A while back, Richard Avedon had a confession to make. “I hate cameras,” said the man who revolutionized fashion and portrait photography. “If I could only work with my eyes alone!”

Yet Avedon’s photos seem to do just that — they remove the distance the camera lens creates to make you feel that you are right there beside his subjects.

Born in New York City in 1923, Avedon had a stern father, an artistic mother and a beautiful, but troubled, sister. At 18, he wanted to be a poet. And the slight, 5’7” dreamer didn’t lack confidence — or a sense of drama. “I know my drifting will not prove a loss / For mine is a rolling stone that has gathered moss,” he wrote in 1941.

A year later, Avedon joined the Merchant Marines, where he spent his World War II years shooting ID photos of new recruits. “I must have taken pictures of 100,000 faces before it occurred to me I was becoming a photographer,” he later recalled.

After demobilization in 1944, Avedon shot fashion pictures for the tony Manhattan department store Bonwit Teller and studied with Alexey Brodovitch, the legendary art director of Harper’s Bazaar. By 1945, his work was appearing in Junior Bazaar.

“His first photographs for us were technically very bad,” Brodovitch later recalled. “But they were not snapshots. . . . Those first pictures of his had freshness and individuality, and they showed enthusiasm and a willingness to take chances.”

Who else was willing to take chances? Brodovitch and Carmel Snow, editor in chief of Harper’s Bazaar, who soon sent the young talent to fashion’s sacred capital, Paris.

The postwar years were hard in Paris. When Avedon first arrived there, in 1946, it was with an explicit directive from Snow. “Dick was tasked with this idea that he was there to rebuild Paris,” explains Martin. In restoring the energy and excitement around Paris, Avedon imbued it with some of his own.

Avedon’s models jumped, twirled, leapt over puddles and they smiled. Like Avedon himself, they rarely stood still. While he wasn’t the first to use action in fashion photography (in the 1930s, Martin Munkacsi and Toni Frissell began creating fashion images of women engaged in sporty scenarios), Avedon was the first to pair such vitality with women wearing couture.

Character and spirit became la mode. Dovima’s graceful silhouette juxtaposed against the wrinkled heft of two shackled elephants. Dorian Leigh laughing and embracing a bicycle racer. Suzy Parker roller skating across the Place de la Concorde. Sunny Harnett and her cool gaze just daring the roulette table — and every man in the room — not to do her bidding. There was always a narrative in an Avedon mise en scène — whether the background was elaborately staged or stark, the model’s job had forever changed from posing, to acting.

Of course, Avedon did not limit himself to fashion photography. The little boy who once collected autographs grew up to create the most iconic portraits of the 20th century, many of these were included in an exhibition at Guild Hall Museum in East Hampton, New York, in 2017.

A 1958 New Yorker profile noted that even though Avedon’s portraits immortalized cultural elites such as Truman Capote, Elsa Maxwell and Charles Laughton, the qualities that most interested the photographer were “advanced age, physical debility, ugliness, or the pathos underlying the surface insouciance.” Yet “none of Avedon’s subjects seem to resent this kind of treatment . . . being selected to sit for one of his Harper’s Bazaar portraits ranks as an accolade.”

Over the next 40-plus years of his career, his iconic portraiture never lost its force; although at times, his unvarnished truth felt cruel.

But Avedon was a creator, not an observer, and he made no apologies for this. The sitter and the photographer “have separate ambitions for the image,” he wrote in 1985. “His need to plead his case probably goes as deep as my need to plead mine, but the control is with me.”

Find original Richard Avedon photography on 1stDibs.

A Close Look at Mid-century-modern Furniture

Organically shaped, clean-lined and elegantly simple are three terms that well describe vintage mid-century modern furniture. The style, which emerged primarily in the years following World War II, is characterized by pieces that were conceived and made in an energetic, optimistic spirit by creators who believed that good design was an essential part of good living.

ORIGINS OF MID-CENTURY MODERN FURNITURE DESIGN

Emerged during the mid-20th century
Informed by European modernism, Bauhaus, International style, Scandinavian modernism and Frank Lloyd Wright’s architecture
A heyday of innovation in postwar America
Experimentation with new ideas, new materials and new forms flourished in Scandinavia, Italy, the former Czechoslovakia and elsewhere in Europe

CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN

Simplicity, organic forms, clean lines
A blend of neutral and bold Pop art colors
Use of natural and man-made materials — alluring woods such as teak, rosewood and oak; steel, fiberglass and molded plywood
Light-filled spaces with colorful upholstery
Glass walls and an emphasis on the outdoors
Promotion of functionality

MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW

Charles and Ray Eames
Eero Saarinen
Milo Baughman
Florence Knoll
Harry Bertoia
Isamu Noguchi
George Nelson
Danish modernists Hans Wegner and Arne Jacobsen, whose emphasis on natural materials and craftsmanship influenced American designers and vice versa

ICONIC MID-CENTURY MODERN FURNITURE DESIGNS

VINTAGE MID-CENTURY MODERN FURNITURE ON 1STDIBS

The mid-century modern era saw leagues of postwar American architects and designers animated by new ideas and new technology. The lean, functionalist International-style architecture of Le Corbusier and Bauhaus eminences Ludwig Mies van der Rohe and Walter Gropius had been promoted in the United States during the 1930s by Philip Johnson and others. New building techniques, such as “post-and-beam” construction, allowed the International-style schemes to be realized on a small scale in open-plan houses with long walls of glass.

Materials developed for wartime use became available for domestic goods and were incorporated into mid-century modern furniture designs. Charles and Ray Eames and Eero Saarinen, who had experimented extensively with molded plywood, eagerly embraced fiberglass for pieces such as the La Chaise and the Womb chair, respectively.

Architect, writer and designer George Nelson created with his team shades for the Bubble lamp using a new translucent polymer skin and, as design director at Herman Miller, recruited the Eameses, Alexander Girard and others for projects at the legendary Michigan furniture manufacturer.

Harry Bertoia and Isamu Noguchi devised chairs and tables built of wire mesh and wire struts. Materials were repurposed too: The Danish-born designer Jens Risom created a line of chairs using surplus parachute straps for webbed seats and backrests.

The Risom lounge chair was among the first pieces of furniture commissioned and produced by celebrated manufacturer Knoll, a chief influencer in the rise of modern design in the United States, thanks to the work of Florence Knoll, the pioneering architect and designer who made the firm a leader in its field. The seating that Knoll created for office spaces — as well as pieces designed by Florence initially for commercial clients — soon became desirable for the home.

As the demand for casual, uncluttered furnishings grew, more mid-century furniture designers caught the spirit.

Classically oriented creators such as Edward Wormley, house designer for Dunbar Inc., offered such pieces as the sinuous Listen to Me chaise; the British expatriate T.H. Robsjohn-Gibbings switched gears, creating items such as the tiered, biomorphic Mesa table. There were Young Turks such as Paul McCobb, who designed holistic groups of sleek, blond wood furniture, and Milo Baughman, who espoused a West Coast aesthetic in minimalist teak dining tables and lushly upholstered chairs and sofas with angular steel frames.

Generations turn over, and mid-century modern remains arguably the most popular style going. As the collection of vintage mid-century modern chairs, dressers, coffee tables and other furniture for the living room, dining room, bedroom and elsewhere on 1stDibs demonstrates, this period saw one of the most delightful and dramatic flowerings of creativity in design history.

Finding the Right Posters for You

Add a welcome personal touch to your space and tie your distinctive interior scheme together by introducing antique and vintage posters to any and every room of your home.

In the late 19th century, following the advent of text-heavy posters printed from woodblocks for use in taverns and shop windows, hand-drawn poster art had become commonplace in regions such as France, England and the United States. Well-known illustrators were commissioned to produce decorative posters to advertise political campaigns, theatrical events, books, household goods and other items. Early poster artists used a printmaking technique called lithography, which sees drawings or paintings created on a stone (or metal) surface with an oil-based substance, such as a greasy crayon or tusche (an oily wash). The image is eventually affixed to the surface by means of a chemical reaction, and ink adheres to certain sections of the surface while non–image areas are made to repel the ink.

If you wanted a color lithograph in the early days, the number of stones prepared had to match the number of colors you commissioned for the poster. French painter Jules Chéret, widely known as the father of the modern poster, designed some of history's most popular lithographic posters that featured color. Today, Chéret’s art is highly collectible, along with original works by Czech painter and decorative artist Alphonse Mucha, whose posters advertising theatrical productions helped define Art Nouveau.

Over time, poster artists transitioned to more advanced techniques. Using silkscreens, woodblocks and photolithography, painters and illustrators printed larger quantities at a faster rate.

If you’ve finally tracked down that vintage movie poster, mid-century modern promotional travel poster or other work and you’re looking to find out if it is valuable, distinguishing between an original poster and a reproduction can be complicated. A professional appraiser can work with you on factors such as rarity, assessing the physical condition of your poster and authenticating your piece. For now, take care of your new acquisition because conserving posters is essential in helping them retain their value. A practical conservation method is to have the work mounted on archival, acid-free paper and thin artist’s canvas, then enclosing it in a sturdy frame. (And here is a primer on how to hang wall art, be it arranged gallery-style or otherwise.)

On 1stDibs, find all kinds of posters for your home today.