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拍品專文
Lorsque Helmut Newton raconte sa première réussite avec un appareil photo, il évoque sa photographie – aujourd'hui perdue – de la Funk Turm, la tour de radio de Berlin. Cette histoire témoigne du lien profond qu'il entretient avec sa ville natale à travers ce motif saisissant et évocateur. Berlin est la ville qui l'a formé. Il s'installe à Paris en 1961, qui deviendra la ville de son épanouissement artistique, où il bâtira sa réputation. Dans les archives de la Fondation Helmut Newton se trouve un double portrait attachant de Newton et de son ami Karl Lagerfeld. On voit leurs têtes souriantes qui apparaissent à travers des ouvertures ovales découpées dans un panneau photo de la Tour Eiffel. Il est difficile de ne pas y voir une métaphore de la conquête de la ville par le talent et le dynamisme de ces deux remarquables allemands. Il n'est pas étonnant qu'à plusieurs reprises Newton ait utilisé la Tour Eiffel comme un symbole puissant et chargé dans ses images méticuleusement construites. Le commentaire que Helmut Newton a fait de cette photographie donne un aperçu de sa méthode : « Les sujets de mes photos sont « arrangés » dans une sorte de mise en scène, mais mes photos ne sont pas fausses, elles sont inspirées de ce que je vois dans la réalité, de mes propres yeux. Par exemple, la photo de la femme portant la lingerie tour Eiffel : de toute évidence, la scène a lieu après le travail – l'homme d'affaires est passé récupérer son amie. Il porte un costume bleu, de beaux boutons de manchette, et il conduit une Citroën D.S. noire – une voiture typique de la bourgeoisie et de l’administration française. A côté de la femme, sur le siège, se trouve le journal Le Monde. Ce qu'e l’homme fait avant de rentrer chez lui (il n'a pas encore atteint le stade où il emmène son amie à l'hôtel), c'est la déshabiller dans sa voiture. Cela arrive tout le temps en été dans le Bois de Boulogne. Les voitures sont alignées comme sur une Lover’s Lane (allée des amoureux) en Amérique ». (White Women, p. 66).
Helmut Newton a publié relativement peu d'œuvres en couleur sur le marché, et les tirages couleur de grand format sont très rares.
When Helmut Newton tells of his first success with a camera, he references his shot – long lost – of the Berlin radio tower, the Funk Turm. The story serves effectively to establish his deep tie to his native city via this dramatic and resonant motif. Berlin was the city that formed him. Paris, where he settled in 1961, was to become the city in which he flourished creatively and made his reputation. In the archive of the Helmut Newton Foundation is an engaging double portrait of Newton and his friend Karl Lagerfeld, their smiling heads popping through the oval cut-outs of a photographer’s panel image of the Eiffel Tower. It is hard to resist reading this as a metaphor for the conquest of the city by the talent and dynamism of these two remarkable Germans. No wonder that on several occasions Newton used the Eiffel Tower as a potent, freighted symbol within his meticulously constructed images. Newton has commented the present image in a way that provides insight into his methodologies: ‘The people in my pictures are “arranged” in a kind of mise-en-scène, but my pictures are not false, they’re based on what I see in life with my own eyes. For example, the photo of the woman in the Eiffel Tower briefs: obviously, this takes place after work – the business-man has picked up his friend. He’s wearing a blue suit, nice cuff links, and he’s driving a black D.S. Citroën – a classic middle-class and government car in France. On the seat beside the woman is the establishment newspaper Le Monde. And what he does before he goes home (he hasn’t reached the stage yet where he takes his friend to a hotel) is to undress her in the car. This happens all the time during the summer in the Bois de Boulogne. The cars are piled up as if on a Lovers’ Lane in America.’ (White Women, p. 66).
Newton released relatively little colour work into the market, and colour prints of this large format are very rare.
Philippe Garner
Helmut Newton a publié relativement peu d'œuvres en couleur sur le marché, et les tirages couleur de grand format sont très rares.
When Helmut Newton tells of his first success with a camera, he references his shot – long lost – of the Berlin radio tower, the Funk Turm. The story serves effectively to establish his deep tie to his native city via this dramatic and resonant motif. Berlin was the city that formed him. Paris, where he settled in 1961, was to become the city in which he flourished creatively and made his reputation. In the archive of the Helmut Newton Foundation is an engaging double portrait of Newton and his friend Karl Lagerfeld, their smiling heads popping through the oval cut-outs of a photographer’s panel image of the Eiffel Tower. It is hard to resist reading this as a metaphor for the conquest of the city by the talent and dynamism of these two remarkable Germans. No wonder that on several occasions Newton used the Eiffel Tower as a potent, freighted symbol within his meticulously constructed images. Newton has commented the present image in a way that provides insight into his methodologies: ‘The people in my pictures are “arranged” in a kind of mise-en-scène, but my pictures are not false, they’re based on what I see in life with my own eyes. For example, the photo of the woman in the Eiffel Tower briefs: obviously, this takes place after work – the business-man has picked up his friend. He’s wearing a blue suit, nice cuff links, and he’s driving a black D.S. Citroën – a classic middle-class and government car in France. On the seat beside the woman is the establishment newspaper Le Monde. And what he does before he goes home (he hasn’t reached the stage yet where he takes his friend to a hotel) is to undress her in the car. This happens all the time during the summer in the Bois de Boulogne. The cars are piled up as if on a Lovers’ Lane in America.’ (White Women, p. 66).
Newton released relatively little colour work into the market, and colour prints of this large format are very rare.
Philippe Garner