in the 1950s shows an impeccably dressed model glancing sideways through a veil that covers her face, as if she wasn’t ready for her close-up. Lavish textures, the rich shadow and light became Penn’s trademark.

“What Penn does with an honesty that few of his peers can muster, is remind us that a body, rounded and grounded, is one of the more enthralling objects on earth,” Anthony Lane wrote in the New Yorker magazine in 2002.

What brought life to those portraits came from the people he photographed. Subtly, he captured human evanescence.

The results were what counted, Penn’s longtime boss at Vogue, Alexander Lieberman, told Vanity Fair. “A Penn photograph,” he said, “will always be a great photograph.”

“His very presence in the magazine each month is both humbling and ennobling for his younger colleagues,” Anna Wintour, the magazine’s editor, wrote in the July 2007 issue that honored Penn at 90.

The exhibition focusing specifically on Penn’s portraits of major cultural figures of the last seven decades, Irving Penn Portraits is a glorious celebration of his work in this genre.

The exhibition is brought together from major international collections and includes over 120 silver and platinum prints, many vintage, ranging from his portraits for Vogue magazine in the 1940s to some of his last work.

Penn photographed an extraordinary range of sitters from the worlds of literature, music and the visual and performing arts. Among those featured in the exhibition are Truman Capote, Salvador Dali, Christian Dior, T.S. Eliot, Duke Ellington, Grace Kelly, Rudolf Nureyev, Al Pacino, Edith Piaf, Pablo Picasso and Harold Pinter.

The exhibition will tour to Palazzo delle Esposizioni, Rome from 1 July to 19 September 2010. For the justifiably enthralled, you can reserve your own little piece of heaven right here. Book Online

Photos: Harlequin Dress (Lisa Fonssagrives-Penn), New York, 1950
The Irving Penn Foundation © Condé Nast Publications, Inc.

Marlene Dietrich, New York, 1948, Smithsonian Institution. Gift of Irving Penn

Cecil Beaton with Nude, New York, 1946, Irving Penn Foundation

Duchess of Windsor, New York, 1948, Irving Penn Foundation

Giselle Bundchen, 1999, Irving Penn Foundation

Model, Vogue, New York, Irving Penn Foundation

Alfred Hitchcock, New York, 1947, Condé Nast Publications, Inc.

Al Pacino, New York, 1995, The Irving Penn Foundation

Collette, Paris, 1951 Irving Penn/Conde Nast Publications

Jean Cocteau, Paris, 1948, Irving Penn/ Conde Nast Publications

Barnett Newman, New York, 1966

S.J. Perelman, New York,1962, Conde Nast Publications

Ingmar Bergman by Irving Penn, Condé Nast Publications, Inc.

Yves St. Laurent by Irving Penn, Conde Nast Publications, Inc.

 

 

On This Day

•02/03/10 • Leave a Comment

Gertrude Stein, Painted by Picasso, 1906

On this day in 1874, the writer Gertrude Stein was born in Allegheny, Pennsylvania. (books by author). Stein, a brilliant conversationalist, noted lesbian and lover of Alice B. Toklas, became a legend with her Roman senator haircut and verbal facility. When she was 30 years old, she moved to Paris and lived there for almost the rest of her life. She once said, “America is my country and Paris is my hometown.” She covered the walls of her house in Paris with paintings by Cézanne, Picasso, Renoir, Gauguin, and others. Her house became known as “The Salon,” and writers and artists came from all over to get advice and encouragement from her. Ernest Hemingway once said, “Gertrude was always right.”

 

FOOTNOTE: In Stein’s best known work The Autobiography of Alice B. Toklas (1932), which is actually her own autobiography, Stein described the painting (above) done of her by Pablo Picasso in 1906:

“Picasso had never had anybody pose for him since he was sixteen years old. He was then twenty-four and Gertrude had never thought of having her portrait painted, and they do not know either of them how it came about. Anyway, it did, and she posed for this portrait ninety times.

There was a large broken armchair where Gertrude Stein posed. There was a couch where everybody sat and slept. There was a little kitchen chair where Picasso sat to paint. There was a large easel and there were many canvases. She took her pose, Picasso sat very tight in his chair and very close to his canvas and on a very small palette, which was of a brown gray color, mixed some more brown gray and the painting began. All of a sudden one day Picasso painted out the whole head. I can’t see you anymore when I look, he said irritably, and so the picture was left like that.”

Picasso actually completed the head after a trip to Spain in fall 1906. His reduction of the figure to simple masses and the face to a mask with heavy lidded eyes reflects his recent encounter with African, Roman, and Iberian sculpture and foreshadows his adoption of Cubism. He painted the head, which differs in style from the body and hands, without the sitter, testimony to the fact that it was his personal vision, rather than empirical reality, that guided his work. When someone commented that Stein did not look like her portrait, Picasso replied, “She will.”

 

Interestingly, Picasso’s lover at the time, Fernande Bellevallée, had this to say of the subject of Picasso’s efforts, describing Ms. Stein thus: “Masculine, in her voice, in all her walk. Fat, short, massive, beautiful head, strong, with noble features, accentuated regular, intelligent eyes.” Alas. As Joyce Carol Oates once noted: “Ugliness in a man doesn’t matter, much. Ugliness in a woman is her life.”

 

 

Overheard

•02/02/10 • 3 Comments

British milliner, Stephen Jones.

On New Year’s Eve 1980,
Jones had his head shaved
by drunk friends,
leading him to discover
that without hair,
his head was a perfect
woman’s stock size.

Thus, he became
his own fit model,
developing all his ideas
and designs
upon one singular
favored head –
his own.

 

Photo: via Chateau Thombeau

 

 

This Day’s Notable Aesthetic

•02/01/10 • 10 Comments

There are moments when the aesthetic of a work of art, in this case, the magnificent gowns created by fashion designer, Charles James, is so perfectly scripted and showcased with that of the interpreter of the finished work, in this instance, the photography of the notoriously famed artiste, Cecil Beaton, that the result transcends the talent of both in creating something of breathtaking consequence. The original caption reads: Models in Charles James gowns in French & Company’s eighteenth century French paneled room. The Location: Manhattan, New York. The year: 1948.

Beautifully composed, wonderfully lit, one could be forgiven for thinking it a painting, so exquisitely is it rendered. Guided by uncompromising standards, both James and Beaton were highly sensitive to beauty and its artifice, so it’s doubtful that chance played any part in their endeavors.

James was known for creating three-dimensional structures that reshaped a woman’s body into an icon of femininity. Always placing ideals before practical considerations, he padded, lined, interfaced, boned and wired cloth and devised numerous construction techniques to build fanciful gowns that transformed women into visions of gracefulness and elegance. Born in comfort within Edwardian society, his paradigm of beauty drew heavily on the decorative aspect of nineteenth-century womanhood and the clothing construction of that era.

Beaton, on the other hand, was swept up with the worlds of high society, theater, and glamor and chose not only to heighten its magic and allure, but “stage” its transformation, if necessary, into the epitome of elegance, fantasy, romance and charm.

It’s significant to note that immediately following the Second World War, women’s fashion lost its practical, austere look and became increasingly feminine. The female figure was emphasized and gowns used copious amounts of fabric – unheard of in the previous decade where many commodities were rationed.

In Cecil Beaton’s Charles James evening dresses, none of the austerity and privation associated with the war is evident. Models are posed in an exquisite eighteenth-century interior. The gowns are constructed from the most luxurious and beautiful fabrics and display slight variations in design. Each model likewise exhibits a slight variation from an ‘ideal’ construction, her ‘hourglass’ body shaped according to fixed criteria of beauty, gender and fashion, typical of the new femininity in the post-war 1940s.

With the collaboration of these two artistic creators, one might conclude that nature subsided, while the aesthete and the poet entered.

Yet, these acts of creation were not always appreciated.

Critical of fashion photography’s fabrication of “the cosmetic lie that masks the intractable inequalities of birth and class and physical appearance,” the writer Susan Sontag suggested that, “by setting his subjects . . .in fanciful, luxurious decors, Beaton turns them into over explicit, unconvincing effigies”.  Beg to differ?

 

Charles James
Cecil Beaton
Susan Sontag

 

 

Four Followers of Caravaggio

•01/30/10 • 5 Comments

It is a well known adage that imitation is thought to be the highest form of flattery. Hence, it is not surprising nor uncommon for ardent flatterers and followers to emulate the works of masters throughout their own careers.

Consider The Lute Player, (above) for example, painted sometime between 1612 to 1620. Based on Michelangelo Merisi da Caravaggio’s painting of the same name (below), done earlier in 1596, it was widely accepted by many critics in the 18th and 19th centuries that due to the overt stylistic similarities between the two works, both were created by the famed Caravaggio, who had earned great notoriety for his revolutionary style and his unconventional process of painting directly from live models.

However, more recent scholarship secures the painting at top within the corpus of the considerably older artist, Orazio Gentileschi, a close associate of Caravaggio’s and one of the leading Caravaggisti in the second decade of the 17th century, who managed to mix key aspects of Caravaggio’s style with his own signature elements.

Gentileschi, one of four painters in Rome at the time, who assimilated Caravaggio’s style in their own distinct ways is one of the featured artists in the current exhibit, Four Followers of Caravaggio at The Art Institute of Chicago running through May 31.

 

Four Followers of Caravaggio
Paintings: Bottom, Caravaggio, The Lute Player (1596), Metropolitan Museum of Art
Paintings: Top, Orazio Gentileschi. The Lute Player, (1612/1620). National Gallery of Art

 

 


Caraggio, painted by Ottavio Leoni, c. 1621 A.C.

FOOTNOTE: MICHELANGELO MERISI DA CARAVAGGIO

As colorful and captivating as the masterpieces he created, so was the man himself. Caravaggio burst upon the Rome art scene in 1600 with the success of his first public commissions, the Martyrdom of Saint Matthew and Calling of Saint Matthew. Thereafter he never lacked for commissions or patrons, yet, like the temperamentally tormented genius he was, he handled his success atrociously.

He was notorious for brawling, even in a time and place when such behavior was commonplace, and the transcripts of his police records and trial proceedings fill several pages. An early published notice on him, dating from 1604 and describing his lifestyle three years previously, tells how “after a fortnight’s work he will swagger about for a month or two with a sword at his side and a servant following him, from one ball-court to the next, ever ready to engage in a fight or an argument, so that it is most awkward to get along with him.” Indeed.

In 1606, he is known to have killed a young man in a brawl and fled from Rome with a price on his head. In Malta in 1608, another brawl ensued, and yet another the following year in Naples, possibly a deliberate attempt on his life by unidentified enemies, which one could safely assume, were many. By the next year, after a relatively brief career and a tumultuous life, he was dead at thirty-nine years of age, amid much confusion and conjecture as to the causes of death.

Famous (and notorious) while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century that his importance to the development of Western art was rediscovered.

 

Biography of Caravaggio

 

 

“Not Quite Right”

•01/29/10 • 13 Comments

In the last month of the final year of the period aptly described as “The Decade from Hell,” I proposed a new feature based on author Peter Mayle’s (A Year in Provence) wonderfully informative guide “Acquired Tastes.” As one might suspect, Acquired Tastes is devoted to the little and not-so-little extravagances that make life worthwhile.

An excerpt from the jacket reads as follow: “Whether telling us where to buy the world’s best caviar or how to order a pair of thirteen-hundred-dollar custom-made shoes, advising us on the high cost of keeping a mistress in style or the pros and cons of household servants, he covers everything the well-heeled—and those vicariously so inclined—need to know to enjoy the good life.”

Now the skeptical might, rightfully, inquire as to why post instructions on the good life when there is so little bloody good to be had, but an appreciation for quality is rarely tied to wealth, but education. Who of us, after all, has not known an obscenely rich individual who displays vulgarity in all aspects of life — with impudence? While shouldering through a depressingly austere period of lack, why not develop a “prosperity consciousness” and train yourself in the ways of a discriminating connoisseur and practiced bon vivant.

For the Congenitally Rich

Something Is Always

“Not Quite Right.”

Expectations tend to increase in direct proportion to the amount of money being spent, and if you’re spending a fortune you expect perfection. Alas, life being the badly organized shambles that it so often is, and with so much of it dependent on the behavior of erratic equipment (servants), perfection is rare.

After a while, the rich realize this, and then they start looking for trouble. I’ve seen them do it.

Details that we would consider trivial assume enormous significance:

the breakfast egg is inedible
because it is marginally underboiled,

the silk shirt is unwearable
because of a barely visible wrinkle,

the chauffeur is insupportable
because he’s been eating garlic again,

the doorman is either
insufficiently attentive or overfamiliar –

the list of maddening blots
on the landscape of life
just goes on and on.

How can you have a nice day
if some fool
hasn’t warmed your socks
or ironed your newspaper properly?

 

Continue reading ‘“Not Quite Right”’

Lartigue’s Pursuit of Simple Pleasures

•01/27/10 • 6 Comments

A few “snaps” as one of the greatest photographers of the 20th Century, Jacques Henri Lartigue, called them for his personal album. He was rumored to have created one hundred and twenty such photographic albums.

While he was most famous for his stunning photographs of automobile races, planes and fashionable Parisian women from the turn of the century, (the sun-hatted beauty at top was the mesmerizing Renée Perle, Lartigue’s muse and wife) he was also known for capturing life’s simple pleasures.

He led a charmed life dedicated to the pursuit of happiness.

One might assume he found it.