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Jeanloup SIEFF - Nude, Portrait of a Seated Woman, 1972

Old Authentic Original Drawing Offset print

Beautiful Famous photo!!

Print format: 18.7 cm x 28.2 cm

This is a print that the printer had archived as a reference model and laminated to a support so that it can be preserved over time.

A wonderful testimony to traditional art printing which has completely disappeared today.

Remarkable print close to a photograph, luminous and contrasted, with black of very beautiful density.

Its rendering as well as its sharpness, its definition with sharp details, and its shine, are absolutely magnificent.

Print made in 1999 by a former art printer - Archival model Printer two-tone printing enhanced with a glossy varnish

This unpublished print was found deep in an assembly workshop in the archive lockers of a former art printing house, carefully preserved flat and protected from light in an envelope. Although it is old with its 24 years of age, it remains in a good state of conservation. Presence of traces of dirt and marks on the back due to manipulations by the printer. However, the front is intact, in perfect condition and of remarkable shine.

This copy was kept by the printer to serve as references for its calibration and coloring on the machine during reprints.

In 1972, in an old house near Paris, populated by his childhood memories, impressionist paintings, a terracotta floor, and old furniture that he remembered, a place in which he created a multitude of nudes, Sieff equipped with his wide angle, under a rectilinear light recorded his model that day, Catherine placed in the center of the room, a woman seated between shadows and lights, essential parameters to take a beautiful photo, leitmotif of the photographer always in search of 'a timeless image, representing the landscape of a body and a tribute to light.

An emblematic image of his work, which suddenly represents a light, a beautiful space, something that is happening and which cannot escape him, he is not looking for anything, he finds a person, an emotion, beauty is not just perfection , there is, at times, something strange in her images.

A stylized photographic study, this nude becomes a frozen sculpture that only her hand on the shutter comes to animate, she is a heroine from the Arabian Nights, in a world of wonder. It only takes a little to dress a naked body with light; sometimes a simple shadow cast by a window adds an appearance of serenity to the body.

His photographs are reinvented stories, with unexpected framings, they become escapes where he strives to freeze time to grasp the meaning, the senses, the essence, the beauty of each body, he captures it when he lurks in the unusual, takes refuge in the banal.

“It’s suddenly a light, a beautiful space, something that’s happening that could have escaped me. I'm not looking for anything, I'm finding a look, an emotion, beauty is not just perfection, it has, at times, something strange. » Jeanloup Sieff

It only takes a little for Jeanloup Sieff to reveal shadows and lights, he dresses his models, essential parameters for him to take beautiful photos, his leitmotif since always, in search of a timeless image, representing the landscape of a body while paying homage to light.

He learns to look, observe, contemplate and educates his eye to reconstruct reality. And, as nothing in the world is more beautiful than a woman, his art becomes a silent and haunting ode to women, to their mystery and their beauty, spaces of dreams. His photographs are reinvented stories, with unexpected framings, they become escapes where he strives to freeze time to grasp the meaning, the senses, the essence, the beauty of each body, he captures it when he lurks in the unusual, takes refuge in the banal.

He refuses cropping, out of personal discipline, considering that the inscription in a given space is as important as what we photograph, to crop it, is that we are in the wrong place or at the wrong distance, and therefore that the image is not good.

He likes the superficial, in order to remedy the seriousness of things, a form of modesty. By superficial he means a purely physical quality, of a face, of the skin, of a sky, of a place or of a wall which evokes an emotion to him. By photographing he lives the present moment without knowing what emotional intensity it will provide, what is superficial can be rich like a memory that flowers the memory.

His priority is to look deep down, his goal is to produce images with a form of objective beauty that does not need the aesthetics of an artist or a model, he detaches himself from his photographs for their give freedom and a life of their own. He is an inspired photographer, which does not prevent him from being rigorous. He puts his high standards at the service of his creation and remains as the best observer of his time and its perfect witness.

“My commitment is to show beauty. » Jeanloup Sieff

For him, art does not exist, only artists exist, all creation passes through a technique put at the service of a result satisfying for the senses, happiness of shapes, colors, words, of the ear, and of touch. He is a voyeur-traveler who attempts to join superb, enigmatic creatures, with a fantastical dimension, of timeless artistic mastery, breaking narrative temporality and its cold logic.

His photography is composed like a master's canvas, magnified by the use of black and white, his photos are a window open to the imagination, fragments of eternity. He is a voyeur-traveler who tries to reach those he photographs, with artistic mastery, breaking the narrative temporality and its cold logic.

“There are no good or bad subjects, there is only the quality of the gaze that falls on them.” Jeanloup Sieff

After receiving the “Niepce” prize in 1959, he moved to New York in 1961 to work with the biggest fashion magazines, he collaborated with Look, Harper's Bazaar, Glamour, Vogue, who constantly solicited him, he became a recognized fashion photographer, with this campaign in 1962 for Rosy lingerie, then confirmed his great art in 1971 where he had Yves Saint Laurent pose naked in his workshop for the launch of his first perfume.

From the beginning he has completely immersed himself in the world of fashion and the nude, with his photos he contributes to revolutionizing the genre, his motto is to go further than the simple representation of couture, of a perfume or of 'a body, its objective is to show beauty, as a form of commitment. Elegance and lightness, classicism and sensuality are the priorities in his work, his style is the mastery of the structure of the image, virtuosity in the play of shadows and in the dramatization of contrasts, he manages to render an acute sense of space, thanks to black and white which offers an escape, by obtaining the essential, by purifying.

He then alternated his life between Paris and New York, carefully testing a new very long focal length lens in the streets of New York, it was from this moment that he revolutionized the photographic world, using the wide-angle to to give a broad vision and obtain distortions which serve to play on the lines while creating unusual atmospheres.

“I don’t have a specialty, I do fashion, portraits, landscapes, my specialty is not having any. » Jeanloup Sieff

When asked why do you take photographs, he replies: “it’s because I was given a camera”. He started taking photographs at the age of 14-15 after receiving this camera as a birthday present. He takes photos, his real motivation is pleasure, his first approach is spontaneous, thoughtless, but always with a reflection on the finality.

He works essentially in black and white and photographs both a man or a woman in the same way, he envelopes them in tenderness, depicts them in a delicate way, in a simple and stripped-down atmosphere, establishes a depth of blacks, a light which he masters to perfection.

“Black and white goes to the essential, it’s a way of purifying things a little, color imposes a vision that I sometimes find a little anecdotal, while black and white offers an escape. » Jeanloup Sieff

“The beauty of a woman is summer smells on a shoulder, a chiaroscuro look, but also a fragile neck, laughing gums, a back that hollows and buttocks that arch. A little piece of time that we pin up like a butterfly in a box. So we obviously miss the smell of spring, the sun, what was around the butterfly. Its shape remains. » Jeanloup Sieff

Jeanloup Sieff (1933-2000) French photographer, he is recognized for his portraits of political and entertainment figures, for his landscapes, as well as for his nudes and his use of wide-angle lenses. He works mainly in black and white. He is also a fashion photographer and is followed on this path by his daughter Sonia.

In 1954, Jeanloup Sieff began his career as an independent photographer in Paris and published his first photos in “Photo Revue”. The following year, he was hired as a photojournalist for “Elle”. Quite quickly, he resigned from Elle to join the Magnum agency and began a series of trips to Europe (Italy, Greece, Turkey and Poland).

In 1959, Jeanloup Sieff left Magnum and began working independently again. He then worked for “Réalités” in Belgium and “le Jardin des Modes” where he found Frank Horvat, whom he had met a few years earlier. Two years later, he moved to New York, he collaborated with Look, Glamour, Esquire, Harper's Bazaar, continued to work for European magazines (Vogue, Twen, Queen…) and took his first advertising photos (Rosy en 1962).

After seven years spent on the American continent, Jeanloup Sieff decided to return to Paris. He continues to collaborate for Vogue, Nova, Elle. His photos are regularly exhibited and rewarded.

From the end of the 1970s, he enjoyed wide fame and was particularly active. He is invited to participate in numerous programs (La Vallée de la Mort…) as well as in the film by F. Moskovicsz, 3 days, 3 photographers (with Robert Doisneau and Bruno Barbey). He founded and directs the “Journal d’un voyage” collection.

Having managed to integrate his studio and his lab into his apartment-workshop, he lives and creates in his lair, away from fashion and media turbulence. Jeanloup Sieff is calm, often melancholic, always nostalgic, his half-hearted humor can be disconcerting. He likes cats, B&W and Fats Waller. In his photos, we find the same places, the same objects: the staircase, the table, the black house in East Hampton, the painting by Charles Matton.

It makes no distinction between commissioned work and so-called “personal” work. We remember from him the fixed and lost gaze of Coluche who made the front page of Libération at the time of the comedian's death. This “A” was framed in his home, it was the only one. Coluche had apparently been joking throughout the entire photo shoot. Sieff, for his part, had only retained this melancholy image.

When asked which part of the body he prefers, Jeanloup Sieff answers “the behind”

“Women and landscapes are the subjects of my first photos.

I never lost interest in these subjects. I continue my childhood. » Jeanloup Sieff

Sale as is, no return.

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Bruce Weber,

Edward Steichen,

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