Richard Kern

Cecile Blows Bubbles

1997

Horace Bristol Untitled , c. 1940s Black & White Photograph Image Dimensions: 10 x 9 3/4 inches (25.4 x 24.8 cm) Paper Dimensions: 14 x 11 inches Mount...

Horace Bristol Woman Vendor, 1940s Black & White Photograph Image Dimensions: 9 3/4 x 9 3/4 inches (24.8 x 24.8 cm) Mounted Dimensions: 20 x 16 inches ...

Neil Leifer Clay vs Jones Post Fight "Knockout", 1963 Black and white photograph 16 x 20 inches (40.6 x 50.8 cm) Edition 14/150

Diane Arbus Girl in a Shiny Dress, NYC, 1967 Gelatin silver print Image Dimensions: 14.5 x 14.5 inches (36.8 x 36.8 cm) Paper Dimensions: 20 x 16 inches ...

"Bleary" 35MM Ilford black and white photograph by fine art and fashion photographer Sofia Malamute. Photograph of model Jamie Bochert shot for MAD Fall/Winter 2014. Image size 25 x ...

Antinoe - Signed limited edition archival pigment print, 2015 - Edition of 10 Asno Egypt during Coptic Revolutions In assignment for ARTE& LE LOUVRE 2012 This is an Archival P...

Monica Vitti (Associated Press Photo) is a vintage b/w photo of the Italian actress on a boat at sea realized in the 1960s. Monica Vitti is born in Rome on November 3, 1931. Admitted in 1950 to the Academy of Dramatic Art (where she will return in 1986 as a teacher), and graduated in 1953, she immediately tackles the scenes in L'avaro di Molière (1954), The island of the parrots of S. Tofano (1954), They founded a city of C. Meano (1954), Mother Courage and her children of B. Brecht (1954). Between 1956 and 1959 she also participated in television broadcasts and acted in numerous adaptations of famous theatrical texts. She made her film debut playing secondary parts in Laugh, Laugh, Laugh! by E. Anton, 1955; A mink coat by G. Pellegrini, 1956; Le dritte di M. Amendola, 1958. Dubbing actress of Il scido di M. Antonioni (1957), she meets the director who, after having directed her to the theater in I am a camera by J. Van Druten (1957) and in Secret Scandals by Antonioni and E. Bartolini (1957), he calls her as the protagonist in L'avventura (1960), a film with which V. is a leading actress. Always led by Antonioni, from now on she will play suffering characters who embody a profound crisis of feelings. Apart from a brief television parenthesis (a transposition of the short story The White Nights by F. Dostoevskij, directed by V. Cottafavi), La notte (1961), L'eclisse (1962) and Deserto rosso (1963) belong to a happy partnership with Antonioni (who will be revived episodically for the production of The Mystery of Oberwald [1980], a courageous experiment of intertwining cinema and electronic techniques, propitiated by the exhumation of a play by J. Cocteau, L'aigle à deux têtes). In the second half of the Sixties, however, the producers showed that they preferred her as an actress endowed with caricatural flair, fine humor, vitalistic exuberance, communicative immediacy; and audiences pay her a growing success, not always corresponding to the quality of her filmography or the variety of her interpretations, among which are the very convincing ones in Modesty Blaise...

Monica Vitti and Michelangelo Antonioni is a vintage black and white photo of the italian actress and the italian movie director Michelangelo Antonioni from the 1960s. Agenzia Nazionale Stampa Associata (ANSA). Monica Vitti is born in Rome on November 3, 1931. Admitted in 1950 to the Academy of Dramatic Art (where she will return in 1986 as a teacher), and graduated in 1953, she immediately tackles the scenes in L'avaro di Molière (1954), The island of the parrots of S. Tofano (1954), They founded a city of C. Meano (1954), Mother Courage and her children of B. Brecht (1954). Between 1956 and 1959 she also participated in television broadcasts and acted in numerous adaptations of famous theatrical texts. She made her film debut playing secondary parts in Laugh, Laugh, Laugh! by E. Anton, 1955; A mink coat by G. Pellegrini, 1956; Le dritte di M. Amendola, 1958. Dubbing actress of Il scido di M. Antonioni (1957), she meets the director who, after having directed her to the theater in I am a camera by J. Van Druten (1957) and in Secret Scandals by Antonioni and E. Bartolini (1957), he calls her as the protagonist in L'avventura (1960), a film with which V. is a leading actress. Always led by Antonioni, from now on she will play suffering characters who embody a profound crisis of feelings. Apart from a brief television parenthesis (a transposition of the short story The White Nights by F. Dostoevskij, directed by V. Cottafavi), La notte (1961), L'eclisse (1962) and Deserto rosso (1963) belong to a happy partnership with Antonioni (who will be revived episodically for the production of The Mystery of Oberwald [1980], a courageous experiment of intertwining cinema and electronic techniques, propitiated by the exhumation of a play by J. Cocteau, L'aigle à deux têtes). In the second half of the Sixties, however, the producers showed that they preferred her as an actress endowed with caricatural flair, fine humor, vitalistic exuberance, communicative immediacy; and audiences pay her a growing success, not always corresponding to the quality of her filmography or the variety of her interpretations, among which are the very convincing ones in Modesty Blaise...