new-york

Horst

Sonnabend Gallery

By contrast Horst’s portraits of the ’30s and ’40s are about glamour. And since glamour in art exists more often in galleries or artists’ lofts than in their objects or persons, I welcome it. If I have to choose between Renato Poggioli’s division in The Theory of the Avant Garde between the dandy or the bohemian, I’d choose the dandy. That’s why I find Horst’s photographs of people who’ve made glamour into an art form such fun. Although in the 50 photographs on exhibition, Horst ranges over the literary, artistic, and entertainment fields of the haute monde of ’30s and ’40s Paris and New York (including memorable shots of Gertrude Stein and Jean Cocteau) his photographs of women are most appealing. Highly stylized shots are suited to the magical posing of Chanel, Crawford, Dietrich, and Garbo—women the world knows best only through slight variations of body and posture recorded on celluloid.

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