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【女優マレーネ・ディートリヒ】UK Exhibition
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60 years of extraordinary fashion photos of German photographer, Horst
Declared the 'photographer of style', Horst was the man Hollywood sirens and fashion icons wanted to be snapped by.
Now, a retrospective of his work gives us all a peep at the pioneer of the colour photograph.
On display are some of the German-born artist's best known images, including stylised fashion photos, drawings and prints from his sixty year career.
There's nothing B-list about this pantheon of celebrities.
Horst P Horst was a favourite in Hollywood and with some like Marlene Dietrich, a professional relationship became a long friendship.
He was born in 1906 and christened Horst Paul Albert Bohrmann in Germany. He studied design with the founders of the Bauhaus School which would contribute to his future art work, and portraiture.
In 1930s Paris he became apprenticed to Le Corbusier the famous architect learning about structure and space.
Then a meeting with the star photographer Baron George Hoyningen-Huene dramatically shifted his life.
Horst learned his trade from a master of photography, enjoying the creativity in the world of Paris that surrounded him.
Brought to the attention of Vogue, Hollywood stars like Bette Davis and French designer Coco Chanel become part of his circle.
Here at London's Victoria and Albert Museum (V&A) hundreds of Horst's work is on show.
Exhibition curator Susanna Brown says: "Horst began photographing stage and screen stars in 1932. His first star portrait was of Gertrude Lawrence - it's a picture very much inspired by the art deco simplicity of the work of his colleague at Vogue Edward Steichen."
This simplicity also attracted artists like Salvador Dali.
Horst was also beginning to use his other early influences, such as classical sculpture and art.
His black and white nudes look almost sculptural.
Brown says: "To my mind he's someone who, although many of his images have become icons of 20th Century photography, the name 'Horst' isn't perhaps as well-known as it should be."
It's Horst's colour photographs for Vogue in America that are well known.
They are bright and bold and still carry a air of modernity.
Vogue's publishers Conde Nast have contributed volumes of treasured old magazines, but also its archived transparencies which have been used to create new prints.
Senior director Shawn Waldron helped to curate the collection.
He says: "Horst did a lot of colour work early on in the '40s and '50s, he was a pioneer in colour. But the thing about colour work is that there is no vintage print, so he would have shot it on transparencies, they made separations, they printed it in the magazine, and then the transparency was filed away in the archive and really hasn't been seen since."
It's interesting to hear that these beautiful colour photographs weren't necessarily aimed at the reader, or following demands of the photographer.
According to Waldron, it was about the advertisers:
"They spent a lot of money and years on researching and developing a way to produce colour. To show colour fashion in the magazine, but also as a way to entice advertisers at the time, during the Great Depression in America, where everyone was looking for an up. So that happened in the 1930s. And then in 1936 you get the development of colour film, comes out from Kodak and Agfa. So he was photographing colour as early as the mid-1930s."
Another interesting development in magazine artistry also appeared on Horst's watch.
This is the famous "Mainbocher Corset".
Statuesque it appears to conform with the classical ideal of beauty, but the loosened bodice hints at an eroticism which American Vogue considered to be too much for the reader.
The corset, which finally appears in the magazine, has been obviously airbrushed.
The outbreak of the Second World War forced Horst along with many other artists and writers to flee Paris for a permanent home in the United States.
Dropping the name Bohrmann he enlisted in the American army to gain citizenship.
After the war was perhaps the biggest event in Horst's life, he met British diplomat Valentine Lawford, who become his partner until Lawford's death.
Some of the exhibition is made up of this part of Horst's life.
He journeyed with Lawford to Syria and Iran where the ancient city of Persepolis had been discovered.
Brown says: "What we wanted to do was draw out the different strands of his career, you know those wonderful travel pictures from the Middle East, nature studies, still lives, Hollywood portraits, you know, there's so much more to his work."
Horst died in 1999, his life had spanned a tumultuous century, but this part of life was not reflected in his work.
The exhibition at the Victoria and Albert Museum runs from September 6, 2014 until January 4, 2015.
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AP Television
London, September 3, 2014
1. Close of black and white photo of Marlene Dietrich (Horst, 1942) at retrospective of photographer Horst P. Horst.
2. Close tilt up of black and white photo 'Round the Clock' (Horst, 1987)
3. Mid of 'Round the Clock' (Horst, 1987)
4. Mid of black and white photo of Joan Crawford (Horst, 1938)
5. Mid tilt down of Bette Davis (Horst, 1939) and Joan Crawford (Horst, 1938)
6. Mid of black and white photo of Ginger Rogers (Horst, 1936)
7. Mid of black and white photo of Irina Baranova (Horst, 1944)
8. Mid of black and white photo of Vivien Leigh (Horst, 1936)
9. Mid of black and white photo of Olivia De Haviland (Horst, 1936)
10. SOUNDBITE: (English), Susanna Brown, curator of photographs, Victoria and Albert Museum (V&A), National Collection of the Art of Photography:
"Horst began photographing stage and screen stars in 1932. His first star portrait was of Gertrude Lawrence - it's a picture very much inspired by the art deco simplicity of the work of his colleague at Vogue Edward Steichen."
11. Mid of black and white photo of Gertrude Lawrence (Horst, 1931)
12. SOUNDBITE: (English), Susanna Brown, curator of photographs, Victoria and Albert Museum (V&A), National Collection of the Art of Photography
"He went on to capture many great names from that golden age: Bette Davis, Marlene Dietrich to name just a couple."
13. Close tilt down of 'Dali Costumes' (Horst, 1939)
14. Mid of 'Dali Costumes' (Horst, 1939)
15. Mid coming into focus of black and white male nude (Horst, 1952)
16. Wide pan left of black and white male nudes series (Horst, 1952-3)
17. Medium coming into focus of black and white 'Agave Attenuata' (Horst, 1945) and 'Body Parts, Still Life' (Horst, 1989)
18. SOUNDBITE: (English), Susanna Brown, curator of photographs, Victoria and Albert Museum (V&A), National Collection of the Art of Photography
"To my mind he's someone who, although many of his images have become icons of 20th Century photography, the name 'Horst' isn't perhaps as well-known as it should be."
19. Close of Horst in black and white photo 'Horst and Lisa at Work' (Roy Stevens, 1949)
20. Wide of black and white photo 'Horst and Lisa at Work' (Roy Stevens, 1949)
21. Wide of Conde Nast director Shawn Waldron in front of 'Vogue in Colour' series
22. Close shifting focus of display cabinet of Vogue issues, tilt up to Shawn Waldron
23. Wide pan left of 'Vogue in Colour' series
24. Wide of 'Dinner Suit and Headdress by Schiaparelli' (Horst, 1947)
28. Close tilt down of 'Dinner Suit and Headdress by Schiaparelli' (Horst, 1947)
29. Wide of colour photos including Vogue Summer Fashion cover (Horst, 1941) and Dress by Hattie Carnegie (Horst, 1939)
30. Close tilt down of Summer Fashions cover for Vogue (Horst, 1941)
31. Close tilt down of Dress by Hattie Carnegie for Conde Nast (Horst, 1939)
32. Close defocus of colour photo of Muriel Maxwell for Conde Nast (Horst, 1939
33. SOUNDBITE: (English), Shawn Waldron, senior director, Conde Nast Archive:
"Horst did a lot of colour work early on in the '40s and '50s, he was a pioneer in colour. But the thing about colour work is that there is no vintage print, so he would have shot it on transparencies, they made separations, they printed it in the magazine, and then the transparency was filed away in the archive and really hasn't been seen since."
34. Mid of composite colour photo of Suzanne Shaw (Horst, 1943)
35. Close tilt up of Horst in black and white photo 'Horst and Lisa at Work' (Roy Stevens, 1949)
36. Close of camera lens of large format camera (c.1930s)
37. Mid of large format camera (c.1930s)
38. Close of camera stand, focus to 'Horst' label
39. SOUNDBITE: (English), Shawn Waldron, senior director, Conde Nast Archive
"They spent a lot of money and years on researching and developing a way to produce colour. To show colour fashion in the magazine, but also as a way to entice advertisers at the time, during the Great Depression in America, where everyone was looking for an up. So that happened in the 1930s. And then in 1936 you get the development of colour film, comes out from Kodak and Agfa. So he was photographing colour as early as the mid-1930s."
40. Close of side of corset in 'Manbocher Corset' (Horst, 1939)
41. Close of side of corset in Vogue edit of 'Manbocher Corset' (Horst, 1939)
42. Close tilt up of Vogue edit of 'Manbocher Corset' (Horst, 1939)
43. Close pan right of 'Drawings for Manbocher Corset'
44. Close of black and white photo of Horst with gun (1940s)
45. Close of black and white signed portrait of Truman (Horst 1944)
46. SOUNDBITE: (English), Susanna Brown, curator of photographs, Victoria and Albert Museum (V&A), National Collection of the Art of Photography:
"What we wanted to do was draw out the different strands of his career, you know those wonderful travel pictures from the Middle East, nature studies, still lives, Hollywood portraits, you know, there's so much more to his work."
47. Close zoom out of 'Palace of Persopolis, Persia' (Horst, 1949)
48. Wide to focus on black and white photos from 'Platinum' series
49. Wide pan left of b&w photos from 'Patterns from Nature' series
50. Close zoom out of 'Photographic Collage of 'Unidentified' Patterns from Nature' (Horst, c.1945)
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