Keira Knightley with sculpture in “The Lives We’ll Never Live” for Vogue Italia. April 2017. – Perhaps influenced by Pygmalion, a play by George Bernard Shaw, named after a Greek mythological figure. It was first presented on stage to the public in 1913. In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life…
Sandra Martens as dancer with art screen in “Demi Plié” – Martens wears ballerina inspired looks with dazzling jewelry. Fashion from Adler, Gitza Gate, Eres, Marks and Spencer, Wolford, and Fuat Hayat.
Mára a novemberi fagy megérkezett. A kertben a barna levelek az utolsó lélegzetükben sóhajtoznak, ahogy a földre kúsznak. A madáretető körül a tolongás borítékolható. A fagy harapja az orrunkat a meleg sapkák és kesztyűk izgatottan használatra jelentkeznek… (Kerepes, Hungary – Németh György fotó)
Sergei Arsenevich Vinogradov (Russian, 1869-1938) – Lady in an Interior, 1924 (Oil on canvas) – – Although the subject faces away, her figure, haircut and her shoes suggest that she is Vinogradov’s wife, Irina Kazimirovna Voitsekhovskaya. High ceilings and large windows create a beautiful interplay of light and shade and a sense of space which is so successfully conveyed by the artist in green and golden tones. The delicate pink of the model’s dress balances his chosen palette perfectly.
Október végi napsütés – Ma az októberi lágy napfény az egész kertet sütkérezésre ingerlő meleg fénnyel borította be… (Fotó: Németh György – Kerepes, Hungary)
Helmut Newton (German-Australian, 1920-2004) – Roselyne in Arcangues, France (salon), 1975 (Gelatin silver photograph. Art Gallery NSW.) – – Private Property is a mixture of fashion, portraits and erotica from 1972 to 1983. Roselyne in Arcangues was shot at Château Arcangues for French Vogue. The Amazonian Roselyne participates in the archetypal Newton fantasy of female exhibitionism and male voyeurism.
François Boucher (French, 1703-1770) – The School of Friendship, 1760 (Oil on canvas. Staatliche Kunsthalle Karlsruhe) – – The center of attention is the letter from the absent male. The two young women are in a pastoral setting. The brunette reclines and reads the letter while the blond listens and dreams. While the letter may declare love for one of the women, their friendship is strong and such a declaration brings them closer together, as evidenced by the position of their bodies.