6/24/2023 0 Comments Deborah turbeville photography![]() ![]() It wasn’t until these images were displayed in galleries-whether elegantly framed or simply tacked to the wall-that the full extent of Turbeville’s idiosyncrasy was revealed. “I wanted to take photographs that were outside time, of people in today’s world with the atmosphere of the past reflected in their faces, of palaces and gardens abandoned and overgrown,” she wrote. ![]() Petersburg, and in the estates at Newport, channelling their histories, imagining their dramas. In between fashion assignments, she photographed at Versailles, in St. ![]() Published alongside the glossy provocations of Helmut Newton and Guy Bourdin, Turbeville’s haunted, hazy pictures looked like they’d been discovered in an attic and barely dusted off. ![]() She cast wan, soulful young women who looked more like bookworms or ballet dancers than models, and photographed them in grand but ruined spaces: a shuttered bathhouse, a formal garden going to seed, mansions falling into disrepair. Her work, almost always in black and white, was atmospheric, theatrical, and more than a little dark. When she turned to photography, at Vogue in the nineteen-seventies, that couldn’t have been more evident. “Mantova, Italy,” 1978, from the series “L'heure Entre Chien et Loup.”Īlthough she began her career in the editorial departments at Mademoiselle and Harper’s Bazaar, Deborah Turbeville (1932-2013) always saw herself as a fashion outsider, a maverick. ![]()
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