The images that will be compared in this essay are Two Models at a Table by Baron Adolf De Meyer and Atelier Couture by Paolo Roversi.
Baron Adolf De Meyer is considered by many to be the founder of fashion photography. De Meyer was born in 1868 in Paris, France. He studied in Germany during a time when photography was being revitalized by increasingly vibrant and cultured artistry in photographic salons and exhibitions and by technical advances. In the 1890s, he was active in amateur pictorialist circles. In 1893 he joined the Royal Photographic Society and moved to London in 1895. In 1899, De Meyer married Olga Caracciolo. His marriage to Olga brought him the title of Baron and a position in London's society. Once inside these social circles,
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De Meyer was able to photograph many of the celebrities he met. At the beginning of World War I, De Meyer and his wife immigrated to the United States. After he arrived in New York, he was hired as Vogue's first full-time photographer in 1914. His celebrity portraits and elegant romantic fashion images were immediately successful. He produced soft focus images, which relied heavily on back lighting and of societys women in fashionable clothes. In 1922 he accepted the position of chief fashion photographer at Harper's Bazaar, which allowed him to return to Paris. De Meyer put his distinguishing mark on the magazine until 1929. He not only had revolutionized fashion photography through his magazine work, but modified the look and format of the magazine themselves. By the 1930’s De Meyer’s Pictorialist-inspired fashion photographs were considered outdated and he was forced to leave Harper's Bazaar in 1932. De Meyer returned to the United States in 1939. He spent his remaining years in Hollywood, where he died virtually unknown and unappreciated, in 1946. Paolo Roversi was born in Ravenna in 1947. His interest in photography was sparked as a teenager during a family vacation in Spain in 1964. When Roversi returned home he setup a darkroom and began developing and printing his own black & white work. In 1970, he started collaborating with the Associated Press also in the same year Roversi opened his first portrait studio photographing local celebrities and their families. In 1971, he met by chance, Peter Knapp, the Art Director of Elle magazine. At Knapp's invitation, Roversi visited Paris in November 1973 and never left. In 1974 British photographer Lawrence Sackmann took Roversi on as his assistant. Roversi assisted Sackmann for nine months before starting on his own with small jobs for magazines such as Elle and Depeche Mode until Marie Claire published his first major fashion story. In 1980 he received wide recognition for a Christian Dior beauty campaign. Also in that same year he started using the 8 x 10” Polaroid format that would become his trademark. The mid ‘80s fashion industry was very ardent about producing catalogues that allowed photographers to express creative and personal work. Today Paolo has a regular collaboration with the most interesting fashion magazines and fashion designers. Baron Adolph De Meyer revolutionized fashion photography at Vogue between 1913 and 1922.
Where once fashion photography was awkward and stiff, he introduced dreamy, beautifully lit works, to better to flatter his clients. De Meyer focused on light, differential focus, and tonal gradations as a means of conveying the emotional tone of the photograph. He began backlighting his models, using light to define the line of a jaw. He pioneered the use of artificial light, employing, mirrors, low flash, floodlights, and reflectors as techniques for achieving his wistful interior portraits and still lives. Paolo Roversi’s images are portraits that are both tender and respectful. Thanks to a wide knowledge of the history of photography his images are sometimes closer to work of the nineteenth century than contemporary fashion. If it wasn’t for Baron Adolph De Meyer fashion not have changed as drastically as it did. His work is inspiration for contemporary fashion photographers. The two images “Two models at a table” and “Atelier Couture” are very similar images even though they were taken almost ninety years apart. The two images both have a woman in the center looking at the camera, wearing a long and flowing white dress and a headpiece of some sort. Both images include a large amount of plant life and have a light and airy feeling to them. The two women who are looking at the camera even have similar facial
expressions. If it wasn’t for De Meyer’s visionary works fashion photography might still be stiff and awkward instead of the romantic images that they are.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
Louise Bourgeois and Constantine Brancusi were both two artists that had very abstract pieces of art. Though the two artists had very different pieces of work they also shared a lot in common. Bourgeois and Constantine both had very visually dramatic styles of art that focused on sexuality and reproduction in forms of the human body. In this paper I will be talking about both artists backgrounds and works as well as what they share in similiarity and the underlying message of their work.
For my assignment, I will be comparing the two pieces of art titled Louis XIV painted by Hyacinthe Rigaud and Portrait of Marie Antoinette With Her Children by Marie-Louise-Elisabeth Vigee-Lebrun. I will be analyzing and breaking down the different techniques used in both paintings and explaining the similarities between them as well. Though the paintings contain the same family throughout both, there is a clear imbalance in power and something very normal for this time period. I will be elaborating on the difference in social status between the two paintings, even though they are the same family.
I wander down the Hall of Mirrors in the French Palace of Versailles. Soon after I am thinking of the converse style, and recall that German Architect Mies van der Rohe has created the most simplistic a...
Gentileschi’s Judith Slaying Holofernes epitomizes the style of artwork during the Italian Baroque era. By using a Catholic subject and key elements and techniques essential to baroque art such as chiaroscuro and foreshortening, she was able to create a piece that gushes drama and realism. Without the use of all of these elements the effect would be lost, but instead the piece is one that moves the viewer with its direct and gritty realism of the religious subject, evoking emotion in a way that leaves the viewer in awe.
I chose to analyze the The Family, 1941 portray and The Family, 1975 portray, both from Romare Bearden, for this essay because they are very similar paintings but at the same time very different. To write a critical analyzes it was necessary to choose two different paintings that had similar characteristics. The text about critical comparison said that to compare things they have to be similar, yet different, and that’s what these paintings look to me. As I had already written an analysis of The Family, 1941 portray I chose to analyze and compare The Family, 1975 this time. Both works have a lot of color in it and through the people’s faces in the pictures we can feel the different emotions that the paintings are conveying.
T here have been many great photographers throughout history who have left their mark on the industry. Cecil Beaton is an inspiring fashion photographer from the 1930s. He was born in 1904 in Hampstead, England, he moved to London and continued to live there until his passing in 1980.
Gustavon, Todd. Camera: A History of Photography from daguerreotype to Digital. New York, NY: Sterling Publishing, 2009
According to the book entitled Ways of Seeing written by John Berger, the power of an image is extraordinary given that it can speak a thousand words. This has also been enhanced by the rapidly evolving technology that elicits more subconscious views about an image by anyone who sees them online or in real life. Some professional writers like Susan Bordo have emphasized that pictures of men often receive a wide range of negative tones or opinions due to the physiological effects that are fashionable to society or any other individual who approves or disapproves the beauty in a portrait of two men or women (Berger 38). This essay offers my opinion concerning the pictures of the Doloce and Gabbana, the gay Italian designers, as well as that of
Women in pictorial history have often been used as objects; figures that passively exist for visual consumption or as catalyst for male protagonists. Anne Hollander in her book Fabric of Vision takes the idea of women as objects to a new level in her chapter “Women as Dress”. Hollander presents the reader with an argument that beginning in the mid 19th century artists created women that ceased to exist outside of their elegantly dressed state. These women, Hollander argues, have no body, only dress. This concept, while persuasive, is lacking footing which I will attempt to provide in the following essay. In order to do this, the work of James Tissot (b. 1836 d. 1902) will further cement the idea of “women as dress” while the work of Berthe
The painting, in its simplest form, consists of a naked woman lying elegantly upon stately and rich cloths, while a young, also nude boy, is holding a mirror which contains her reflection. Upon first glance of this work, I was quickly able to make out the identity of the two subjects. ...
Individual items of Davinia’s image come from stock photographs.The mouse , the apple and the cocktail umbrella are common one.However,there are myriad of ways in which any animals ,prop,and fruits can be put together that would not have been inappropriately based upon the Pullover’s work yet Davinia has done so in a way which is very similar to Pullover’s photograph.The fact that,items such as mouse,cheese and umbrella are common to public but particular components and placement of the photo are unique to
...epth perception, and clear lines make Sebastians Still Life with Glasses seem real. Brushstrokes, unclear lines on the table, and distance not visible to the viewer but symbolic, make Jeans’ Still Life with Kitchen Utensils more of a work of art, than a depiction of what is real.Jean portrays a table in a house of a commoner and Sebastian, a table in the house of the wealthy. The viewer of both of these paintings, is himself of nobility. On the one hand he sees this lush kitchen table of Sebastians’ and relishes in his own wealth, but on the other, he seems separated from the poverty of Jeans table. The wealthy man has the grapes, but not the onions, not the wisdom of the poor that leads them to seek virtuous things rather than material objects.He is inevitably separated from both the pain of poverty, and the wisdom of the righteous not self seeking but humble man.
“ The paintings of Filippo Lippi are frequently characterized by two features: an interest in minimizing the divide between world, image and the presence of humor, both bodily and representational. Although these two aspects of Lippi's art might initially seem unconnected, this paper suggests that both can be associated with the use of scientific perspective. Lippi's spatial concerns can be understood as a reaction to the distancing of the iconic image that accompanied the invention of perspective.”
Fashion is an evolving subject. Fashion Photography, as Fashion itself has transformed too. The way Fashion Photography has changed a lot to what it was and what it is now. And yes it would have changed as a lot has transformed through the years of fashion. Fashion Photography’s meaning and representation has changed in a way that the image represents something that sometimes is not realistic, Photography as an illusion. Fashion Photography has changed in the way we look at it know, it has changed gender issues, sexuality, ethnicity and the way the body has been portrayed. So when looking at a fashion image you have a lot to think about if you want to fully understand the concept of it meaning. It’ not how it used to be, women/men in clothes, showing of the designers creations. But it has a hidden agenda, hidden word, a meaning that it is try to communicate to the viewers. The words in the image, the image are the words, words are hidden in the image or the image is the word are many ways of explaining how fashion image are seen and understood in today fashion photography.