Item description for Heroines by Bettina Rheims & Catherine Millet...
The skin of women who have been scratched, mistreated and loved - loved too much. Women who are very real. The cold, artificial light of a studio, like the light that bathed the artists' studios of the nineteenth century. In the center is a big rock made of papier-mache, at once base, pedestal and sculptor's stool. Haute couture dresses that have been torn, abused and recomposed - tragic and sublime, just like the Heroines who wear them. By playing on these four elements. Bettina Rheims transcends portrait, fashion and nude photography and touches on something more secret and intimate - something painful, amorous and captivating that comes more from the soul than from the body. Like in the paintings of Egon Schiele or Lucian Freud. Whether actresses like Milla Jovovich, models like Laetitia Casta or dancers like Blanca Li, whether they embody the vigor of youth or the richness of experience, all the women photographed by Rheims for this new series reveal something of their soul in a way they have never done before. They are radiant with a kind of inner beauty so fascinating that it makes us want to study each square inch of their image with a magnifying glass, just as we would hang on every word of an eventful and deeply moving story.
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Est. Packaging Dimensions: Length: 1" Width: 11.25" Height: 15" Weight: 3.9 lbs.
Release Date May 15, 2007
ISBN 3829602987 ISBN13 9783829602983
Availability 0 units.
More About Bettina Rheims & Catherine Millet
Bettina Rheims, born in PAris in 1952, started her career in 1978 with a series on female acrobats and strippers. She has wroked for major fashion magazines. The 1994 recipient of the Grand prix de la photographie, she took the official portrait of newly-elected French president Jacques Chirac in 1995 and was appointed Chevalier de la Legion d'Honneur in 2002. She lives in Paris.
Bettina Rheims' book "Heroines" is going back to this site. It is a high quality, elegant, color photo album full of craftfully created portraits of celebrity women who were set up to act distressed and decadent. The photographs are too explicitly stylized to believe that the models just came from a party, hungover and roughed up, their beautiful dresses torn and ripped from their bodies. Their expressions are hollow and hesitant, which leaves the viewer wondering if they understand what Rheims wants them to represent. Did she want to create a 60s European decadent look (such as the images of Monica Vitti and Anita Eckberg) where the subjects appear vulnerable and disillusioned with a sexual overtone? If so, I do not think she succeeded. Not even the forward, with Catherine Millet's well worded but not very enthusiastic review nor the reference to Lucien Freud helps to explain the artist's intent.