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Lot 103
FRANCIS GIACOBETTI (B. 1939)
Red Strip, 1973
Closed17 May 2018
Price Realised
GBP 10,625
More Information
FRANCIS GIACOBETTI (B. 1939)
Red Strip, 1973
chromogenic print, printed 2018, flush-mounted on aluminium
image/sheet/ flush mount: 36 ¼ x 31 ½ in. (92 x 80 cm.)
This work is accompanied by a certificate of authenticity signed by the artist.
Red Strip, 1973
chromogenic print, printed 2018, flush-mounted on aluminium
image/sheet/ flush mount: 36 ¼ x 31 ½ in. (92 x 80 cm.)
This work is accompanied by a certificate of authenticity signed by the artist.
FRANCIS GIACOBETTI (B. 1939)
Red Strip, 1973
chromogenic print, printed 2018, flush-mounted on aluminium
image/sheet/ flush mount: 36 ¼ x 31 ½ in. (92 x 80 cm.)
This work is accompanied by a certificate of authenticity signed by the artist.
Red Strip, 1973
chromogenic print, printed 2018, flush-mounted on aluminium
image/sheet/ flush mount: 36 ¼ x 31 ½ in. (92 x 80 cm.)
This work is accompanied by a certificate of authenticity signed by the artist.
Private Collection, Europe.
Lui, no. 115, August 1973, cover.
Francis Giacobetti has enjoyed a long, distinguished and influential career, principally creating editorial images but also initiating independent projects, most notably his remarkable collaborative series of portraits of Francis Bacon. He has for some years been the principal photographer for Issey Miyake. Giacobetti was the creative force behind the French magazine Lui, launched in 1963. He brought an acute sensitivity to the nuances of light and colour to his fashion, portrait, and erotic subjects – and he successfully interwove these genres with great sophistication and a distinctive Gallic chic. Only recently has Giacobetti managed to retrieve his original transparencies from the archives of Lui’s publisher, enabling him at last, after several decades, to make available to collectors prints of his celebrated images for the magazine. The present print is unique in this large format and is number 4 from an edition limited to 7.
"The staging, the carefully wrought lighting, the choice of each model, the placid setting, and the steadiness of the gaze that captures what is given and nothing more: Giacobetti’s photos, perhaps for the first time, offered the viewer soft-core images with genuine aesthetic power. In short, the artist lent a grand style to a minor genre, and it was thanks to the artistic quality of his photographs that Lui became an immense success that soon expanded beyond France to thirteen foreign countries, including Germany, Brazil, Korea, Spain, the United States, and Japan. Lui was successful in part, to be sure, because it showed cheesecake photos of all kinds: from trendy (with such actresses as Birkin, Darc, and Fonda), to fashion-y (with girls in Hermès bathing suits), to swanky and even a bit snooty (with spreads epicting dreamy beaches in the Bahamas, scenes right out of Relais & Châteaux, or fancy cars), and on and on. Yet the magazine was a success first and foremost because its pictures were those of a genuine artist who created a world in his work that proclaimed, “Glory to Woman as Woman” (“Gloire à la Femme Femme” was in fact the title of a series that Giacobetti shot for Lui) and that brought with them a special breath of fresh air, an aesthetic perfectly in sync with the times". (extracts from GIACOBETTI, texts by Jerome Neutres, Assouline 2017)
"The staging, the carefully wrought lighting, the choice of each model, the placid setting, and the steadiness of the gaze that captures what is given and nothing more: Giacobetti’s photos, perhaps for the first time, offered the viewer soft-core images with genuine aesthetic power. In short, the artist lent a grand style to a minor genre, and it was thanks to the artistic quality of his photographs that Lui became an immense success that soon expanded beyond France to thirteen foreign countries, including Germany, Brazil, Korea, Spain, the United States, and Japan. Lui was successful in part, to be sure, because it showed cheesecake photos of all kinds: from trendy (with such actresses as Birkin, Darc, and Fonda), to fashion-y (with girls in Hermès bathing suits), to swanky and even a bit snooty (with spreads epicting dreamy beaches in the Bahamas, scenes right out of Relais & Châteaux, or fancy cars), and on and on. Yet the magazine was a success first and foremost because its pictures were those of a genuine artist who created a world in his work that proclaimed, “Glory to Woman as Woman” (“Gloire à la Femme Femme” was in fact the title of a series that Giacobetti shot for Lui) and that brought with them a special breath of fresh air, an aesthetic perfectly in sync with the times". (extracts from GIACOBETTI, texts by Jerome Neutres, Assouline 2017)
Please note this work is flush-mounted on aluminium not Dibond as stated in the catalogue.