FASHION PHOTOGRAPHY BOOKS

PUBLISHER
Museo Thyssen-Bornemisza

BOOK FORMAT
Clth, 9.5 x 12.5 in. / 160 pgs / 59 color / 8 bw.

PUBLISHING STATUS
Pub Date
Out of stock indefinitely

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2016 p. 30   

PRODUCT DETAILS
ISBN 9788415113683 TRADE
List Price: $65.00 CDN $87.00 GBP £57.00

AVAILABILITY
Not available

EXHIBITION SCHEDULE

Madrid, Spain
Museo Thyssen-Bornemisza, 06/30/15-10/12/15

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MUSEO THYSSEN-BORNEMISZA

Vogue: Like a Painting

Text by Lucy Davies. Preface by Yolanda Sacristán.

Paolo Roversi's "Gemma, Paris" (2003) is reproduced from <I>Vogue Like a Painting</I>.Vogue: Like a Painting is a lavish celebration of the intersection between the worlds of fashion photography and European art historical tradition. Compiling 67 carefully selected images from the Vogue archive, the volume explores fashion photographs of the last eight decades that take their inspiration from classical painting--those images that have become only marginally related to selling clothes (or perhaps all the better at it for their painterly invocations). Sometimes explicitly--we see direct homages to Vermeer and Hopper, for example--and sometimes more subtly, these images culled from Vogue's pages reference Spanish painting from the Golden Age, Dutch portraiture, Victorian and Pre-Raphaelite paintings and various schools contained in European royal collections. Traces of Constable, Zurbarán and Sorolla can be found within this volume, which brings together names from classic photography and those from more recent generations: Irving Penn, Erwin Blumenfeld, Horst P. Horst, Annie Leibovitz, Tim Walker, Paolo Roversi, Steven Klein, David Sims, Erwin Olaf, Mario Testino, Michael Thompson and Peter Lindbegh, to name a few. While some of these photographs are about direct mimicry, others are similar to painting only in technical approach--and some simply share the goal of revering women rather than sexualizing or objectifying them. With a gorgeous tipped-on cover and text by Lucy Davies, editor at The Telegraph, Vogue: Like a Painting is a volume produced as beautifully as its photographic contents.

Paolo Roversi's "Gemma, Paris" (2003) is reproduced from Vogue Like a Painting.

PRAISE AND REVIEWS

The Midwest Book Review

Margaret Lane

An inherently fascinating (and occasionally iconoclastic) browse from beginning to end, "Vogue: Like a Painting"... [is] very highly recommended for personal, professional, community, and academic library collections.

Vogue: Like a Painting

STATUS: Out of stock indefinitely.

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 11/26/2015

Vogue: Like a Painting

Vogue: Like a Painting, Grant Cornett Still Life

This 2014 still life by Grant Cornett is reproduced from the Museo Thyssen-Bornemisza's gorgeously giftable Vogue: Like a Painting, a collection of the magazine's most painterly fashion photographs of the last 70 years. Photographers must create an illusion, Lucy Davies writes, yet "steer clear of dishonesty. They must tell some of the story, but not all of it, so that the viewer will join in the game, completing what has been started, recognizing hints and citations — even if only subconsciously. All this so viewers can envisage themselves in the scene, and take a vested interest in its contents. They end by seeing what they should, rather than what is really there, because the photographer has painted ‘not the thing, but the effect it produces,’ in the words of poet Stéphane Mallarmé." See more from our 2015 Holiday Gift Guide. >> continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 11/27/2015

Vogue: Like a Painting

Vogue: Like a Painting, Paolo Roversi

In Vogue: Like a Painting, Museo Thyssen-Bornemisza's superb new collection of painterly fashion images, essayist Lucy Davies quotes photographer Paolo Roversi, whose "Stella, Paris" (1999) is reproduced here. ‘Photography is always a portrait, and it is always autobiographical. I grew up in Italy, where painting was always very close — in museums, churches, my education. All those artist traditions were completely in my eyes when I was a child.’" She continues, "Roversi’s photographs draw exquisitely on Old Master portraits, a dark or twilit background, from which the marble-like pallor of his models’ skin can slowly emerge, the pastel colors of the clothes, lips or eyelids or accessories seem to glow as if they had been blended in oil and soaked with varnish for hundreds of years." See more Holiday Gift Books. >> continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 11/27/2015

Vogue: Like a Painting

Vogue: Like a Painting, Peter Lindbergh

In Museo Thyssen-Bornemisza's exquisite new collection of painterly fashion photography from the last seven decades of Vogue, Lucy Davies invokes Nick Knight's assessment, "It isn't painting, it isn't photography—it's a new medium altogether." And a beautiful one at that. "Unsettling? Perhaps, but artists aren’t here to comfort us. Photographers might have started mimicking paintings because it was low-hanging fruit — an easy means of reassuring the viewer that what he was looking at was worthwhile (and, more importantly, worth thousands of dollars), but we’ve moved way beyond that. ‘I rather think art is the absolute opposite of that," she quotes Peter Lindbergh, whose 2012 "One Enchanted Evening" is reproduced here. "'Wonder is the beginning of wisdom, after all.'" For other favorite fashion titles, see our 2015 Holiday Gift Guide. >> continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 11/26/2015

Vogue: Like a Painting

Vogue: Like a Painting, Grant Cornett Still Life

This 2014 still life by Grant Cornett is reproduced from the Museo Thyssen-Bornemisza's gorgeously giftable Vogue: Like a Painting, a collection of the magazine's most painterly fashion photographs of the last 70 years. Photographers must create an illusion, Lucy Davies writes, yet "steer clear of dishonesty. They must tell some of the story, but not all of it, so that the viewer will join in the game, completing what has been started, recognizing hints and citations — even if only subconsciously. All this so viewers can envisage themselves in the scene, and take a vested interest in its contents. They end by seeing what they should, rather than what is really there, because the photographer has painted ‘not the thing, but the effect it produces,’ in the words of poet Stéphane Mallarmé." See more from our 2015 Holiday Gift Guide. >> continue to blog


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