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An artist whose distinct style is instantly recognizable, Guy Bourdin’s use of color, frame and form is highly unique and utterly surprising.
Widely considered to have changed the face of fashion photography forever, French photographer Guy Bourdin’s innovative voice and visionary work is no longer seen solely in the context of commercial photography but is well esteemed in the annals of contemporary fine art.
Vogue France,
Bourdin’s early childhood was beset by disruption after his parents separation. Growing up in the care of his grandparents, he only communicated with his mother via a telephone in the phone booths of the Brasserie his grandparents owned in Paris.
Bourdin led a quiet childhood in the solitude of his own imagination, leaving home at eighteen to embark on a cycling tour of Provence, where he met art-dealer Lucien Henry. Whilst lodging with Henry for 6 months, Bourdin focussed on painting and drawing until it was his time to begin mandatory military service.
Vogue Homme, June/July,
First introduced to photography whilst stationed in Dakar in work
Guy Bourdin France,
GUY BOURDIN
Born Guy Louis Banarès on 2 December at 7 rue Popincourt, Paris
Adopted by Maurice Desire Bourdin who, with his mother Marguerite Legay, raises Guy.
Undertakes military service in the French air force and receives his first photographic training. He is stationed in Dakar, Senegal.
First exhibition of drawings and paintings at Galerie, Rue de la Bourgogne, Paris.
Exhibition of photographs at Galerie 29, 29 rue de Seine, Paris. The catalogue includes an introduction by Man Ray.
Exhibition of photographs under the pseudonym Edwin Hallan at Galerie Huit, 8 rue St. Julien-le-Pauvre, Paris.
Exhibition of drawings at Galerie de Beaune, 5 rue de Beaune, Paris.
Contributes photographs to the C.S. Association UK touring exhibitions, in and , both shown at the Whitechapel Art Gallery, London.
First fashion photographs are published in French Vogue in February issue.
Exhibition of drawings at Galerie des Amis des Arts, 26 cours Mirabeau, Paris.
Exhibition of paintings at Galerie Charpentier, Paris.
A giant of modern fashion photography, Bourdin lent his surrealist eye to the shoes and fashions of Charles Jourdan. Creating compositions full of movement, color, and sensuality, this pioneering collaboration between designer and photographer still exerts a profound influence on modern fashion photography.
The late s saw some of the most dynamic periods in French fashion. And the union between Bourdin and Jourdan captured the spirit of the moment unlike any other creative partnership of the era. Jourdan, a polymath who occupied the office of both couturier and shoe designer, tapped Bourdin, a true surrealist among the fashion photographers of the age, and engaged in a creative dialogue through to Jourdan’s passing in
Celebrated here are over images, many never before published, full of the modernity and fetishism that made Jourdan’s designs so sought after, and Bourdin’s mise-en-scènes so provocative. To draw attention to the sweep of a woman’s feet and the gentle swell of her calves, the shod feet and lower leg of a mannequin are disembodied and transported to a variety of contexts, the central figures in compositions that are at once erotic
Guy Bourdin For Charles Jourdan
A giant of modern fashion photography, Bourdin lent his surrealist eye to the shoes and fashions of Charles Jourdan. Creating compositions full of movement, color, and sensuality, this pioneering collaboration between designer and photographer still exerts a profound influence on modern fashion photography.
The late s saw some of the most dynamic periods in French fashion. And the union between Bourdin and Jourdan captured the spirit of the moment unlike any other creative partnership of the era. Jourdan, a polymath who occupied the office of both couturier and shoe designer, tapped Bourdin, a true surrealist among the fashion photographers of the age, and engaged in a creative dialogue through to Jourdan’s passing in
Celebrated here are over images, many never before published, full of the modernity and fetishism that made Jourdan’s designs so sought after, and Bourdin’s mise-en-scènes so provocative. To draw attention to the sweep of a woman’s feet and the gentle swell of her calves, the shod feet and lower leg of a mannequin are disembodied and transported to a variety of contexts, the central figures in compositions that are at once erotic
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