- Tapa dura: 164 páginas
- Editor: Distributed Art Publishers; Edición: 01 (7 de mayo de 2013)
- Idioma: Inglés
- ISBN-10: 193892200X
- ISBN-13: 978-1938922008
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº156.557 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
Lee Friedlander: A Second Look: The Nudes (Inglés) Tapa dura – 7 may 2013
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Lee Friedlander’s exploration of one of photography’s most enduring genres began almost by chance, in the late 1970s, when a teacher colleague at Rice University in Houston lined up a regular schedule of nude models for his students. Almost immediately, Friedlander found that he preferred to photograph the models at their homes, and ingeniously deployed household objects such as bedside lamps, potted plants and sofa fabrics to play off against the angular poses of the models and the emphatic framing of the overall composition. Friedlander’s nudes show every blemish, every contour that makes each body unique, while his flash often serves to counter this realism with a softening effect that often recedes the body’s shadow right up to its outline. With the publication of Friedlander’s nude portraits of Madonna (prints of which fetch huge sums), the series became among the photographer’s best known work, and eventually saw publication in 1991, from Jonathan Cape. Lee Friedlander: The Nudes significantly expands on the Cape edition (itself long out of print), with a total of 84 nudes, plus a new layout and design by Katy Homans and new separations by Thomas Palmer. As such, it offers the most lavish presentation of this key series in Friedlander’s massive oeuvre.
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As a healthy hetrosexual male, I've given up on trying to justify why I find naked women attractive, or why I find myself unable to look away from images of them, so I usually try to avoid looking at them. But these pictures are something more--female bodies, unretouched, glorious in their curves and blemishes. The women seem to be comfortable in front of the camera, like cats in the sun. While there isn't a whole lot of detail about how these pictures were made, in at least one picture, the reflection of another woman shows, indicating that even though the photographs were made in the homes of the young women, the sessions were, it appears, very much under controlled conditions. Worth remembering is Friedlander's interest in Bellocq, who photographed prostitutes in New Orleans a century ago--the women in these pictures are not accused of having loose morals--to the contrary, they appear very much in control of their own bodies, their own selves. Their bodies, lovely in their youth, are full of mystery. Pure Friedlander.