Peter Lindbergh's portraits of his famous themes are so unusual that you had to sometimes look twice. An obituary for the photographer.
The fashion magazine was its Medium, the smooth surface nevertheless never his business. Who came to Peter Lindbergh, wanted something different than what filled the glossy pages in front of and behind his lines. While Steven shot distances Meisel politicized fashion, David LaChapelle noise colorful worlds staged, Terry Richardson dividing lines between pornography and fashion image disturbing re-moved, while the photographer seemed to him to be getting louder and louder, it was Lindbergh, not quieter. But he remained true to what he had done in the more than 40 years of his career: to infect the artificially most of all the arts of nature.
keep calm, not the calm, sticking to what moved him, and the viewer of his images, without succumbing to the Trends of the technology, with the cultural pessimism that had nothing to do. Even the advent of smartphone photography could not put Lindbergh was born in 1944 in today Leszno, Poland, and in Duisburg, Germany, grew up into a Rage. "Better pictures than a Smartphone can't make you a photographer. This ease you can learn a lot,“ he said in Munich's Kunsthalle, at the opening of one of his exhibitions, of which there were many, in London's Victoria and Albert Museum, in the New York Metropolitan Museum of Art, the Pushkin Museum of Moscow.
Peter Lindbergh: "fashion photographers have a kind of responsibility"
only* can Speak, of course, who has nothing to fear. Not the new technologies, the new generations, the New. In 2017, the year of the Munich Show, Lindbergh had achieved everything. He had photographed many years after he had studied painting at the art school in Krefeld, only for the most prestigious fashion magazines in the world, for international editions of "Vogue", the "Harper's "GQ", for other magazines such as "Vanity Fair" and "Rolling Stone Bazaar"," in addition. Peter Lindbergh had questioned the assumptions of the fashion, very own phenomena characterized.
Than the legendary editor-in-chief Anna Wintour* introduced in November 1988, the first American edition of Vogue under her leadership, it was Lindbergh, who shot the title image. To see a pair of jeans trousers, was not only for the first Time on a glossy cover, but also a broad Grin, together gekniffene eyes, a real Moment in a fashion world that didn't give up then, for real moments barely. Freckles, bumps, wrinkles, wrinkles – all of this was only allowed, it had to Know the content of Lindbergh's Black-and-images. "Also, fashion photographers have a kind of responsibility," he said. "Thanks to Photoshop, every thought that has manifested itself in a lets face today, having to retouch." This idea of the new beauty he wanted to oppose with moderation, sometimes a waiver of retouching. Which meant never, that Lindbergh and his work to the noise factor have been in the fashion industry.
Significantly shaped Lindbergh finally, the scene in the 1990s with. In the first month of this new decade, the British "Vogue, published" the sensational Cover that Linda Evangelista, Naomi Campbell, Tatjana Patitz, Cindy Crawford* and Christy Turlington showed for the first time together. To engage George Michael felt the Mannequins for his music video inspired by "Freedom '90", Gianni Versace sent you a little later together on the Milan catwalk, and soon you could afford Evangelista to those of legendary phrase, which stuck henceforth, as a Heading above the "Era of the Supermodels": "For less than $ 10 000 a day, we don't stand up at all."
Peter Lindbergh was one of the authors of a more natural fashion portrait photography
It's just the stylization of the Models to the Superstar, the invention of a completely new icon for the Lindbergh was responsible for but is not. Also, the narrative structure of fashion photography, he developed a completely new way. If said photographers like Meisel or LaChapelle to tell today with your pictures, stories, now, if the fashion of the new season staged in a Narrative, the fashion magazine is presented almost cinematic, then this is also reminiscent of Lindbergh's work. For the Italian "Vogue" photographed in 1990 an iconic track, which Helena Christensen shows with an alien. In the pictures the Beautiful the man from Mars, through the desert – the Storytelling within the fashion photography was born.
That with fashion images is not always also stories have been told, may be forgotten. That Lindbergh, one of the authors in a more natural fashion portrait photography was, for the only and also Annie Leibovitz and Helmut Newton godmother and godfather are, know today, even for the fashion layman. "Only if one has the Courage to be yourself, you're really beautiful," said Lindbergh once. And almost without make-up in front of the camera, many of the actor likes and Actresses, artists have in fact taken courage.
By Catherine Deneuve to Cat Blanchett - calmed Stars in front of Peter Lindbergh's lens
who looks through the lens, it will have all calmed down, Catherine Deneuve and Charlotte Rampling, for example, Mick Jagger and John Malkovich, Jessica Chastain, Julianne Moore, Cate Blanchett, Jeanne Moreau. Because even if it was Lindbergh never perfected body – a, without exception, perfect lighting and a feeling for the perfect Moment, always belonged to its Repertoire. A great sensation Lindbergh, who died on Tuesday at the age of 74 years, attracted, most recently in its September Cover for the British "Vogue", the 15-strong women, including the climate activist Greta Thunberg, new Zealand's Prime Minister, Jacinda Ardern, and the transgender actress Laverne Cox. Also the title image for the January edition of the German "Vogue" this year, triggered a storm of enthusiasm, in some places, but also indignation.
For the magazine was photographed by Lindbergh, Helene Fischer, almost without make-up, hardly retouched, of course. "It was clear to me that what we have done, is not loved by many," said the "Vogue"-Chefin Christiane Arp at the time of FR*. Finally, the photographs were the opposite of what the singer is well-known, the pyrotechnic stage shows, the lascivious costumes, the smooth-shaven texts. That Lindbergh had with his pictures again and again behind these surfaces to look at people and blemish, was his very own art. "What interested me," said Peter Lindbergh once, "is this some reality behind the facade."
Manuel Almeida Vergara
*fr.de is part of the nationwide Ippen-editors network.
Date Of Update: 10 September 2019, 12:00
