Post-War Black and White Photography

Gordon Parks (1912-2006) was one of the 20th century's most important photographers, celebrated for his profound contributions to documentary photography and photojournalism. Parks ...

Warhol and Halston were friends, collaborators, entrepreneurs, and New York elites in the late 1980s. They both spent time at Warhol's home on Montauk. This photo of Halston by And...

Anita Ekberg on set of La Dolce Vita (1960), directed by Federico Fellini. It is a landmark film in Italian cinema, capturing the post-war decadence of Rome through the eyes of a ja...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

A photograph by Lawrence Schiller. ""Marilyn Monroe"" is a nude, figurative vintage silver gelatin photograph in black and white by American Post-War artist Lawrence Schiller. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. ""It was a time in which things happened awfully fast,"" Schiller says of the decade. ""It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future."" When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

Robert Capa (born Endre Ernő Friedmann October 22, 1913 – May 25, 1954) was a Hungarian–American war photographer and photojournalist. He is considered by some to be the greatest com...

'Bandstand', set of three framed artworks, captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of da...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

Captured on a visit to Samuel Field's grandparents in Eastbourne, this collection is a beautiful reminder of days gone by. This artwork is a limited edition of 25, gloss photographi...

Captured on a visit to Samuel Field's grandparents in Eastbourne, this collection is a beautiful reminder of days gone by. This artwork is a limited edition of 25, gloss photographi...

Bandstand II, captured on a visit to his grandparents in Eastbourne in 1985, this black and white photograph collection by Samuel Field is a beautiful reminder the British seaside of...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

Captured on a visit to Samuel Field's grandparents in Eastbourne, this collection is a beautiful reminder of days gone by. This artwork is a limited edition of 25, gloss photographi...

René GROEBLI (*1927, Switzerland) 307, 1946 / 1952 Vintage silver gelatin print on Baryta paper Sheet 21.5 x 17 cm (8 1/2 x 6 3/4 in.) Unique Print only S...

A photograph by Lawrence Schiller. “Robert Kennedy, San Diego” is a figurative photograph, vintage silver gelatin photograph in black and white by American artist Lawrence Schiller. The artwork is signed on the verso. Lawrence Schiller only remembers the 60s in this way: Fast. As in: Blur. Which is, for those who lived through it, as accurate a description as one is likely to find about the decade that began with optimism and ended in chaos. It was ten years of turmoil and exploration. And through this turbulent and tumultuous decade, it often seemed that whenever a headline-making news event occurred, Lawrence Schiller was there. Schiller was not just lucky to be in the right place at the right time; he was prescient. He was there to cover the event, to add to it, to help us see it, to aid its meaning and its depth. "It was a time in which things happened awfully fast," Schiller says of the decade. "It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the 60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to it. But by the end of the ‘60s I had covered so many stories, had so many magazine covers, I had somehow become part of that decade’s history. And I already had my eye on the future." When Lawrence Schiller got the assignment from the French magazine, Paris Match to photograph Marilyn Monroe on the 20th Century Fox set of Something’s Got to Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, or use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May, 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...