Irving Penn
born 16 June 1917Irving Penn studied under Alexey Brodovitch at the Philadelphia Museum School from which he graduated 1938. Penn’s drawings were published by Harper’s Bazaar and he also painted. As his career in photography blossomed, he became known for post World War II feminine chic and glamour photography.
Penn has worked for many years doing fashion photography for Vogue magazine. He was among the first photographers to pose subjects against a simple grey or white backdrop and used this simplicity more effectively than other photographers. Expanding his austere studio surroundings, Penn constructed a set of upright angled backdrops, to form a stark, acute corner. Posing his subjects within this tight, unorthodox space, Penn brought an unprecedented sense of drama to his portraits, driving the viewer’s focus onto the person and their expression. In many photos, the subjects appeared wedged into the corner. Subjects photographed with this technique included Martha Graham, Marcel Duchamp, Georgia O’Keeffe, W. H. Auden, Igor Stravinsky and Marlene Dietrich.
While a master of the studio flash, most of Penn’s portraits are lighted with window light. For travelling to New Guinea and other locations to photograph indigenous people, Penn created a portable studio with a skylight deployed facing north with impressive results. These pictures had the same feel as his portraits of celebrities; fully adorned, naturally lighted, yet placed before the neutral backdrop, his tribal subjects appear as strangely defined models for a 19th-century ethnographic investigation.
In 1950, Penn married his favorite model, Lisa Fonssagrives and he founded his studio in 1953. They had one son together, who is named Tom.
Clarity, composition, careful arrangement of objects or people, form, and the use of light characterize Penn’s work. Penn also photographs still life objects and found objects in unusual arrangements with great detail and clarity.
While his prints are always clean and clear, Penn’s subjects vary widely. Many times his photographs are so ahead of their time that they only came to be appreciated as important works in the modernist canon years after their creation. For example, a series of posed nudes whose physical shapes range from thin to plump were shot in 1949-1950, but were not exhibited until 1980.
His still life compositions are skillfully arranged assemblages of food or objects; at once spare and highly organized, the objects are raised to a graphic perfection, articulating the abstract interplay of line and volume.
“Photographing a cake can be art” —Irving Penn.
