Private Collection, US
Phillips, New York, 1 April 2009, lot 31
Harper’s Bazaar, September 1955, p. 215
Famous Photographers Course Lesson 1-8, Westport: Famous Photographers School, 1964, p. 10
Avedon: Photographs, 1947-1977, New York: MET, 1978, back cover and pl. 159
N. Hall-Duncan, The History of Fashion Photography, New York: Abrams, 1979, p. 137
D. Bailey & M. Harrison, Shots of Style: Great Fashion Photographs, London: V&A, 1985, cat. no. 7
Richard Avedon: Evidence, 1944-1994, New York: Whitney Museum of American Art, 1994, p. 53
Richard Avedon: Made in France, San Francisco: Fraenkel Gallery, 2001, n.p.
Richard Avedon: Woman in the Mirror, New York: Abrams, 2005, p. 37
M. Juul Holm, Richard Avedon Photographs 1946-2004, Humlebæk: Louisiana Museum of Modern Art, 2007, n.p.
Avedon Fashion: 1944-2000, New York: ICP, 2009, p. 137, p. 37 (variants)
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.
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