The Laundry Worker, Henri de Toulouse-Lautrec
The Penitent Magdalene, Hans Olaf Heyerdahl
An Auburn Beauty, Alexei Harlamoff
Man Wearing a Laurel Wreath, John Singer Sargent
Portrait of a Girl, Alphonse Mucha
Orson Welles (May 6th,1915 - October 10th, 1985) arrives at the premiere of “Citizen Kane” (1939)
"Style is knowing who you are, what you want to say, and not giving a damn."
Rainer Werner Fassbinder and Hanna Schygulla, Berlin, ca 1980 -by Alfred Eisenstaedt
"It’s the first professional image I ever made," Parks says, “created on my first day in Washington.” Roy Stryker, who led the FSA’s very best documentary photographers—Dorothea Lange, Walker Evans, Carl Mydans, etc.—told Parks to go out and get acquainted with the city. Parks was amazed by the amount of bigotry and discrimination he encountered on his very first day.
"White restaurants made me enter through the back door, white theaters wouldn’t even let me in the door, and as the day went on things just went from bad to worse." Stryker told Parks to go talk with some older black people who had lived their entire lives in Washington and see how they had coped. “That’s how I met Ella,” Parks explains (see a video interview with Parks talking about this day here).
Ella Watson was a black charwoman who mopped floors in the FSA building. Parks asked her about her life, which she divulged as having been full of misery, bigotry and despair. Parks’s simple question, "Would you let me photograph you?" and Ella’s affirmative response, led to the photographer’s most recognizable image of all time. (find other pictures of Ella Watson here and here).
"Two days later Stryker saw the image and told me I’d gotten the right idea but was going to get all the FSA photographers fired, that my image of Ella was 'an indictment of America.' I thought the image had been killed but one day there it was, on the front page of The Washington Post.” At the time, Parks couldn’t have realized that the image would go on to become the symbol of the pre-civil rights era’s treatment of minorities. (+)
The picture is a parody of Grant Wood’s painting “American Gothic
The models who were used in “American Gothic” standing by Grant Wood’s painting.
American photographer Sandro Miller collaborated with the actor to recreate some of the most famous portraits captured throughout history. The project is titled, “Malkovich, Malkovich, Malkovich: Homage to photographic masters.” (via PetaPixel)
Original photo by Gordon Parks. ‘American Gothic,’ 1942.
Portraits of Edith Tudor-Hart :
1) Vienna, 1928 -by Rudolf Bauer;
2) with her son Tommy [London], ca 1936 -by Wolfgang Suschitzky
from: Edith Tudor-Hart and Wolfgang Suschitzky, ‘Das Auge des Gewissens' (Ed. D. Nishen, Berlin, 1988)