Richard Avedon Dovima with Elephants, Evening Dress by Dior, Cirque d’Hiver, Paris, August 1955 Gelatin silver print, printed later. 25.6 x 20.1 cm (10 1/8 x 7 7/8 in.) Signed, numbered 77/100 in pencil, copyright credit reproduction limitation, title, date and edition stamps on the verso.
Provenance Private Collection, Europe Literature Harper’s Bazaar, September 1955, p. 215 Richard Avedon Photographs, 1947-1977, Farrar, Straus and Giroux, 1978, back cover and pl. 159 N. Hall-Duncan, The History of Fashion Photography, Alpine, 1979, p. 137 D. Bailey, M. Harrison, Shots of Style: Great Fashion Photographs, Victoria and Albert Museum, 1985, cat. no. 7 M. Harrison, Appearances: Fashion Photography Since 1945, Rizzoli, 1991, p. 73 Richard Avedon Evidence, 1944-1994, Whitney Museum of American Art/ Random House, 1994, p. 53 Richard Avedon Made in France, Fraenkel Gallery, 2001, n.p. Richard Avedon: Woman in the Mirror, Abrams, 2005, p. 37 Richard Avedon Photographs 1946-2004, Louisiana Museum of Modern Art, 2007, n.p. Avedon Fashion: 1944-2000, ICP/ Abrams, 2009, p. 137 Artist Bio Richard Avedon American • 1923 - 2004 From the inception of Richard Avedon's career, first at Harper's Bazaar and later at Vogue, Avedon challenged the norms for editorial photography. His fashion work gained recognition for its seemingly effortless and bursting energy, while his portraits were celebrated for their succinct eloquence. "I am always stimulated by people," Avedon has said, "almost never by ideas." Indeed, as seen in his portraits — whether of famed movie stars or everyday people — the challenge for Avedon was conveying the essence of his subjects. His iconic images were usually taken on an 8 x 10 inch camera in his studio with a plain white background and strobe lighting, creating his signature minimalist style. Avedon viewed the making and production of photographs as a performance similar to literature and drama, creating portraits that are simultaneously intensely clear, yet deeply mysterious. View More Works
Richard Avedon Dovima with Elephants, Evening Dress by Dior, Cirque d’Hiver, Paris, August 1955 Gelatin silver print, printed later. 25.6 x 20.1 cm (10 1/8 x 7 7/8 in.) Signed, numbered 77/100 in pencil, copyright credit reproduction limitation, title, date and edition stamps on the verso.
Provenance Private Collection, Europe Literature Harper’s Bazaar, September 1955, p. 215 Richard Avedon Photographs, 1947-1977, Farrar, Straus and Giroux, 1978, back cover and pl. 159 N. Hall-Duncan, The History of Fashion Photography, Alpine, 1979, p. 137 D. Bailey, M. Harrison, Shots of Style: Great Fashion Photographs, Victoria and Albert Museum, 1985, cat. no. 7 M. Harrison, Appearances: Fashion Photography Since 1945, Rizzoli, 1991, p. 73 Richard Avedon Evidence, 1944-1994, Whitney Museum of American Art/ Random House, 1994, p. 53 Richard Avedon Made in France, Fraenkel Gallery, 2001, n.p. Richard Avedon: Woman in the Mirror, Abrams, 2005, p. 37 Richard Avedon Photographs 1946-2004, Louisiana Museum of Modern Art, 2007, n.p. Avedon Fashion: 1944-2000, ICP/ Abrams, 2009, p. 137 Artist Bio Richard Avedon American • 1923 - 2004 From the inception of Richard Avedon's career, first at Harper's Bazaar and later at Vogue, Avedon challenged the norms for editorial photography. His fashion work gained recognition for its seemingly effortless and bursting energy, while his portraits were celebrated for their succinct eloquence. "I am always stimulated by people," Avedon has said, "almost never by ideas." Indeed, as seen in his portraits — whether of famed movie stars or everyday people — the challenge for Avedon was conveying the essence of his subjects. His iconic images were usually taken on an 8 x 10 inch camera in his studio with a plain white background and strobe lighting, creating his signature minimalist style. Avedon viewed the making and production of photographs as a performance similar to literature and drama, creating portraits that are simultaneously intensely clear, yet deeply mysterious. View More Works
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