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Frank Horvat Art

French, Italian, 1928-2020

The medium of photography owes a great deal to pioneer Frank Horvat.  Never one to shy away from new techniques and technology, the internationally renowned photographer enjoyed a career spanning seven decades. His nude and portrait photographs — in color and black and white — were often shot off-site rather than in the studio and are credited with paving the way for modern French fashion photography.

Horvat was born in 1928 in Abbazia, Italy. When he was a teenager, he swapped his postage stamp collection for a 35 mm Retinamat camera, hoping to impress girls, which didn't work. However, Horvat did start teaching himself about photo composition. In 1947, he moved to Milan to study art at the Accademia di Brera.

In the early 1950s, Horvat traveled to Pakistan, India, London, New York and Paris, working as a photojournalist and fashion photographer. By the late 1950s he had made a name for himself for using his dynamic journalistic sense to breathe new life into fashion photography. The early 1960s marked the heights of his career, working for magazines like Harper's Bazaar, Elle, Glamour, Vogue, Revue and Jardin des Modes.

After a whirlwind in the spotlight, the 1970s saw Horvat winding down his fashion photography. Many magazines he once worked for closed their doors, so he pivoted to publishing photography books. His first personal project was called Portraits of Trees.

Always a maverick, Horvat was at the forefront of digital photography in the late 1980s. While there was resistance to the digital shift from other photographers, Horvat embraced the ease and convenience of the format. He was later a big proponent of Photoshop, as well.

Horvat continued releasing photography books throughout the rest of his life. In 2011, he received an award for his photographic career from the Centro di Ricerca e Archiviazione della Fotografia in Italy.

Horvat passed away in 2020, leaving behind a prolific photographic legacy. His work is held in the collections of the Museum of Modern Art, the Victoria and Albert Museum, the Bibliothèque Nationale de France and Kunstbibliothek Berlin, to name a few.

On 1stDibs, find a lively collection of Frank Horvat photography.

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Artist: Frank Horvat
For Jours De France, Paris - Monique Dutto, 1958 (printed 1995)
By Frank Horvat
Located in Santa Monica, CA
Signed, titled, dated and numbered in pencil on verso Gelatin Silver Print Image: 11-1/2" x 17-1/2", Paper: 16" x 20", Mat: 20" x 24" Edition 3 of 30
Category

1950s Frank Horvat Art

Materials

Silver Gelatin

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Rebecca, Dye Transfer Print, Framed, 1980
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Rebecca, 1980 by Frank Horvat Dye Transfer Print Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Frame size: 31 in. H x 26 in. W x 1 in. D Signed, titled and dated in pencil on verso. ___________________________________ Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
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20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

Michele, Dye Transfer Print, Framed, 1983
By Frank Horvat
Located in Miami Beach, FL
Michele, 1983 by Frank Horvat Dye Transfer Print Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Frame size: 31 in. H x 26 in. W Signed, titled and dated in pencil on verso. Framed ____________________________________ Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

Anne, Portrait. Fashion Color Photograph. Signed, titled and dated on verso
By Frank Horvat
Located in Miami Beach, FL
Anne, 1983 by Frank Horvat Dye Transfer Print Unframed Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Signed, titled and dated in pencil on verso. Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
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20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

Claude, Dye Transfer Print, 1984
By Frank Horvat
Located in Miami Beach, FL
Claude, 1984 by Frank Horvat Dye Transfer Print Unframed Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Signed, titled and dated i...
Category

20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Color, Archival Pigment

Alessandra, Dye Transfer Print, 1986
By Frank Horvat
Located in Miami Beach, FL
Alexandra, 1986 by Frank Horvat Dye Transfer Print Unframed Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Signed, titled and dated in pencil on verso Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

Aurelia, Dye Transfer Print, Framed, 1984
By Frank Horvat
Located in Miami Beach, FL
Aurelia, 1984 by Frank Horvat Dye Transfer Print Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Frame size: 31 in. H x 26 in. W Signed, titled and dated in pencil on verso ____________________________________ Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

Marie-Paule, Dye Transfer Print, 1984
By Frank Horvat
Located in Miami Beach, FL
Marie-Paule, 1984 by Frank Horvat Dye Transfer Print Unframed Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Signed, titled and dated in pencil on verso. Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

Alexandra, Dye Transfer Print, 1982
By Frank Horvat
Located in Miami Beach, FL
Alexandra, 1982 by Frank Horvat Dye Transfer Print Image size: 9.38 in. H x 14 in. W Sheet size: 19.5 in. H x 22.63 in. W Signed, titled, and dated in pencil on verso. Unframed Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid-1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

Sophie, Dye Transfer Print, Framed, 1981
By Frank Horvat
Located in Miami Beach, FL
Sophie, 1981 by Frank Horvat Dye Transfer Print Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Frame size: 31 in. H x 26 in. W Signed, titled and dated in pencil on verso Framed _____________________________________ Frank Horvat (28 April 1928 – 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat’s photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture. He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop. Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and America) before settling in France in 1955. Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the ‘sleaze and squalor’ of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, Réalités, Match, Picture Post, Die Woche, and Revue. His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors. In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper’s Bazaar in New York. Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to “become his own client” by producing three personal projects: Portraits of Trees (1976–82), Very Similar (1982-86) and New York Up and Down (1982–87), which he called his “triptych”. In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York’s subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues. In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid’s Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the “decisive moment” by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop. Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, “I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair...
Category

20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

Kristin, Framed Dye Transfer Print, 1980
By Frank Horvat
Located in Miami Beach, FL
Kristin, 1980 by Frank Horvat Dye Transfer Print Framed 36" x 21" Image size: 14 in. H x 9.38 in. W Sheet size: 22.63 in. H x 19.5 in. W Frame size: 31 in. H x 26 in. W D 1 Signed, t...
Category

20th Century Modern Frank Horvat Art

Materials

Dye Transfer, Archival Pigment, Color

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