Estimate
€ 500 - 800
Sold
€ 645
The price includes buyer's premium
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Information
Vintage gelatin silver print
cm 37,4 x 25,4 (cm 35,8 x 24 picture) | 14.7 x 10 in. (14.1 x 9.4 in. picture)
Photographer's credit stamp on the verso
Frank Horvat (Abbazia, Croatian 1928 – Paris, France 2020) from a Jewish family, escaped to Switzerland where he sold his stamp collection and bought a camera with which, having moved to Milan in 1947, he began a career that would change when in Paris he met Cartier-Bresson and Capa who initiated him into reportage. He implements this on a trip made without a return ticket to India and Pakistan: here he makes images that allow him to collaborate with Life. Another fundamental meeting is with William Klein, who introduces him to the world of fashion and to magazines such as Les Jardin des Modes, Elle, Vogue, Harper's Bazaar. In the 1990s he is one of the first to experiment with fantastic stories using digital photomontages.
Frank Horvat used to say that he willingly accepted work in fashion because, being shy, he could more easily connect with women. True or false, the fact remains that he brings to that world a different, more free and direct approach, the same one he used in his travel reports. Like William Klein, he makes his models move among the streets of cities by chasing them outdoors in a fake but well-studied normality as these two examples well demonstrate. We are faced-at least it seems so-with two girls moving through the city browsing here and there, one posing in front of a billboard as if to smile at a friend who wants to take her portrait, the other glancing off to who knows where with the neatly displayed goods of a local market behind her, where she seems to have been going shopping. And with mischievousness Horvat makes us think that we would be lucky to meet her right there where perhaps we could go every morning.
cm 37,4 x 25,4 (cm 35,8 x 24 picture) | 14.7 x 10 in. (14.1 x 9.4 in. picture)
Photographer's credit stamp on the verso
Frank Horvat (Abbazia, Croatian 1928 – Paris, France 2020) from a Jewish family, escaped to Switzerland where he sold his stamp collection and bought a camera with which, having moved to Milan in 1947, he began a career that would change when in Paris he met Cartier-Bresson and Capa who initiated him into reportage. He implements this on a trip made without a return ticket to India and Pakistan: here he makes images that allow him to collaborate with Life. Another fundamental meeting is with William Klein, who introduces him to the world of fashion and to magazines such as Les Jardin des Modes, Elle, Vogue, Harper's Bazaar. In the 1990s he is one of the first to experiment with fantastic stories using digital photomontages.
Frank Horvat used to say that he willingly accepted work in fashion because, being shy, he could more easily connect with women. True or false, the fact remains that he brings to that world a different, more free and direct approach, the same one he used in his travel reports. Like William Klein, he makes his models move among the streets of cities by chasing them outdoors in a fake but well-studied normality as these two examples well demonstrate. We are faced-at least it seems so-with two girls moving through the city browsing here and there, one posing in front of a billboard as if to smile at a friend who wants to take her portrait, the other glancing off to who knows where with the neatly displayed goods of a local market behind her, where she seems to have been going shopping. And with mischievousness Horvat makes us think that we would be lucky to meet her right there where perhaps we could go every morning.
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