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Lillian Bassman 1917 - 2011
Représenté par:
Bildhalle
Lillian Bassman entered the world of magazine editing and fashion photography as a protégé of Alexey Brodovitch, the renowned art director of Harper’s Bazaar. In late 1945, when the magazine generated a spinoff called Junior Bazaar, she was asked to be its art director. In addition to providing innovative graphic design, Bassman gave prominent display to future photographic stars like Richard Avedon, Robert Frank and Louis Faurer, whose work whetted her appetite to become a photographer herself.
Already, at Harper’s Bazaar, she had begun frequenting the darkroom on her lunch hours to develop images by the great fashion photographer George Hoyningen-Huene, using tissues and gauzes to bring selected areas of a picture into focus and applying bleach to manipulate tone.
“I was interested in developing a method of printing on my own, even before I took photographs,” Lillian Bassman told B&W magazine in 1994. “I wanted everything soft edges and cropped.” She was interested, she said, in “creating a new kind of vision aside from what the camera saw.”
When Richard Avedon went off to photograph fashion collections in Paris in 1947, he lent her his studio and an assistant. She continued her self-education and in short order landed an important account with a lingerie company. Lillian Bassman became highly sought after for her expressive portraits of slender, long-necked models advertising lingerie, cosmetics and fabrics.
Lillian Bassman was born on June 15, 1917, in Brooklyn and grew up in the Bronx. Her parents, Jewish émigrés from Russia, allowed her a bohemian style of life, even letting her move in, at 15, with the man she would later marry, the documentary photographer Paul Himmel. She studied fabric design at Textile High School. After modeling for artists employed by the Works Progress Administration’s Federal Art Project and working as a muralist’s assistant, she took a night course in fashion illustration at Pratt Institute in Brooklyn.
he soon showed her work to Brodovitch, who was impressed. Waiving tuition, he accepted her into his Design Laboratory at the New School for Social Research, where she changed her emphasis from fashion illustration to graphic design. Brodovitch anointed her his first paid assistant. Like her mentor, she was artistically daring. At Junior Bazaar, she experimented with abandon, treating fashion in a bold, graphic style and floating images in space.
Her work appeared frequently in Harper’s Bazaar, and she developed close relationships with a long list of the era’s top models, including Barbara Mullen, Dovima and Suzy Parker. The stylistic changes of the 1960s, however, left her cold. The models, too. “I got sick of them,” she told The Times in 2009. “They were becoming superstars. They were not my kind of models. They were dictating rather than taking direction.”
In 1969, disappointed with the photographic profession and her prospects, she destroyed most of her commercial negatives. She put more than 100 editorial negatives in trash bags, putting them aside in her converted carriage house on the Upper East Side of Manhattan.
By the mid-1970s, she was out of the fashion world entirely and had begun focusing on her own work, taking large-format Cibachrome photographs of glistening fruits, vegetables and flowers. It was not until the early 1990s that Martin Harrison, a fashion curator and historian who was staying at her house, found the long-forgotten negatives. He encouraged her to revisit them.
Lillian Bassman took a fresh look at the earlier work. She began reprinting the negatives, applying some of the bleaching techniques and other toning agents with which she had first experimented in the 1940s, creating more abstract, mysterious prints.
“In looking at them I got a little intrigued, and I took them into the darkroom, and I started to do my own thing on them,” she told The Times. “I was able to make my own choices, other than what Brodovitch or the editors had made.”
Her reinterpretations, as she called them, found a new generation of admirers. A full-fledged revival of her career ensued, with gallery shows and international exhibitions, including a joint retrospective at the Deich-torhallen museum in Hamburg with her husband and a series of monographs devoted to her photography. A one-woman show at the Hamiltons Gallery in London, organized by Mr. Harrison in 1993, was followed by exhibitions at the Carrousel du Louvre in Paris and an assignment from The New York Times Magazine to cover the haute couture collections in Paris in 1996. She completed her last fashion assignment for German Vogue in 2004.
From “Lillian Bassman, Fashion and Fine-Art Photographer, Dies at 94.” Written by William Grimes for
The New York Times. Published February 13th, 2012.
Already, at Harper’s Bazaar, she had begun frequenting the darkroom on her lunch hours to develop images by the great fashion photographer George Hoyningen-Huene, using tissues and gauzes to bring selected areas of a picture into focus and applying bleach to manipulate tone.
“I was interested in developing a method of printing on my own, even before I took photographs,” Lillian Bassman told B&W magazine in 1994. “I wanted everything soft edges and cropped.” She was interested, she said, in “creating a new kind of vision aside from what the camera saw.”
When Richard Avedon went off to photograph fashion collections in Paris in 1947, he lent her his studio and an assistant. She continued her self-education and in short order landed an important account with a lingerie company. Lillian Bassman became highly sought after for her expressive portraits of slender, long-necked models advertising lingerie, cosmetics and fabrics.
Lillian Bassman was born on June 15, 1917, in Brooklyn and grew up in the Bronx. Her parents, Jewish émigrés from Russia, allowed her a bohemian style of life, even letting her move in, at 15, with the man she would later marry, the documentary photographer Paul Himmel. She studied fabric design at Textile High School. After modeling for artists employed by the Works Progress Administration’s Federal Art Project and working as a muralist’s assistant, she took a night course in fashion illustration at Pratt Institute in Brooklyn.
he soon showed her work to Brodovitch, who was impressed. Waiving tuition, he accepted her into his Design Laboratory at the New School for Social Research, where she changed her emphasis from fashion illustration to graphic design. Brodovitch anointed her his first paid assistant. Like her mentor, she was artistically daring. At Junior Bazaar, she experimented with abandon, treating fashion in a bold, graphic style and floating images in space.
Her work appeared frequently in Harper’s Bazaar, and she developed close relationships with a long list of the era’s top models, including Barbara Mullen, Dovima and Suzy Parker. The stylistic changes of the 1960s, however, left her cold. The models, too. “I got sick of them,” she told The Times in 2009. “They were becoming superstars. They were not my kind of models. They were dictating rather than taking direction.”
In 1969, disappointed with the photographic profession and her prospects, she destroyed most of her commercial negatives. She put more than 100 editorial negatives in trash bags, putting them aside in her converted carriage house on the Upper East Side of Manhattan.
By the mid-1970s, she was out of the fashion world entirely and had begun focusing on her own work, taking large-format Cibachrome photographs of glistening fruits, vegetables and flowers. It was not until the early 1990s that Martin Harrison, a fashion curator and historian who was staying at her house, found the long-forgotten negatives. He encouraged her to revisit them.
Lillian Bassman took a fresh look at the earlier work. She began reprinting the negatives, applying some of the bleaching techniques and other toning agents with which she had first experimented in the 1940s, creating more abstract, mysterious prints.
“In looking at them I got a little intrigued, and I took them into the darkroom, and I started to do my own thing on them,” she told The Times. “I was able to make my own choices, other than what Brodovitch or the editors had made.”
Her reinterpretations, as she called them, found a new generation of admirers. A full-fledged revival of her career ensued, with gallery shows and international exhibitions, including a joint retrospective at the Deich-torhallen museum in Hamburg with her husband and a series of monographs devoted to her photography. A one-woman show at the Hamiltons Gallery in London, organized by Mr. Harrison in 1993, was followed by exhibitions at the Carrousel du Louvre in Paris and an assignment from The New York Times Magazine to cover the haute couture collections in Paris in 1996. She completed her last fashion assignment for German Vogue in 2004.
From “Lillian Bassman, Fashion and Fine-Art Photographer, Dies at 94.” Written by William Grimes for
The New York Times. Published February 13th, 2012.
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