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Penn has never changed his first idea of portraiture: he has merely simplified what at first seemed almost irreducibly simple, so that by the late fifties even the anonymous studios disappeared and there remained no environment at all, only a wordless conversation between the photographer and the sitter.
JOHN SZARKOWSKI
IRVING PENN (B. 1917)
Picasso (B), Cannes, 1957
细节
IRVING PENN (B. 1917)
Picasso (B), Cannes, 1957
platinum-palladium print, flush-mounted on aluminum, printed February 1985
signed, initialed, titled, dated, numbered '24/47' in pencil, 'Penn/Condé Nast' copyright credit, reproduction limitation and edition stamps and typed edition label (on the reverse of the mount)
18 5/8 x 18½in. (47.4 x 47.2cm.)
Picasso (B), Cannes, 1957
platinum-palladium print, flush-mounted on aluminum, printed February 1985
signed, initialed, titled, dated, numbered '24/47' in pencil, 'Penn/Condé Nast' copyright credit, reproduction limitation and edition stamps and typed edition label (on the reverse of the mount)
18 5/8 x 18½in. (47.4 x 47.2cm.)
来源
Fahey Klein Gallery, Los Angeles
出版
Penn, Moments Preserved, Simon & Schuster, 1960, p. 39, for a variant;
Penn, Passage: A Work Record, Jonathan Cape, 1991, p. 125, for a variant;
Greenough, Irving Penn: Platinum Prints, National Gallery of Art, Washington D.C., 2005, p. vi & pl. 37, for a variant.
Penn, Passage: A Work Record, Jonathan Cape, 1991, p. 125, for a variant;
Greenough, Irving Penn: Platinum Prints, National Gallery of Art, Washington D.C., 2005, p. vi & pl. 37, for a variant.