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| Sarah Berhardt Izeïl©Franck, sketch in graphite pencil, 20x15 cm, 13/11/2015. |
<<Quand Même>>
Sarah Bernhardt è stata un'icona di stile per attori e artisti. Quello che mi ha colpito di più nelle numerose foto è che questa donna era sempre a fuoco, quasi avesse una visione esterna di se stessa. Nulla era lasciato al caso.
Me la figuro nello studio del grande fotografo Paul Nadar, spiegare le vesti e girare intorno per creare curve avvolgenti, sollevare le braccia, atteggiare il volto nell'interpretazione di un personaggio, attendere l'impressione sulla lastra, trattenendo il respiro, illuminando lo sguardo fisso in una grazia senza tempo.
Paul Nadar era un virtuoso avanguardista e il successo del catturare l'icona era anche merito del suo occhio. Ma lei sapeva dipingere la sua figura oltre lo spazio e il tempo; studiava come rendersi un quadro vivente.
Sarah Bernhardt was a stylish icon for actors/actresses and artists. What interested mostly into her many photos is her being always focused, as if she had an external vision of herself.
Nothing was left by chance.
I figure out in the studio of the great photographer Paul Nadar, while she was spreading her clothes and going around to drawn spiral curves, her arms up, she was posing her face to interpret one character, hanging on the impression of the picture, keeping the breath, shining up her staring eyes in a timeless grace.
Paul Nadar was a virtuous vanguardist and his success by catching the icon was also due to his capability. Nonetheless, she was able to paint his image beyond time and space; Sarah studied how to make herself a living piece of art.
Sarah Bernhardt was a stylish icon for actors/actresses and artists. What interested mostly into her many photos is her being always focused, as if she had an external vision of herself.
Nothing was left by chance.
I figure out in the studio of the great photographer Paul Nadar, while she was spreading her clothes and going around to drawn spiral curves, her arms up, she was posing her face to interpret one character, hanging on the impression of the picture, keeping the breath, shining up her staring eyes in a timeless grace.
Paul Nadar was a virtuous vanguardist and his success by catching the icon was also due to his capability. Nonetheless, she was able to paint his image beyond time and space; Sarah studied how to make herself a living piece of art.
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| Sarah Bernhardt in Izeïl, foto di Paul Nadar. |
A cavallo fra XVIII e XIX secolo, l'estetica e il simbolo stilizzato erano un gusto comune. Se si pensa che gli artisti dipingevano le facciate dei palazzi come le boccette di profumi preziosi, non ci si può sorprendere in quale contesto lei lavorasse sulla sua immagine.
Between XVIII and XIX sec., aesthetic and styling symbol were in the average taste. If you consider that artists decorated even the face of houses as they were precious bottles of perfumes, there is no surprise on which contest she worked on her look.
Between XVIII and XIX sec., aesthetic and styling symbol were in the average taste. If you consider that artists decorated even the face of houses as they were precious bottles of perfumes, there is no surprise on which contest she worked on her look.
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