Thanks to Richard Bernstein you can now face-time with Marilyn Monroe, Elizabeth Taylor, and Grace Jones
Photo: AndreasHofweber.com / Courtesy of The Estate of Richard BernsteinPhoto: AndreasHofweber.com / Courtesy of The Estate of Richard BernsteinPhoto: AndreasHofweber.com / Courtesy of The Estate of Richard Bernstein
If you don’t know Richard Bernstein’s name, you’re probably familiar with his work. Bernstein was responsible for the dynamic celebrity portraits that appeared onmagazine’s covers from 1972 to 1988. Executed in a variety of media , the portraits were based on photographs by well-known lensmen art-directed by Bernstein. They speak to the concept of fame, with whichfounder Andy Warhol was obsessed, but also to the 1970s nostalgia for the glamour of Old Hollywood.
The glamour ethos of the Hollywood photographer George Hurrell and the color and energy of Pop meet in his distinctive imagery. So singular was his output that it could be readily identified even without a signature. The man “gave good face,” to borrow a line from Madonna.Fedora,Sparrows,1930, designed by Adrian for Metro Goldwyn Mayer, loaned by the Fashion Institute of Technology.
1960, designed by Dorothy Jenkins for Twentieth Century Fox Film Corporation. Lingerie ensemble worn by Barbra Streisand inPhotographed by Francesco Scavullo,Not all of Bernstein’s art was static. In 1974 he did a series of “star face” masks forfeaturing the visages of actresses like Marilyn Monroe, Marlene Dietrich, and Greta Garbo that ran with a story about “Romantic and Glamorous Hollywood Design” an exhibition curated by Diana Vreeland at The Metropolitan Museum of Art.
Richard Bernstein’s poster for the “Romantic and Glamorous Hollywood Design” exebition at the Costume Institure.The epicenter of runway news, street style, and emerging trends.
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