to have an artist such as Ivan Terestchenko sharing his work in the blogging community is something bloggers and readers of his own blog and mine should find extraordinary.
that he takes a bit of time to move amongst us enriches our own stories immeasurably. Ivan has an online gallery of photographs he has taken in the homes of famous couturiers over the past twenty years. Ivan says the photographs speak for themselves. He is right-each image does speak-each a portrait of the owner in a sense. I can see Chanel -I think -in stocking feet striding through her apartment. The papers and letters on the desk of Yves Saint Laurent are left momentarily, awaiting his return. They are all portraits.
Ivan has been a great friend of this blog and consented to the first 'real' interview I did. He has given me the use of several of his works for various posts. His generosity to other bloggers is noted here as well- and that is somewhat rare too. I asked Ivan if I could share three of his photographs with friends of this blog.
A favorite? Remember Ivan's book chronicling the homes of Yves Saint Laurent and Pierre Berge in The Private World of Yves Saint Laurent and Pierre Berge? But honestly how could one forget? Ivan has traveled at the request of the most prestigious publishers to photograph "how they live." His ability to capture the grandeur and the simple nature of what is home- is I think-unparalleled. He has that uncanny ability to look beyond the "Fixed." A gift.
20
Palazzo Pucci, Rome
25
Yves Saint Laurent, Chateau Gabriel, Deauville
Reproduction prohibited without the written consent of the photographer.
My usual day- amongst my books reading, at the moment- Off on a jaunt to New York.
reading The Rainbow Comes and Goes, The Light of Common Day, and Trumpets from the Steep. the three volumes compiled in Autobiography by Lady Diana Cooper
Wish her Safe at Home by Stephen Benatar
read religiously everyday- a few favourite blogs, read them for me while I am away-
. Horst P. Horst- how must the world have looked to him? Ivan Terestchenko-what does he see that I always miss? Surely great photographers are given extra sight sensors. I often look at their images and wonder. In a collection of Horst photographs of his own garden at Oyster Bay Cove, Long Island (House and Garden 1969 Dec.) & the book The Garden Room* with Ivan's own photographs of the Horst garden- we get to glimpse of the photographers' work. What did they see?
Horst by Horst and Horst by Terestchenko at Oyster Bay
Still Life with Flowers and Bocklin
by Horst-c.1959 Oyster Bay
Ivan included this Horst photograph in his Horst profile
Horst made this pergola a part of his summer living space- just off of his study. The latticing has been sawn away at points to create a Chinese Chippendale pattern. How fabulous is that! Other details in the room-a slash of red curtain, a red lacquer table and the simple still life on the table show Horst style as utterly timeless.
Horst 1969
Ivan's photograph of the same room reveals some changes but the same casual perfection is in residence 25 years later. Visible in both photographs: the low plaster seating that is a part of the pavilion's structure. The repetition of solid colour cushions in bright orange and yellow are in principle acting as the red and orange does in Horst's own photograph of the room- a punctuation to nature.
Ivan's photograph
Horst's photograph of British artists Gilbert and George
planted on a low seat like the one above
Oyster Bay, c.1976
Ivan and Horst chatting in the Garden living room at Oyster Bay
Ivan's portrait of Horst
In an interview with Ivan he said- I met him in his home in Oyster Bay. Wouldn't dare to photograph him, so I sketched him instead.
one of Horst's Oyster Bay photographs
VOGUEfashion shoot c.1950
Horst's Oyster Bay in 1969, By this time Horst had been cultivating the grounds for 20 years. The simple white house- Horst's own design, is based on a Tunisian one and is enveloped by green. The grounds were once a part of a park on the Louis Comfort Tiffany estate.
Dachshunds obviously filled both photographers' lens. Horst photo above
and Ivan's watercolour homage to Horst and his dachshund Maxie.
Ivan's drawing of the property
One of my favourite of Ivan's photographs is below- Two marble chairs, made for Napoleon's Venetian palazzo by a stream (both depicted in the drawing)
A classical Horst Still Life composed at Oyster Bay, c.1989
Ivan's photograph of a lushly planted stream (above)
&
Horst's photograph below
From the 1969 House and Garden article: 'The woods produces an annual succession of wild flowers: yellow marsh marigold and scarlet cardinal flower, white boneset and pink joe-pye weed, rose mallow and iris, mauve pickerel weed, orange Turk's-cap and day lily, basard pennyroyal, meadow rue. Horst welcomes whatever grows, '
'As one gets older, there are fewer and fewer plants one doesn't like.'
Horst photograph One of Five radiating allees- the Center allee lined with yews and hemlocks
When Timothy Mawson author of The Garden Room interviewed Horst he asked: What he considered the greatest luxury in life?- Horst replied :
"Simplicity"
(One might add-)
& an eye for beauty.
.
*The Garden Room by Tim Mawson. Read the little augury interview with Ivan here add'l Horst photographs from HORST, Sixty Years of Photography- Kazmaier .
Often there are rooms that hold my attention for years. Case in point-this lofty space decorated by Carolina Irving. Most readers of design blogs, and its publications are familiar with Carolina Irving's current home- it has been in magazines, emags and blogs galore. She is not a decorator- she has an eye- as it were. She is a woman of style. I wrote about that room in New York here- saying-'The Carolina Irving home is what Rose Tarlow calls "the essence of intimacy." It is a space that exudes that certain intimacy that I admire and aspire to. We will be watching this room appear over and over again in years to come.' I was right. The fabric designer, writer,collector,fashion designer, mother's living room will grace the upcoming book-Rooms to Inspire in the City by Annie Kelly.
(photograph - Ivan Terestchenko)
a French wallhanging ,c 1730, is mounted above the fireplace
This grand room - is Grand- and timeless. There are many facets to Irving's decoration -the strong architectural details, the vibrant use of colour-but it is the casual nonchalance that instantly invites one to linger. To stay and examine each corner for each treasure it holds. Textiles, a love evident in her current apartment, appear throughout the room : a French brocade hanging on the wall -another French brocade draping a table, a scarf covering a lamp, a Chinese rug covering an ottoman. Works of art are propped up along the walls and a few personal photographs are displayed on a small table-maintaining a personal intimacy that is unique for such a Grand room. A porcelain collection decorates the large skirted table in the center of the room. Irving's serious textile collection is accompanied by sturdy traditional English stripes on a chaise, an ottoman and a deep divan divine sofa.
Irving described the space she decorated as 'heaven on earth.'
The angels agree.
more glimpses from the 1993 House and Garden article written by Andrew Solomon and photographed by Ivan Terestchenko.
all of the images are by and courtesy of photographer
. What sort of ongoing feature would the Reader like to see here on Little Augury? I am always thinking about that- and always finding beautiful, provocative images as I read other blogs-
Why don't we see these incredible images in a fashion periodical?
This by Ivan Terestchenko on his January 2 post here. Read about the photograph & see the accompanying photographs.
Ivan does a blog- an amazing one -posting his photographs and sketches daily. I am overwhelmed by his talents and spirit of camaraderie. Can you afford to miss a single post?
Why don't You, start the new year by adding the best blog subscription to your daily read turning in blog world ? .
. . On Ivan Terestchenko's website a simple bio states-Born in England and educated in France, Ivan Terestchenko studied history of Art at the Ecole du Louvre and was a painter until the age of 30 when he switched to photography and landed his first assignment with french Vogue. Of course there is more than meets the eye-
When did you know that You were a Photographer?
For as long as I can remember, I’ve always thought I’d be an artist and I was a painter until the age of thirty. I found out that to make a name in the world of contemporary art would request compromises I wasn’t prepared for and I hated the solitary life that comes with it.
Photography was an option only that gradually became a passion and thank God, I'm not bored with it.
Decoration photography, which is what I’m known for, has little to do with PHOTOGRAPHY and I always wonder if one doesn’t confuse a beautiful room with a beautiful photograph.
My life as an artist in the mid Eighties’. A rather tormented work is in progress. It couldn't last for ever.
My new life as a photographer. Here, arranging a still life or photographing a peony field in Connecticut for the book The Garden Room. Suddenly the world is wide and bright.
When you go in to photograph a home, be it a shack or chateau, how do you distill the essence of its owner?
I am much more interested in the personality of the owner than the place itself. After the general view,a necessary routine, I focus on relevant details, may it be photos, books, unpredictable tokens of intimate life. Sometimes, I even open the fridge. You are what you eat.
At Martin Grant's. Martin is an Australian fashion designer. His home was very orderly but he couldn't guess I would inspect the fridge.
I haven't touched a thing.
Are your interiors photographs styled-Or should I say- are you assisted by or do you find styling is needed?
As a general rule, too much style kills the style.
When it was the fashion in some decoration magazines to bring props, I was always fiercely against. If one has to style a place, then it shouldn't be photographed in the first place. I am a nightmare for stylists, I don’t let them do anything and if I want to move something, I do it myself, not that I’m a control freak but it goes faster and if I sign a photo, I sign everything that is in it and will, if it comes to it, take the blame.
Who are your mentors? your favorite artists?
As for interior photography, Bruce Weber is by far my favorite photographer and a constant inspiration because I can relate to it. He has a way of making people and places look casual as there had never been a camera at all. Simply irresistible. There are lots of photographers I admire. Irving Penn is number one, but also Cartier Bresson. I favor those who never thought of themselves as artists.
Tell me about your illustrations? Do you ever combine your photographs with them?
I used too and even published a book, “The Garden room” were photos are mixed with watercolors and sketches as you see here :
This is a portrait of Horst P Horst. I met him in his home in Oyster Bay. Wouldn't dare to photograph him, so I sketched him instead.
We had a fascinating chat about his relationship with Conde Nast. He went through hell which I found very reassuring.
There are some of the most beautiful images in your Portraits of Interiors blog entry dated Sep 1 09- Vas Blue, Vanite? When will we see an IVAN TERESTCHENKO book with these slightly decayed haunting images?
I’m strongly thinking about it but it’s a difficult book to edit. Pages after pages of decay could end up being a bit depressing, no ?
I have to find the right balance.
I love your images of Maxime de la Falaise, what joy and beauty! As I looked through your editorial work I saw the gorgeousphotographs of Carolina Irving's rooms in House & Garden-one of my favouritesthat I had misplaced. I am so happy to be reunited with the photographs & know that you took them. Do youhave a favourite project where you just fell in love with the home and the owner?
There would have been lots of book opportunity… its always books… because I always think of images in a serie, with a story to tell but publishers are difficult to convince and often misguided by their marketing department. I don't know what the next will be about but something in the US would be great. If you have an idea, Please let me know.
Have you ever tried to limit your subject matter? I am so captivated by your interiors- and then I see the flower images you have on your blog and am instantly loving them even more. I sense in the advertising print work your love for creating a still life-Could Irving Penn be your influence? You posted some of his work recently upon his death-Talk about his incredible career a bit.
One has to limit one's subject matter. Certain places are so rich that there would be many different ways to look at them. It needs a strong discipline not to get carried away and focus on the substance.
The Chateau de Versailles can be looked upon with a magnifying glass, and it’s big. This picture was taken in Marie Antoinette's Bedroom at the Petit Trianon, yet it looks so modern.
Still-life is where photography meets painting. It’s almost inevitable.To create a still life that will be evocative of a whole world in one picture is a big challenge. When I photographed the adverts for Farrow and Ball, I had to say: classicism, British country life, traditional quality and sophistication.I had no plans but I went to the company's owner's farm and started working in the yard with what was around. That days, the angels were with me.
Irving Penn was the indisputable master at this. Though he was not a direct influence, I greatly admire his photographs for their economy and graphic power. It takes a life to value simplicity and Penn is the Matisse of Photography.
Do you surf?
I do. Apart from the sport itself, I have a romantic approach to surf. I see surfers as modern knights, with a code, a quest, a strong esthetical identity, and bonds between self dedication and love for nature highly appealing and photogenic.
Talk about your moments in Front of the camera. Are there any secrets you can share that put a sitter as ease?
Love or at least friendship. The photographer must convey : I am your friend, I will never take a bad picture, what I see is your bright side, relax and shine.
This a portrait of Peter Lindbergh and his wife during a dinner party. Even with his mouth full, the worst possible time, they look wonderful.
In the digital world, what will happen to the art and craft of photography? Willgreat photographers be elevated to the world of great painters and their works only affordable by the very wealthy?
I don’t think so simply because the digital technique has its merits and when it comes to printing on large scale, digital is just as expensive as the traditional way. More importantly, a true artist will tame his tool to his needs. Cameras don’t take photographs, only photographers do. Though I dislike the feel of pixels, I found the use of digital very liberating.
Is there some yet unseen hybrid publishing model that will allow photographers to be fairly compensated for their work so that all of us who revere their magic can continue to view their art?
An unseen mode ? Not any that I can think of alas but the surest way to support photography is easy: buy photographs. The blogosphere doesn’t pay for bread and butter. However it remains a wonderful way to show and share. The compensation is not financial but still highly rewarding.
Does digital photography enhance in anyway the photographer's tool bag?
It most certainly does. It’s cheap and the result is instant. You don’t have to question the use of a costly film whether it is worth the trouble. You do it and if it’s no good, you delete it. In this sense, it's very liberating. The true limit however is that I have always thought that a photographer’s style defines itself more by its “mistakes” than by its perfection. I tend to favor a certain smoothness due to the relatively poor quality of the lenses I use as a choice. Digital lenses don’t allow that, they are often too sharp for my taste. For the same reason I never really liked Hasselblad, I much prefer the Pentax 6X7, or the good old Rolleiflex, which belonged to my grand father and still use. I call it my Stradivarius.
Reloading my Rolleiflex in a cafe in Venice and the Pentax 6X7 in Paris. This routine is part of the charm which you miss with digital and one never runs out of battery!
one last-What would your dream project be?
The only project worth dreaming is one that will reconcile human beings with humanity.
If I still had the vast wealth my family once enjoyed; before the revolution, they were the greatest art patrons of Ukraine; I would create an art academy in which the first year would sponsor nothing but a tour around the world. The basic material of art is life itself.
“Go and see the world and come back with your experience and a story.”
The most remarkable project is happening in Venezuela with El Sistema created by Prof Abreu. If you don’t know about it, I urge you visit this link:
Fortunately for Us Ivan Terestchenko has his own blog & shares his incredible work every day. His point about buying photographs is well taken. I can not imagine what our lives would be like without photographs.
All photographs Ivan Terestchenko has graciously shared are his.No images may be used without his permission.
IVAN TERESTCHENKO PHOTOGRAPHY his blog here , his website here , his books here
. Announcing the 2 winners of The Private World of Yves Saint Laurent & Pierre Berge books
DMC- is the winner of the book with the opulent US cover. Congrats DMC.
My Notting Hill wins the UK version. Congrats.
Thanks so much for all the wonderful comments. Originally I purchased the 2 UK books- One for giving away to all you- great readers & followers, and One for keeping. As I looked through it and it is wonderfully filled with Ivan Terestchenko photographs of the YSL & Berge, I decided to get the US copy of the book too. As always- a bit conflicted by the two choices. I do find I prefer the French cover even more- I think it is the RED in the background.
So on to the French version- Ivan Terestchenko says the book will be released later in English with the French cover and added "As a record from an insider, I took this shot FOR the cover right from the beginning, Pierre Bergé who was asked to choose between several other options, selected it instantly " this one of course" he said, so did Peter Saville who designed the cover and the book. By the way, there is also a German edition (the prestigious Rolf Heyne Collection ) who chose to keep this picture but , unnecessarily I think, darkened the red background.
I will be saving a RED YSL copy for my readers.
Winners contact me with your addresses-check my profile for my email.
