From his innovative and ongoing work for the editorial pages of Vogue magazine to the harsher personal work of his later years, which explores the visual intrigue of such inconsquential objects as litter, bones and cigarette butts, his work has a wit, simplicity and edginess that sets it apart. John Szarkowski, in his introductory essay, notes ...
From his innovative and ongoing work for the editorial pages of Vogue magazine to the harsher personal work of his later years, which explores the visual intrigue of such inconsquential objects as litter, bones and cigarette butts, his work has a wit, simplicity and edginess that sets it apart. John Szarkowski, in his introductory essay, notes that 'for more than forty years Penn's pictures celebrated the pleasures of this life, even while always acknowledging the worm in the apple...Some of his more recent still lifes seem in contrast to have less to do with pleasure than with something like cultural reportage'. Irving Penn has personally overseen every detail of this elegant book's design and production. An extraordinary effort has been made to create on the printed page reproductions that have a fidelity to the briliance of the colour images and the nuances and subtlety of the platinum prints.
New in new dust jacket. Sewn binding. Cloth over boards. With dust jacket. 144 p. Contains: Unspecified. Audience: General/trade. New Condition, First Edition, Off White Cloth Covers with Black type on Spine.
The photos in the book are lovely but I would have liked more and more from the 1938-2000 era. Most of the pictures were for VF. I don't think it showed the diverse talent of Penn. Had the book had more variety I would have enjoyed it more. As it is, the book is too expensive.
Publishers Weekly, 2001-08-27 From early, career-establishing Vogue magazine work like The Spilled Handbag (Theatre Accident) of 1947 through his images of bones and other detritus (Bone Landscape, 1980) to his recent pictures of cuttlefish, Irving Penn has masterfully evinced the secret lives of objects. Ninety-eight of Penn's greatest images (45 color, 50 tritone, 3 duotone) are assembled in Still Life, a publication personally supervised by the artist. Still making funny, strange and lovely editorial photographs for Vogue and other magazines (an ant crawls on a melted Brie; a mannequin gazes out from under a bell jar), Penn also continues to experiment in his personal work: components of traditional still-life paintings like skulls, fish, paintbrushes and dice, for instance, arranged artfully and bizarrely, shot in black and white. (Sept. 7) Copyright 2001 Cahners Business Information.
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