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Earthly Bodies: Irving Penn's Nudes, 1949-50

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Title: Earthly Bodies: Irving Penn's Nudes, 1949-50
by Irving Penn, Maria Morris Hambourg, N.Y.) Metropolitan Museum of Art (New York
ISBN: 0-8212-2787-4
Publisher: Bulfinch
Pub. Date: February, 2002
Format: Hardcover
Volumes: 1
List Price(USD): $75.00
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Average Customer Rating: 5 (1 review)

Customer Reviews

Rating: 5
Summary: A new perspective on a master
Comment: Maria Morris Hambourg has made us a beautiful and important book, again. She has produced a silent essay from a collection of delicate and powerful private images. Untitled photographs, beautifully printed, they speak for themselves. She writes about the photographer and puts these nudes into the context of his life and his other work. What Hambourg writes about the relationship between artist and model is authentic and enlightening. A wide range of very strong and unique work is beautifully presented here. It is hard to imagine a more difficult book to create and impossible to find a flaw in the result.

It is still possible to miss the point of this book. Fanning the pages looking for what passes for beautiful bodies these days will tell you more about yourself than the artist.

This work will startle some people who know only Penn's famous portraits and fashion photographs. These are primitive, direct and pure essence of the subject, counterpoint to his highly refined public work. Penn uses the power of the raw photograph with great self-assurance to discover detail in otherwise very simple images. Some of his pictures seem unfinished, but the author makes it clear there are no accidents in these prints - they are as carefully done as his familiar published work.

Some images deliberately recall sculpture from Venus de Milo and Nike of Samothrace to the female scuptures from prehistoric caves. Some images draw on Stieglitz, Weston, and perhaps Bernhard. A lesser artist would just seem derivative but the few references to others simply reinforce the strength of Penn's own vision.

Hambourg shows us by her editing just how Penn worked. She includes one contact sheet that invokes the closeness of the "dance" between artist and model that most never see and photographers seldom want to show. Hambourg's deft touch greatly enriches this book without distracting from the artist.

Penn's nude photographs ranks with the nudes of Weston and only one or two others. It is a curious coincidence that the nudes of Weston, Stieglitz and Penn were all conserved and presented to us by women. That is sufficient reason to pay attention to how this work is presented.

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