(Adèle) Henriette Negrin, (or Nigrin), born on 4 October 1877 in Fontainebleau, died in 1965 in Venice, was a French clothes-designer and textile arts artist. She created fabrics and clothes, and worked alongside her husband Mariano Fortuny. (Adèle) Henriette Negrin, (ou Nigrin), née le 4 octobre 1877 à Fontainebleau et morte en 1965 à Venise, est une couturière française et artiste en arts textiles. Elle fut la muse et l'épouse de Mariano Fortuny y Madrazo. BiographyHenriette Negrin met Mariano Fortuny in Paris at the beginning of the 20th century and, in 1902, went to live with him in Venice at the Palazzo Pesaro degli Orfei, now Palazzo Fortuny, one of the museums of the city. Henriette Negrin and her husband shared an interest for textile creations. In particular, she researched pigments for the dying of fabrics, applying the dyes herself to the wood stencils for printing the textiles. Together, they developed a pleating machine the patent for which was filed by the National Institute of Industrial Property (France) of Paris on June 10, 1909. In a signed hand-written note on a copy of the patent (copy kept at the Marciana Library), Mariano Fortuny acknowledged his future wife as the inventor of the machine: " Ce brevet est de la propriété de Madame Henriette Brassart qui est l’inventeur. J’ai pris ce brevet en mon nom pour l’urgence du dépôt." ("This patent is the property of Madame Henriette Brassart who is the inventor. I submitted this patent in my name given the urgency of filing"). This pleating technique plays a central role in the design of the Delphos gown, whose creation Henriette Negrin confirmed as her own in a letter to Elsie McNeill Lee, at the time the exclusive distributor of the Fortuny fabrics and dresses in the United States. In the letter, Henriette Negrin indicated her decision to terminate all production of the dress that she had designed. During the 47 years of her life with Mariano Fortuny, Henriette Negrin was fully involved in all aspects of their creative life. After his death, she curated her husband's art collection, donating works to several museums and compiling the inventory of the contents of their residence. She donated the building to the city of Venice, which came into its full possession after her death in 1965. BiographieHenriette Negrin rencontra Mariano Fortuny à Paris au début du xxe siècle et en 1902 alla vivre avec lui à Venise au Palazzo Pesaro degli Orfei, aujourd'hui Palazzo Fortuny, un des musées de la ville. Collaboratrice fidèle, elle partage sa passion pour les créations textiles et s'occupe en particulier des recherches sur les pigments pour les teintures, enduisant elle-même les pochoirs pour les impressions sur tissu. Ensemble, ils mettront au point une machine pour « étoffe plissée ondulée » dont le brevet fut déposé auprès de l'Institut national de la propriété industrielle de Paris le 10 juin 1909.
Mariano Fortuny reconnut à sa femme la création de cette machine par une note manuscrite ajoutée sur le brevet: « Ce brevet est de la propriété de Madame Henriette Brassart qui est l’inventeur. J’ai pris ce brevet en mon nom pour l’urgence du dépôt... Le 10 juin 1909 à París. Fortuny », et dans le catalogue de l'exposition « Henriette Fortuny, Ritratto di una Musa » au Musée du Palazzo Fortuny à Venise. Cette préparation des tissus est la base de la robe Delphos, dont Henriette révèle être la créatrice dans une lettre adressée à Elsie McNeill au moment de la vente de l'entreprise à cette dernière, distributrice exclusive des tissus et modèles Fortuny aux États-Unis. Vingt-deux ans après s'être rencontrés, Henriette Negrin et Mariano Fortuny se marièrent à Paris en 1924. Pendant les 47 ans de vie commune, Henriette Negrin se consacra entre autres au développement des teintures de tissus, géra la vie quotidienne du couple et partagea jusqu'à sa vente les responsabilités de l'entreprise Fortuny établie en 1921 dans le quartier de la Giudecca. Elle passa le reste de sa vie à gérer les collections artistiques de sa famille, selon les volontés de son mari. À sa mort, elle légua le Palais Fortuny à la ville de Venise qui en fit un musée.
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Biography of Horst P. Horst
Horst Paul Albert Bohrmann (Aka. Horst P. Horst) was born on 14 August 1906 in Weißenfels-an-der-Saale, Germany in a well-to-do protestant family.
In his teens, Horst met dancer Evan Weidemann at the home of his aunt, and this aroused his interest in avant-garde art. In the late 1920s, Horst studied at Hamburg Kunstgewerbeschule, leaving there in 1930 to go to Paris to study under the architect Le Corbusier. In 1930 Horst met Vogue photographer Baron George Hoyningen-Huene, a half-Baltic, half-American nobleman in Paris, and became his photographic assistant, occasional model, and lover. He traveled to England with Baron Hoyningen-Huene that winter and visited photographer Cecil Beaton, who was working for the British edition of Vogue.
In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in December of that year. It was a full-page advertisement showing a model in black velvet holding a Klytia scent bottle in one hand with the other hand raised elegantly above it... Horst´s real breakthrough as a published fashion and portrait photographer was in the pages of British Vogue starting with the 30 March 1932 issue showing three fashion studies and a full page portrait of the daughter of Sir James Dunn, the art patron and supporter of Surrealism.
Horst´s first exhibition took place at La Plume d'Or in Paris in 1932. It was reviewed by Janet Flanner in The New Yorker, and this review, which appeared after the exhibition ended, made Horst instantly prominent. Horst made a portrait of Bette Davis the same year, the first in a series of public figures he would photograph during his career. Within two years, he had photographed Noël Coward, Yvonne Printemps, Lisa Fonssagrives, Count Luchino Visconti di Madrone, Duke Fulco di Verdura, Baron Nicolas de Gunzburg, Princess Natalia Pavlovna Paley, Daisy Fellowes, Princess Marina of Greece and Denmark, Cole Porter, Elsa Schiaparelli, and others like Eve Curie.
Horst rented an apartment in New York City in 1937, and while residing there met Coco Chanel, whom Horst called "the queen of the whole thing". He would photograph her fashions for three decades.
He met Valentine Lawford, British diplomat in 1938, and they lived together until Lawford's death in 1991. They adopted and raised a son, Richard J. Horst, together.
In 1939, Horst P. Horst took "The Mainbocher Corset" for French Vogue, with its erotically charged mystery, it would become one of the most iconic photoes of 20 Century. Designers like Donna Karan continue to use "The Mainbocher Corset" as an inspiration for their outerwear collections. Horst´s work frequently reflects his interest in surrealism and his regard of the ancient Greek ideal of physical beauty.
On October 21 1941, Horst received his United States citizenship as Horst P. Horst. He became an Army photographer, with much of his work printed in the forces' magazine Belvoir Castle. In 1945, he photographed United States President Harry S. Truman, with whom he became friends, and he photographed every First Lady in the post-war period at the invitation of the White House.
In 1947, Horst moved into his house in Oyster Bay, New York. He designed the white stucco-clad building himself, the design inspired by the houses that he had seen in Tunisia during his relationship with Hoyningen-Huene.
Horst is best known for his photographs of women and fashion, one of his most famous portraits is of Marlene Dietrich, taken in 1942. She protested the lighting that he had selected and arranged, but he used it anyway. Dietrich liked the results and subsequently used a photo from the session in her own publicity.
As a versatile photographer, Horst P. Horst is also recognized for his photographs of interior architecture, still lifes, especially ones including plants, and environmental portraits.
Horst´s method of work typically entailed careful preparation for the shoot, with the lighting and studio props (of which he used many) arranged in advance. His instructions to models are remembered as being brief and to the point. His published work uses lighting to pick out the subject; he frequently used four spotlights, often one of them pointing down from the ceiling. Only rarely do his photos include shadows falling on the background of the set. Horst rarely, if ever, used filters. While most of his work is in black & white, much of his color photography includes largely monochromatic settings to set off a colorful fashion. Horst's color photography did include documentation of society interior design, well noted in the volume Horst Interiors. He photographed a number of interiors designed by Robert Denning and Vincent Fourcade of Denning & Fourcade and often visited their homes in Manhattan and Long Island. After making the photograph, Horst generally left it up to others to develop, print, crop, and edit his work.
In the 1960s, encouraged by Vogue editor Diana Vreeland, Horst began a series of photos illustrating the lifestyle of international high society which included people like: Jacqueline Kennedy Onassis, Duke of Windsor and Duchess of Windsor, Consuelo Vanderbilt, Marella Agnelli, Gloria Guinness, Baroness Pauline de Rothschild and Baron Philippe de Rothschild, Yves Saint Laurent, Comtesse Jacqueline de Ribes, Lee Radziwill, Helen of Greece and Denmark, Baroness Geoffroy de Waldner, Princess Tatiana of Sayn-Wittgenstein-Berleburg, Peregrine Eliot, 10th Earl of St Germans and Lady Jacquetta Eliot, Countess of St Germans, Antenor Patiño, Oscar de la Renta and Françoise de Langlade, Desmond Guinness and Princess Henriette Marie-Gabrielle von Urach, Andy Warhol, Nancy Lancaster, Doris Duke, Emilio Pucci, Cy Twombly, Amanda Burden, Paloma Picasso.
The articles were written by the photographer's longtime companion, Valentine Lawford. From this point until nearly the time of his death, Horst spent most of his time traveling and photographing.
In the mid 1970s, while keeping his work with Vogue, including its Italian, French, British editions, Horst began working also for House & Garden magazine, Vogue´s sister publication, touring around the world. But he dedicated more of his time to writing books and exhibiting his photography.
Horst's last photograph for British Vogue was in 1991 with Princess Michael of Kent, shown against a background of tapestry and wearing a tiara belonging to her mother-in-law, Princess Marina, who he had photographed in 1934.
Horst P. Horst died at his home in Palm Beach Gardens, Florida at 93 years of age.
Further reading
Websites
Books
Horst Portraits: 60 Years of Style 1st Edition by Terence Pepper (Author), Horst P. Horst (Author), Charles Saumarez Smith (Author) Horst's photographic career spanned from 1931 to 1991. The son of a hardware store owner in eastern Germany, Horst found his way to Paris, where he became the assistant to George Hoyningen-Huene, chief photographer for Paris Vogue. Largely self-taught, Horst began publishing fashion photos in Vogue fewer than two years later and eventually established the style of sophisticated posing and dramatic lighting that would make him famous. In this book, published to accompany an exhibit that originated at the National Portrait Gallery and is currently at the Museum of Fine Arts, Boston, Pepper (curator of photographs at the National Portrait Gallery) and Muir (former picture editor for British Vogue) offer Horst's images of the leading figures in the arts, movies, and society that have become the very pictures most often associated with these famous faces. Included are portraits of Noel Coward, Cecil Beaton, Katharine Hepburn, Gertrude Stein, Salvador Dali, and others, as well as many famous fashion models. A biographical essay traces Horst's life and influences. Notes on the plates describe the sitter, photographic session, and other interesting details that enrich the images. Horst: Interiors Hardcover – November 1, 1993 by Barbara Plumb (Author) Since the 1950s, interior design photographer Horst has had unmatched access to the private homes of the Duke and Duchess of Windsor, Oscar de la Renta, Andy Warhol, Yves St. Laurent, and Palamo Picasso. A unique insider's view of the rooms inhabited by the elite of America and Europe. 200 color photos. Around That Time: Horst at Home in Vogue Hardcover – October 4, 2016 by Valentine Lawford (Author), Ivan Shaw (Author), Hamish Bowles (Author) Vogue’s Book of Houses, Gardens, People (1968) was a landmark publication among decorating books, and it chronicles an important chapter in the history of Vogue. Vogue’s Horst P. Horst, a leading fashion photographer of his time, developed an intense interest in seeing the world’s great homes and meeting their owners; beginning in the early 1960s, he journeyed in an elite world that would soon be lost. With accompanying lyrical essays about homes and their occupants by the famed writer Valentine Lawford (Horst’s partner in work and life), the book is a virtual who’s who of society, politics, and the arts in the mid-20th century. Around That Time showcases much of the material featured in the original book, plus never-before-seen photographs from those homes as well as images from additional homes Horst shot well into the 1980s. Horst: Sixty Years of Photography Hardcover – July 15, 1991 by Martin Kazmaier (Author), Host P. Horst (Photographer) Celebrated Vogue fashion photographer Horst P. Horst defines an attitude, a genre, with his studies of women--icons of elegance, unattainable goddesses--captured with calm detachment. This tony tribute to the work of the German-born, New York-based photographer is studded with portraits of figures from 1930s' Paris--Coco Chanel, Gertrude Stein, Cole Porter, Janet Flanner, etc. The book includes a multitude of portraits--many predictable, others revealing--of luminaries such as W. H. Auden, Truman Capote, Katherine Hepburn, Andy Warhol, Calvin Klein, Brooke Shields, Harry Truman, the Duchess of Windsor. Horst's still lifes and stagey fashion ads often border on kitsch, but every so often he turns out a strong, original beauty like the raindrop-stained Still life with Tulips (1950), radiant, sincere and gorgeous. Kazmaier is a German dramatist and photography critic.
HORST, HIS WORK AND HIS WORLD, SIGNED BY HORST
$450.00 [Signed by Horst and Valentine Lawford]Horst, Horst P. Horst, His Work and His World. First Edition. 1984. Book and dust jacket are both in very good condition. Book is signed by both authors (Horst and Valentine Lawford) on the half title page. This four hundred-page book is by far the most comprehensive monograph on Horst P. Horst’s six-decade-long career, beginning with his apprenticeships for Le Corbusier and Baron George Hoyningen-Huene. The heart of the book is his fashion work, featuring images of designs by Mainbocher, Chanel, Schiaparelli, Balenciaga, Dior, Valentina, Yves Saint Laurent, etc.. In addition to the three hundred color and black and white photographs, there is extensive (and surprisingly candid) commentary by Lawford, with dozens of quotes taken directly from Horst. “Fashion is an expression of the times. Elegance is something else again.” --Horst ProfileHenry Clarke (c. 1918 – April 26, 1996) was an American fashion photographer, known particularly for his work for Vogue. Clarke was born in Los Angeles in about 1917 or 1918. He died on April 26, 1996 at the Anglo-American Hospital in Le Cannet, France, at the age of 78. Henry Clarke est un photographe de mode américain né en 1918 à Los Angeles et mort à Cannes le 26 avril 1996, surtout reconnu pour ces images publiées dans différentes éditions du magazine Vogue avec lesquelles il sera en contrat après la Seconde Guerre mondiale durant plusieurs décennies. BiographieHenry Clarke est le fils d'immigrés irlandais installés en Californie. Après un premier travail d'étalagiste puis de responsable des vitrines dans des grands magasins de la côte Ouest, il décide de traverser les États-Unis pour rejoindre New York où il va découvrir la photographie. Il commence à travailler à la fin des années 1940 comme accessoiriste dans les studios photos de Vogue à New York; il côtoie Horst P. Horst, Irving Penn et Cecil Beaton. Ce dernier photographiant Dorian Leigh donne goût à Henry Clarke de se consacrer à la photographie. Il apprend à se servir d'un Rolleiflex prêté par Claire Mallison la directrice du studio, et présente ses réalisations à Alexander Liberman. Celui-ci l’envoie suivre des cours de photographie à l'université New School for Social Research, entre autres avec Alexey Brodovitch; il commence à travailler pour la presse américaine: dès 1948, ses premières photographies sont publiées dans Kaleidoscope of American Fashion, nouvelle et éphémère revue. Il s'installe à Paris après la Seconde Guerre mondiale, en 1949, aidé par Robert Randall qui lui fait découvrir le monde de la mode parisienne. Tel William Klein, il sera surnommé « le plus parisien des photographes américains », et va renouveler, dès ses premières années de métier, le style de la photographie de mode d'après Guerre, au même titre que Richard Avedon et Irving Penn. Depuis quelques années, Paris est redevenue la capitale de la mode et de la haute couture. Condé Nast souhaite donner à l'édition française tous les moyens de retrouver « une place de choix». Après quelques collaborations avec les magazines Fémina, l'Album du Figaro, et le Harper's Bazaar anglais, Henry Clarke obtient un contrat d'exclusivité avec les éditions Condé Nast. Il travaillera pour trois éditions durant près de trente ans: le Vogue France, au départ avec Michel de Brunhoff, Vogue US alors sous la responsabilité de Alexander Liberman, et le British Vogue. À l'apogée de sa carrière, il passera une partie de son contrat à la fin des années 1960 au Vogue américain, composée de plusieurs années de collaborations avec la rédactrice en chef Diana Vreeland. Les transports aériens sont en plein développement, le monde est plus facilement accessible. Certaines de ses publications de l'époque, réalisées dans divers endroits de la planète, souvent ensoleillés, peuvent aller jusqu'à 20 pages. Ceci marquera le départ d'une longue tradition de photographies de mode réalisées partout dans le monde. Durant sa carrière, il photographie les créations de couturiers tel Madeleine de Rauch, Jacques Griffe, Pucci ou Cardin plus tard. À ses débuts, Cristobal Balenciaga, en plein succès, est un couturier très présent dans les photographies d'Henry Clarke. En 1950, Elsa Schiaparelli, Christian Dior, ainsi que Balenciaga publié dans le numéro d'avril de L'Album du Figaro, magazine pour lequel il réalisera de nombreuses photos ; Pierre Balmain avec le mannequin français Bettina la même année. Il photographie de nouveau, pour le British Vogue, Bettina habillée en Lanvin, un portrait intitulé Chapeau plume pour Balenciaga en 1953, Jean Patou pour le Vogue français l'année suivante. Dorian Leigh dans une robe de Jacques Heim, sans doute est l'une de ses photos les plus remarquée, puis Leigh en Givenchy durant l'année 1955, Madame Grès, Coco Chanel la même année. Suivront plusieurs photos de Dovima habillée par Jacques Fath en 1956, Guy Laroche en 1958, Givenchy, et Dior encore, en 1959… Dior toujours, Maggy Rouff, ou Nina Ricci en 1960, puis Suzy Parker et le tailleur Chanel pour le British Vogue de la même année, et Madame Grès une fois de plus en 1961. Durant les années 1950, les mannequins Capucine, Anne Saint-Marie, Suzy Parker, Fiona Campbell-Walter, Ivy Nicholson, Dovima, Bettina ou Victoire apparaissent régulièrement sur les photographies de Clarke. Il signe, entre autres, les couverture de juillet 1954, septembre, octobre, et novembre 1955 de Vogue. Il photographié Veruschka pour le Vogue britannique de septembre 1965, et Twiggy pour le couverture en France du numéro de mai 1967 de Vogue. Pour Vogue France, il fera les portraits de Cristobal Balenciaga en 1952, Anna Magnani, Coco Chanel en 1954, Sophia Loren, Carmen de Tommaso, Cayetana Fitz-James Stuart la duchesse d'Albe, Wallis Simpson la duchesse de Windsor, Marella Agnelli, Robin Duke, Maria Callas, Anouk Aimée (1963 et 1965), ou Catherine Deneuve. Mais également Marisa Berenson en 1968 ou Monica Vitti pour le Vogue Paris de février 1969. En Italie, il réalise pour le numéro de septembre 1963 la photo de la comtesse Volpi avec un guépard en laisse; Il photographie en septembre 1967 à Saint-Jean-Cap-Ferrat Elizabeth Taylor et Richard Burton, puis Benedetta Barzini en 1968 pour le Vogue américain. Il fait encore une couverture pour Vogue en avril 1972. Mais en 1973, Henry Clarke s'éloigne du domaine de la mode pour photographier de grandes demeures: ses images sont publiées dans le supplément féminin du Figaro Madame Figaro, Maison & Jardin, House & Garden, Connaissance des Arts, et Vogue Paris de nouveau.
Il est en activité jusqu'en 1991, et reçoit la « Médaille de vermeil » de la ville de Paris deux ans plus tard. Il meurt le 26 avril 1996, d'une leucémie dans la région de Cannes. Il restera connu pour ses images de femmes élégantes, sophistiquées, raffinées, féminines, le plus souvent dans des décors simples ou minimalistes et en noir et blanc, ainsi que ses portraits de personnalités. Le photographe fait don de l'ensemble de son œuvre personnelle, plusieurs milliers de documents, ainsi qu'un exemplaire du notable album, recueil d'illustrations, Les Choses de Paul Poiret vues par Georges Lepape; ses archives se trouvent au Musée Galliera à Paris. |
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