{"id":433181,"date":"2026-01-14T15:06:07","date_gmt":"2026-01-14T20:06:07","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=433181"},"modified":"2026-01-17T17:50:18","modified_gmt":"2026-01-17T22:50:18","slug":"rodney-smith","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/rodney-smith\/","title":{"rendered":"This Rodney Smith Photograph Lets Elegance Teeter toward Silliness \u2014 Just a Bit"},"content":{"rendered":"
\n
\"Zoe<\/a>
Zoe Balancing Teapot on Head, Burden Mansion, New York, New York<\/em>, 2006, by Rodney Smith<\/a><\/figcaption><\/figure><\/div>\n\n\n

In Zoe Balancing Teapot on Head, Burden Mansion, New York, New York<\/em><\/a>, Rodney Smith<\/a> staged an act of contrarian composure. A young woman, barefoot and wearing a ballgown, sits on the parquet<\/a> floor of a grand, sunlight-flooded room, a porcelain teapot<\/a> resting on her head as if it were a natural extension of her body. She\u2019s encircled by at least 19 cups and saucers<\/a> while cooling her own tea through pursed red lips.<\/p>\n\n\n\n

The scene is both highly elegant and somewhat silly, with perfect control and humor occupying the same breath. Like much of Smith\u2019s output, it seems to hover at the intersection of fashion photography, cinematic stills and philosophical riddles \u2014 formal, exacting, wry and unplaceable in time.<\/p>\n\n\n\n

\u201cHe worked with extraordinary deliberation,\u201d says Etheleen Staley, director of Staley-Wise Gallery<\/a>, which represents the artist. \u201cThis photograph was made on film, using natural light and carefully composed in camera<\/a>, without digital manipulation. The balance is real, the moment sustained.\u201d<\/p>\n\n\n\n

Smith shot Zoe Balancing Teapot<\/em> in 2006 as part of an ad campaign for designer Barbara Barry<\/a>, whose collections have ranged from Wedgwood china<\/a> and silverware to Henredon furniture<\/a> and embroidered bedding. The campaign sought to elevate everyday rituals by situating them in dreamy settings.<\/p>\n\n\n

\n
\"Portrait<\/a>
A portrait of Rodney Smith by Scott Hughes, 1988<\/figcaption><\/figure><\/div>\n\n\n

\u201cRodney and Barbara Barry were kindred spirits in their pursuit of beauty as an essential part of daily life \u2014 an antidote to the harshness of the world and a source of uplift and inspiration,\u201d says Leslie Smolan, Smith\u2019s widow and longtime creative partner. <\/p>\n\n\n\n

Born in New York City, Smith (1947\u20132016) pursued a master’s degree in divinity in the 1970s at Yale University, where he also found time to study with Walker Evans<\/a>.<\/p>\n\n\n\n

He went on to travel the world as a fine-art and documentarian photographer, before becoming one of the most distinctive voices in fashion and commercial photography, known for crafting compositions that mingle classical order and perfectionism with deadpan humor and optimism.<\/p>\n\n\n\n

Because of his art background, Smith knew how to make photographs that transcended their content to become rare objects in themselves. \u201cHighly selective about what he released, Rodney printed his photographs sparingly, favoring quality over quantity,\u201d Smolan explains. \u201cAs a result, works such as Zoe Balancing Teapot on Head<\/em> are valued not only for their visual poetry but for their scarcity.\u201d<\/p>\n\n\n\n

His best-known compositions feature men and women dressed to the nines, captured with their faces partially obscured or shot from a distance in gorgeous locales, posing gleefully while sometimes performing gravity-defying feats.<\/p>\n\n\n\n

Seen on magazine covers, on museum walls and in budget-bending ad campaigns, these now grace the pages of the new monograph Rodney Smith: Photography between Real and Surreal<\/em><\/a>, published on the occasion of his first major exhibition in Italy<\/a>, at Rovigo\u2019s Palazzo Roverella through February 1. For those in the Western Hemisphere, there\u2019s also a Smith solo show<\/a> at the Franz Mayer Museum of Art and Design, in Mexico City, through March 15.<\/p>\n\n\n

\n
\"Samuel
Samuel from Behind<\/em>, 1997, by Rodney Smith<\/a><\/figcaption><\/figure><\/div>\n\n\n

The surreal quality of his work derives partly from the clarity of the unexpected scenes, as in a Ren\u00e9 Magritte<\/a> painting but captured on film. \u201cSmith was a master of his craft,\u201d says Stalely, \u201cworking with a Hasselblad camera and the larger 2\u00bc-format negative to achieve maximum sharpness.\u201d<\/p>\n\n\n\n

The photographer chose the James Burden Mansion on Manhattan\u2019s Upper East Side for Zoe Balancing Teapot<\/em>. Built in 1905 by Warren and Wetmore (the architects behind Grand Central Terminal), the Beaux Arts<\/a> home features soaring windows, marble walls and ornate ceilings.<\/p>\n\n\n\n

\u201cFor Rodney, location was paramount, and he was always in search of natural light,\u201d Smolan says. \u201cOnce he found the right setting, everything else followed.\u201d<\/p>\n\n\n\n

The model, Zoe Friedman, was one of Smith\u2019s most frequent collaborators. \u201cShe always possessed a casual beauty and could step out of a pair of Levi\u2019s and into a ballgown seamlessly,\u201d Smolan notes.<\/p>\n\n\n\n

Although the image was originally an outtake from the Barbara Barry gig, it has since become one of Smith\u2019s most recognizable pictures, recalling a real-life Alice in Wonderland tea party.<\/p>\n\n\n\n

\u201cZoe\u2019s calm presence, combined with the architectural dignity of the setting, creates a subtle narrative,\u201d says Smolan, \u201cone that invites viewers to linger and interpret rather than consume the image quickly.\u201d<\/p>\n\n\n\t

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\n\t\t\t\t\t\tExplore More Rodney Smith Photography on 1stDibs\t\t\t\t\t<\/div>\n\t\t\t\t\t
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In Zoe Balancing Teapot on Head, Burden Mansion, New York, New York, Rodney Smith staged an act of contrarian composure. A young woman, barefoot and wearing a ballgown, sits on the parquet floor of a grand, sunlight-flooded room, a porcelain teapot resting on her head as if it were a natural extension of her body. 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