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| Richard Avedon Portraits | 
| Authors: Maria Morris Hambourg, Mia Fineman, Richard Avedon, Philippe De Montebello
Publisher: Harry N. Abrams
Category: Book
List Price: $35.00
Buy New: $23.09
You Save: $11.91 (34%)
New (20) Collectible (4) from $23.09
Avg. Customer Rating:  14 reviews
Sales Rank: 24626
Media: Hardcover
Number Of Items: 1
Pages: 64
Shipping Weight (lbs): 2.2
Dimensions (in): 10.5 x 8.4 x 0.9
ISBN: 0810935406
Dewey Decimal Number: 779.2092
EAN: 9780810935402
ASIN: 0810935406
Publication Date: September 17, 2002
Availability: Usually ships in 1-2 business days
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Product Description
Richard Avedon is one of the most influential photographers of the second half of the 20th century. His portrait work comprises an authoritative record of the era and, as a staff photographer of "Harper's Bazaar" and later for "Vogue", Avedon redefined what a fashion photograph is. With uncompromising directness, Avedon portrayed his subjects against a white background, with no extraneous details to distract from tthe essential specificity of face, gaze, dress and gesture. His work includes mesmerizing images of Truman Capote, Willem de Kooning, Samuel Beckett, Francis Bacon and Marily Monroe, as well as of the uncelebrated Americans of his project "In the American West". Spanning Richard Avedon's entire career, starting from the late 1940s, this volume offers a selection of his photographic portraits. It is published to accompany a major exhibition at the Metropolitan Museum of Art, New York.
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| Customer Reviews: Read 9 more reviews...
 AVEDON IS OVER-RATED? October 24, 2007
1 out of 5 found this review helpful
I looked at this book that I just received today and I thought, "These are good fotos but.....but....there is something missing." What is "missing"? The background for one thing! I want to KNOW MORE about these people than Avedon gives us. These portraits are "better than nothng" but...but...who are these people? There are very few "clues" to help us answer that question. On the contrary, Diana Arbus DOES "tell" us who her people are"---both in words and in their surroundings or background environment which Ms. Arbus DOES include. I think Mr. Avedon should throw away his "white sheet" or whatever he uses and show the subject with their environmnet. I'm sure the subjects in this book do NOT carry around a white sheet to put behind themselves! So, why does Mr. Avedon feel he has to use the white sheet? I don't get it and I don't like it. But, the above being said, these ARE very good portraits even with their alledged "defects". Boland7214@aol.com
 A Caution for some ... nude photographs August 23, 2007
This book is absolutely exquisite. The photographs are stunning and insightful If you are not familiar with Avedon's male nudes--I wasn't--you should be aware that many of them are full frontal and not in any way prettified, pornographic, or erotic. I include this because none of the other reviews mentioned it. Had I been more familiar with the book's contents, perhaps I would not have left the book out on the kitchen counter for the wrong (adult) friend to unfold it before I did!! Yeah, I know, I should have known better . . . . Duh.
A work of art keepsake. March 23, 2007
5 out of 5 found this review helpful
I bought this book for my photography friend for Christmas. She was blown away. From the moment you open the package, it is clear this book is worlds apart from your standard photography book. Every photo is frame-ready. I highly recommend for the picky photography enthusiast.
A New Direction For Coffee Table Books December 27, 2006
1 out of 1 found this review helpful
The format allows for a stand-up display down the entire length of a coffee table! Pretty cool if you ask me;
Got this as a christmas gift for my art-school-grad photographer/niece. It caused something of a stir when the holiday guests started to look at everyone elses presents.. Along the lines of "Don't let the kids look at that book" and "Let me see it' and "Ewwww".
Beyond art book, beyond photography December 31, 2005
12 out of 12 found this review helpful
It is not really a book, but an art object: accordion folded and neatly ensconced in a box, its heavy cardboard structure makes it a durable thing, one that transcends the notion of a mere "book." It is an object of intrinsic beauty and the mere holding of it in one's hands conveys the good taste, fine quality, and the superb craftmanship that were blended to create PORTRAITS.
One side of the fold contains text -with some pictures- and the other the portfolio of portraits. Maria Hambourg and Mia Fineman collaborate in the essay "Avedon's Endgame," which presents, analyzes and brings into focus the extraordinary talent behind the portraits; and Richard Avedon gives us a touching essay called "Borrowed Dogs," in which he addresses some of his unquiet talents. The other side is one's private gallery of 27 pictures (including the covers) to be savored at home, each image a meticulous print. In all it is an extraordinary performance by those involved, and a jewel to possess.
Avedon has pushed the borders of his art far beyond picture taking: a master psychologist, his portraits are potent statements about the soul and the fears and the anger and the dilapidation and the triumph and the humanity of his subjects. His pictures are so intense and revealing that the viewer cannot remain neutral. The diptych of Clarence Lippard, a drifter, makes one see more than we have any right to ask for: because if we must view the horror of a wasted life on one panel we must also accept the defiant triumphalism and humor that the second panel conveys. Waste no pity on Mr. Lippard, he asks no such thing from you.
I shall often return to this jewel for solace; and for a jolt about the meaning of being alive and a human being.
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