Fernand Fonssagrives Art
3
3
3
Overall Height
to
Overall Width
to
3
3
1
1
1
1
1
1
1
1
1
3
2
3
6,909
3,250
2,514
1,217
3
Artist: Fernand Fonssagrives
Lisa dance a la Franchiere
By Fernand Fonssagrives
Located in New York, NY
Gelatin silver print (Edition of 50)
Signed, titled, dated, and numbered in pencil, verso
Also inscribed with alternate title "Jump with Boats" ("Saut et Bateau") in pencil, verso
...
Category
1930s Other Art Style Fernand Fonssagrives Art
Materials
Silver Gelatin
Nip Up
By Fernand Fonssagrives
Located in New York, NY
Gelatin silver print (Edition of 50)
Signed, titled, dated, and numbered in pencil, verso
This artwork is offered by ClampArt, located in New York City.
Category
1930s Other Art Style Fernand Fonssagrives Art
Materials
Silver Gelatin
One Side Light
By Fernand Fonssagrives
Located in New York, NY
Gelatin silver print (Edition of 50)
Signed, titled, and numbered in pencil, verso
This artwork is offered by ClampArt, located in New York City.
Category
Mid-20th Century Other Art Style Fernand Fonssagrives Art
Materials
Silver Gelatin
Related Items
[Chuck Howard on Boardwalk, Probably Fire Island]
By George Platt Lynes
Located in Boston, MA
Chuck Howard was a favorite model of artists Paul Cadmus and Jared French and muse to Lynes, who captured both the erotic and everyday moments in their re...
Category
Mid-20th Century Modern Fernand Fonssagrives Art
Materials
Silver Gelatin
Kate #9, Vintage Black and White Photograph of Erotic Nude
By Leonard Freed
Located in New york, NY
Kate #9, 2002 by Leonard Freed is an 8” x 10” signed black and white photograph, stamped "vintage" by the Freed estate on verso (back of photo). Model, photographer, and yogini Kate ...
Category
Early 2000s Contemporary Fernand Fonssagrives Art
Materials
Silver Gelatin, Photographic Film, Photographic Paper
Never Let the Same Snake Bite You Twice, Silver Gelatin Black and White Nude
By Savannah Spirit
Located in Los Angeles, CA
Savannah Spirit
Never Let the Same Snake Bite You Twice
Silver gelatin on Ilford multigrade paper, signed, edition of 5
Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch:
"When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since.
To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection.
The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there.
Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning.
Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture.
During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..."
- Katie Peyton Hofstadter
Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...
Category
2010s Contemporary Fernand Fonssagrives Art
Materials
Silver Gelatin, Black and White
'Never Let a Snake Bite You Twice' Black and White Nude Classical Silver Gelatin
By Savannah Spirit
Located in Los Angeles, CA
In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Through her artwork and curation, Spirit takes on technology and social media censors who operate on the assumption that any unclothed body is pornography.
Archival pigment print on Hahnemühle Photo Rag.
"We are unique beauty, we are strong, we are equal, we are body-positive, we are elegant, we are powerful, we are vulnerable. We are our own muses."
Style: This photograph combines a feminist eye and modern feminism with classic vintage pinup...
Category
2010s Conceptual Fernand Fonssagrives Art
Materials
Silver Gelatin
Waiting, Silver Gelatin Black and White Nude Photography
By Savannah Spirit
Located in Los Angeles, CA
Savannah Spirit
Waiting
Silver gelatin on Ilford multigrade paper, signed, edition of 5
Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch:
"When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since.
To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection.
The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there.
Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning.
Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture.
During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..."
- Katie Peyton Hofstadter
Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...
Category
2010s Contemporary Fernand Fonssagrives Art
Materials
Black and White, Silver Gelatin
The Remedy, Silver Gelatin Black and White Nude Photography
By Savannah Spirit
Located in Los Angeles, CA
Savannah Spirit
The Remedy
Silver gelatin on Ilford multigrade paper, signed, edition of 5
Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch:
"When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since.
To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection.
The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there.
Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning.
Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture.
During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..."
- Katie Peyton Hofstadter
Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...
Category
2010s Feminist Fernand Fonssagrives Art
Materials
Silver Gelatin, Black and White
Nude Studies - Edition griffelkunst
By Heinrich Zille
Located in Cologne, DE
With a socially critical eye and Berlin humor, the prints by Heinrich Zille (1858 - 1929) capture the milieu of the "little people" around 1900. The fact that the famous artist was a...
Category
1890s Modern Fernand Fonssagrives Art
Materials
Silver Gelatin, Black and White
Amor De Artuño, Silver Gelatin Black and White Nude Photography
By Savannah Spirit
Located in Los Angeles, CA
Savannah Spirit
Amor de Artuño
Silver gelatin on Ilford multigrade paper, signed, edition of 5
Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch:
"When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since.
To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection.
The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there.
Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning.
Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture.
During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..."
- Katie Peyton Hofstadter
Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...
Category
2010s Feminist Fernand Fonssagrives Art
Materials
Silver Gelatin, Black and White
John Lennon and Yoko Ono naked in bed 1980 vintage print by Allan Tannenbaum
By Allan Tannenbaum
Located in Austin, US
Vintage darkroom print of John Lennon and Yoko Ono taken in New York , naked in bed, November 26th 1980. This print is an original, hand printed darkr...
Category
Late 20th Century Photorealist Fernand Fonssagrives Art
Materials
Silver Gelatin
'Be the Woman You Needed When You Were Younger' Black+White Nude Silver Gelatin
By Savannah Spirit
Located in Los Angeles, CA
In this rich self portrait, Savannah Spirit takes the tradition of black and white female nude photography, and turns the gaze back on itself. In this series, the muse is the artist, and the gaze is her own. Spirit believes that an image of a woman's body should not be viewed through a purely sexual lens. Through her artwork and curation, Spirit takes on technology and social media censors who operate on the assumption that any unclothed body is pornography.
Archival pigment print on Hahnemühle Photo Rag.
"We are unique beauty, we are strong, we are equal, we are body-positive, we are elegant, we are powerful, we are vulnerable. We are our own muses."
Style: This photograph combines a feminist eye and modern feminism with classic vintage pinup...
Category
2010s Conceptual Fernand Fonssagrives Art
Materials
Silver Gelatin
NM-A-N2G
By Edward Weston
Located in Carmel-by-the-Sea, CA
Printed by Cole Weston from the original negative now housed at the Center for Creative Photography in Tuscon, Arizona, retired. The Weston Gallery is owned by Matthew (grandson of Edward Weston) and his wife Davi Weston and we've been dealing in fine art photography since 1975! Edward Weston (1886 – 1958) was an American photographer, and co-founder of Group f/64. Most of his work was done using an 8 by 10 inch view camera. In 1902, he received his first camera for his sixteenth birthday, a Kodak Bull's-Eye #2, and began taking photographs in parks in Chicago and at his aunt's farm. The young Weston met with quick success, and his photographs were already being exhibited at the Chicago Art Institute merely a year later, in 1903. Weston worked mainly with nudes, still life - his shells and vegetable studies were especially important - and landscape subjects. After a few exhibitions of his works in New York, he went on to found Group f/64 in 1932 with fellow photographers Ansel Adams, Willard van Dyke...
Category
20th Century Fernand Fonssagrives Art
Materials
Silver Gelatin
Womans Back
By Jack Welpott
Located in Carmel-by-the-Sea, CA
Signed on the back.
Category
20th Century Fernand Fonssagrives Art
Materials
Silver Gelatin
Fernand Fonssagrives art for sale on 1stDibs.
Find a wide variety of authentic Fernand Fonssagrives art available for sale on 1stDibs. You can also browse by medium to find art by Fernand Fonssagrives in silver gelatin print and more. Not every interior allows for large Fernand Fonssagrives art, so small editions measuring 9 inches across are available. Customers who are interested in this artist might also find the work of Brassaï, Barbara Morgan, and Patrick Taberna.