Alexey Brodovitch - Knowledge

1176:, artist/photographer, wrote: "I took personal care of Alexey Brodovitch and managed his Design Laboratory Workshops during his last six years in NYC to provide him with income to live on. He moved into my building at Union Square in New York with his son Nikita. I saw him every day, worked with him and watched over his deteriorating health. He drank too much and ate little food. Brodovitch came to virtually every Design Laboratory workshop session and invited many of the famous in the fields of design and photography. I recorded him and his well known visitors talking during those many sessions. These recordings are now available to hear at R.I.T. library in Rhode Island. His mind remained sharp and true to his beliefs during those last years in New York City. It was the greatest privilege to do this for him and to learn from him. He loved New York and I had to make him leave to go to his brother in France, as he was wasting away. There will never be another Brodovitch." 371:, who took second place. Brodovitch remained proud of this poster throughout his career, always keeping a copy of it pinned to his studio wall. The graphic, light-to-dark inversion of its mask shape, type, and background suggest not only the process of photography, but also represents the process of trading one's identity for another when wearing a mask. It is the oldest surviving work by Brodovitch. He continued to gain recognition as an applied artist due to his success at the Paris International Exhibit of the Decorative Arts in 1925. He received five medals: three gold medals for kiosk design and jewelry, two silver medals for fabrics, and the top award for the Beck Fils pavilion "Amour de l'Art." 526:"Brodovitch said "astonish me" many times, and he said we must enter the future and constantly change the old and seek the new. My own BREAKING THE LIGHT images reinvent the art of photography for the digital age, just as he urged all his students and all who worked with him to do. He despised imitation of the past and said long ago that we must be like the Russian Astronaut Gagarin and rocked into the future with daring and passion. He was a giant ahead of his time and he planted seeds of creativity that like the dragon seeds sprung up fully armored, and ready to astonish him." 751:. Brodovitch eagerly returned to Philadelphia and assigned his students apprenticing at his Van Pelt Street studio to make two dummy issues of the magazine. He insisted that each page have a "shock value" of its own to set the magazine apart, "cutting paper dolls out of patterned paper, or illustration perfume bottles to look like high key photography – whatever was unlike other fashion magazines was tried." Although preferring more conservative design, Hearst put his trust in Carmel Snow and allowed her to take on Brodovitch as art director where he remained for 24 years. 1036:, who had wielded considerable influence, was ousted by the magazine's publisher, the Hearst Corporation, and replaced with her niece. Hearst executives then began asking for changes to the novella's tart language. By this time, Attie's montages and Brodovitch's design work had been completed, and Morris recounted that while Capote initially refused to make any changes, he relented "partly because I showed him the layouts. We had about six pages with beautiful, atmospheric photographs." Yet despite Capote's changes, Hearst ordered 873:

arbitrarily take a series of photographs and adopt a story line to go with them, as though recapping a movie. He was known to push this idea even further by adding film sprocket borders to photographs at times. Brodovitch also often emphasized spatial illusions, using type and photographs to create multiple perspectives within a space. The notion of mirroring and doubling also interested him, as can be seen in how he paired similar pictures on a spread or dividing halves of one image across the gutter of the page.

884:, in that Brodovitch was trying to construct a reality for the imaginations of the readers. He would create versions of small movie stills or spreads in which women were supposed to see themselves rather than the model. For example, he would often use a model's silhouette rather than her whole form, or keep her face in shadow, so that any reader could place themselves in those fashions, leading a charmed life. The result would be a magazine of images "out of which scripts can be formed of imagined lives." 31: 453:?" When not in the classroom, Brodovitch would take the class on outings around Philadelphia to see factories, laboratories, shopping centers, housing projects, dumps, and the zoo. The students were then told to make a "graphic impression" of what they had seen, whether a photographic interpretation, a drawing, or an abstraction. Brodovitch did not teach in the conventional sense, but rather compelled his students to discover one's inner, creative resources. 562: 1028:, who had been a student of Brodovitch's the previous year and was offered the job on the final night of the class. Alice Morris, the fiction editor of Harper's, recalled that "Brodovitch ... had these wonderful photos taken that had nothing to do with the Breakfast story, but with Holly Golightly's cat. A cat in a window, mysterious-looking, slightly shady and misty." However, after the publication was scheduled, longtime 449:, a thing of the past. Brodovitch's teaching technique, on the other hand, was unlike any other the students had been exposed to. He would always teach with a visual aid. Brodovitch would bring into class French and German magazines to examine the pages with his students, explaining the artist's work or technique. He would raise questions like, "Could this line be better? Could it be like, for example, 923:. It has been widely acknowledged as perhaps the definitive graphic design magazine of the twentieth century. The idea for the publication came from art director Frank Zachary. He wanted to put out a magazine that focused solely on art and design, but was at the same time an outstanding example of design itself. Brodovitch was intrigued by the concept. Although he enjoyed his work at 826:

and the sixteen pages were complete. His layouts, of course, were the despair of copywriters whose cherished tone poems on girdles or minks had to be sacrificed to his sacred white space. Just before we went to press, all the layouts were laid out in sequence on Carmel Snow's floor, and there, under his eye, re-arranged until the rhythm of the magazine suited him.

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ever-changing tempo of life, discovery of new techniques, new fields of operation ... in close contact with current problems of leading magazines, department stores, advertising agencies and manufactures. Subjects include design, layout, type, poster, reportage, illustration, magazine make-up, package and product design, display, styling, art directing.

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the layout. He used forms in the photographs or illustrations as a cue for how to handle the shape of the text. In his earlier layouts, he would arrange photographs like playing cards, splayed out on the page or in the shape of a fan. Later in his career, however, he abandoned this technique in favor of using only one or two images to a page.

199: 991:, through a small New York publisher. The book contains 104 photographs of several ballets and is divided into eleven segments, one for each ballet performance. On the contents page, Brodovitch introduces each chapter in a typographic style that emulates the feel of the dance it is describing. He photographed with a 817:, the pinnacle of Brodovitch's career as a designer was the unfailing elegance of his pages. This elegance, combined with an element of innovation was the ideal mix for a fashion magazine. The quality that guaranteed his success was his devotion to the new, unending surprise and vitality. Frances MacFadden, 543:"The Alexey Brodovitch course ... really changed the direction of my life. It was not anything that Brodovitch taught specifically, it was an ambiance that he created, a connection that he would make with particular students. He'd try to get them to move in directions that they were already discovering." – 1554:

Brodovitch, Alexey, et al. The Enduring Legacy of Alexey Brodovitch : Two Concurrent Exhibitions on Design and Photography : "Brodovitch ... the Human Equation", the Herb Lubalin Study Center of Design and Typography ; "Astonish Me: The Impact of Alexey Brodovitch", Arthur A. Houghton,

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Brodovitch was sensitive to the fact that color was relatively new in magazines, with laborious preparation and high costs. By using process or second color inventively, Brodovitch was able to give the magazine an added sense of currency and luxury. He applied color to his layouts expressively, often

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His style for the magazine was radically different than any of its contemporaries. Brodovitch wanted his spreads to be innovative and fresh. While other fashion magazines thought it important to show the whole garment, Brodovitch would crop images unexpectedly or off-center to bring a new dynamism to

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Typically, Brodovitch would begin his layouts by designing the layouts as illustrations by hand. His assistant would receive these sketches to look over, but the photographers and freelance writers were often given little or no direction at all besides to come up with something new and unusual. When

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It was a pleasure to watch him work. He was so swift and sure. In emergencies, like the time the Clipper bearing the report of the Paris Collections was held up in Bermuda, his speed was dazzling. A quick splash or two on the cutting board, a minute's juggling of the photostats, a slather of art gum,

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By the age of 32, Brodovitch had dabbled in producing posters, china, jewelry, textiles, advertisements, and paintings. Eventually specializing in advertising and graphic design, he had become one of the most respected designers of commercial art in Paris. By 1930, however, Paris had lost its luster

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After a week or so I ran away to the front line to kill Germans. But my father, now a military general at the head of a Red Cross hospital train, had plenty of influence, and I was soon brought back to him. On the train back I was employed as a nurses' aid. In East Prussia I ran away again and joined

957:, Brodovitch promoted features devoted to respected artists and designers, contributed articles on vernacular design, and made wildly imaginative layouts. The magazine encompassed an array of subject matter and design styles. Works of great French poets were interspersed with off-beat articles about 851:

in blurry forms to communicate this new way of sharing information. Designs also included torn edges on photographs, or pages made to look as they had been torn through with a woman's figure stepping out of them. The motif of isolated body parts, another common Surrealist theme, could be seen on the

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In 1971 the Doctor of Fine Arts Degree was conferred posthumously on Brodovitch by the Philadelphia College of Art. In 1972 the Philadelphia College of Art held the exhibition "Alexey Brodovitch and His Influence" and he was inducted into the Art Directors Club Hall of Fame in New York. In 1982 the

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35mm camera, no flash, and with a slow film speed. The blurred figures of the dancers allow the viewer to not only feel the music, but also to follow the line of the dancer's limbs mid-step. The images beautifully capture the atmosphere on-stage, the frenzied behind-the-scenes action backstage, and

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Brodovitch embraced technical developments from the spheres of industrial design, photography, and contemporary painting. His broad curiosity began to assimilate the most interesting aspects of all these fields into his work, eventually making them his own. He later instilled this same curiosity in

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Although employed full-time by Athélia, Brodovitch offered his service as a freelance designer on the side. He started his own studio, L'Atelier A.B., where he produced posters for various clients, including Union Radio Paris and the Cunard shipping company. He was also commissioned by the Parisian

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gown posed between two circus elephants. The cinematic effect, a trademark characteristic of his layouts, involved using photographs as if they were stills from a film. He would repeat a pose or a dress several times across a spread to give a narrative, temporal feeling. At times, Brodovitch would

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After these wins, Brodovitch's career as an applied artist took off. In 1928 he was hired by Athélia, the design studio of the Parisian department store Aux Trois Quartiers, to design and illustrate catalogues and advertisements for their luxury men's boutique, Madelios. Brodovitch was aware that

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The aim of the course is to help the student to discover his individuality, crystallize his taste, and develop his feeling for the contemporary trend by stimulating his sense of invention and perfecting his technical ability. The course is conducted as an experimental laboratory, inspired by the

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He'd go through the stuff fast, really fast, and pick out always the right thing, you know, and then he would mark it up , an inch, inch and a half, two and a half inches ... But anyhow, I'd go back to see him, he'd have these dam 'stats all over the floor, ankle deep in them, and he would look

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I saw a fresh, new conception of layout technique that struck me like a revelation: pages that "bled" beautifully cropped photographs, typography and design that were bold and arresting. Within ten minutes I had asked Brodovitch to have cocktails with me, and that evening I signed him to a

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freed him from the practical and aesthetic restraints to which he had grown accustomed. The pages of the publication were space for his graphic imagination to run wild. George S. Rosenthal, whose family owned a printing company dedicated to mass-market pictorial paperbacks, signed on too.

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Brodovitch, Alexey, and Franklin Institute (Philadelphia, Pa.). Graphic arts section. New Poster; International Exposition of Design in Outdoor Advertising, the Franklin Institute of the State of Pennsylvania, Philadelphia, Nineteen-Thirty-Seven. Philadelphia: Beck engraving company,

360:, an influential design magazine. While working on layouts, Brodovitch was responsible for fitting together type, photographs, and illustrations on the pages of the magazines. He had the rare opportunity of having influence over the look of the magazine as there was no art director. 1163:. He slipped the camera in an old box of Pall Mall cigarettes and discreetly began to photograph his fellow patients. Brodovitch would often decide to discharge himself before the treatments had run course. He was so ill, however, that he would be back before the end of the day. 350:, Brodovitch began sketching designs for textiles, china, and jewelry. By the time his work for the ballet had finished, he had already compiled an extensive portfolio of these side projects and was selling his designs to fashionable shops. He worked part-time doing layouts for 1262:

The Enduring Legacy of Alexey Brodovitch: Two Concurrent Exhibitions on Design and Photography : "Brodovitch ... the Human Equation", the Herb Lubalin Study Center of Design and Typography ; "Astonish Me: the Impact of Alexey Brodivitch", Arthur A. Houghton, Jr.

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The lab was split into two sections per week, one for design and one for photography. The workshops were immensely popular, and it was not unusual for more than sixty people to show up to his class on the first night. Among the photographers who attended his classes were

1170:, Brodovitch was faced with mounting hospital bills. He often lost the little freelance work he was able to scrounge up due to his unwillingness to compromise with the clients. Poor health left him unable to show up to the Design Laboratory workshops on a regular basis. 246:. Not long after, their father, who had been imprisoned in Saint Petersburg by the Bolsheviks, managed to flee to Novorossiysk in hopes of finding his family. The three were once again together, and arranged for Brodovitch's mother and other relations to join them in 943:

would run without the aesthetic burden of advertising, freeing up more space for the overall design. Brodovitch was responsible for sorting through the articles and illustrations to create the spreads. Zachary described watching Brodovitch in action:

1077:, each spread shifts between pages of silhouetted images and pages of rectangular blocks of images and text, framed by ample stretches of white space. Although simple and elegant, the layout of the book has an enormous amount of visual variety. 424:

While still living in Paris, Brodovitch was offered a job by John Story Jenks, the father of a young girl Brodovitch had shown around the arts scene in Paris. Jenks, a trustee of the Pennsylvania Museum School of Industrial Art (currently the

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by hobos. It was a beautifully composed mix-up of all things art. Unfortunately, the publication lasted only three issues. The no-expense-spared ethos of the magazine, paired with the lack of advertising, caused the magazine to quickly fold.

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for Brodovitch. The once-flourishing spirit of adventure and experimentation was fading away. Although he was offered many design positions, Brodovitch turned them down, presumably looking for new locales to advance his designs.

288:, would meet at the inexpensive Académie Vassilieff, which offered painting and sculpting classes without an instructor. His connections with these young Russian artists led to more artistic work as a painter of backdrops for 436:

Brodovitch's task was to bring American advertising design up to the level of Europe's, which was thought to have a far more modern spirit. Before his arrival, advertising students were simply copying the magazine styles of

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not to run the novella anyway. Its language and subject matter were still deemed "not suitable," and there was concern that Tiffany's, a major advertiser, would react negatively. An outraged Capote soon took the work to

766:, Brodovitch organized a return trip to France, hoping to convince old friends to work with him at the magazine. Each summer he would return to offer commissions to artists and photographers until 1939 when the start of 271:

in Paris, Brodovitch found himself poor and having to work for the first time in his life. He took a job painting houses, while his wife Nina worked as a seamstress. They lived in a cheap, small apartment in the area of

1151:. Throughout these hospital stays, however, Brodovitch had an incessant desire to start new projects. At one point, he began compiling an autobiography, but it was never put together. Brodovitch received a small 904:

Brodovitch designed his own typeface in 1949. "Al-Bro", an abbreviation of his name, has broad and narrow strokes inspired by the symbols of musical notation. A layout showcasing the typeface was included in

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In 1933, Brodovitch added the Design Laboratory to the classes he offered. It was meant to be a workshop for his advanced students who wanted to experiment with all aspects of design. Brodovitch shared the

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as opposed to the studio shots normally used in other fashion publications. He urged his photographers to look for jarring juxtapositions in their images. One such spread features a woman in a full-length

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belief that you needed to educate the whole individual by directing his or her attention to a variety of modern solutions in their graphic projects. His course description for the Design Laboratory read:

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In 1966, Brodovitch fell and broke his hip. Physically and financially in a poor state, he moved back to France with his son Nikita to be closer to his many relatives. Two years later, he relocated to

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choosing to use colors bolder than might be seen in the real world. Even after full-color reproduction became standard practice, he still used broad swaths of single colors for bold emphasis.

239:. In 1918, the town was surrounded by the Bolsheviks, forcing Brodovitch into exile. It was during this retreat to the south through Caucasus and Turkey that he met his future wife, Nina. 170:(now Belarus) to a wealthy family in 1898. His father, Cheslau or Vyacheslav Brodovitch, was a respected physician, psychiatrist and huntsman. His mother was an amateur painter. During the 614:

Graduates of these early courses went on to prominent careers in the field. Brodovitch's department came to be known as a 'prep school' for agencies and magazines around the country.

214:. Not long after, his father had him brought home and hired a private tutor to help Alexey finish school. Upon graduating, Brodovitch ran away again on several occasions. He recalls: 996:

the magical moments of the ballet. By bleeding the blurred, grainy pictures off the pages and into the gutters, he communicated the emotional impact of the dance without words. "

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would have to include advertising. Upon seeing the advertisements, however, they could not bear to ruin the look and feel of the publication by running them. It was decided that

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When Brodovitch stopped coming altogether, a few students halfheartedly tried to keep the class going in his honor. Without its creator, though, the Lab came to an end.

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made it impossible. By continually bringing in creative forces from overseas, he kept the magazine permanently fresh and cutting-edge. Among the artists that worked for

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over the death of his wife, Nina. Over the next two years, Brodovitch was sent to various hospitals on numerous occasions to cure his worsening depression and

187: 2327: 141:; 1898 – April 15, 1971) was a Russian-American photographer, designer and instructor who is most famous for his art direction of fashion magazine 1091:

on a still-renowned special section of Harper's than ran in October 1959, "Writing in America," which was edited by future New York Review of Books editor

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is one of the most successful attempts to express movement in photography and certainly one of the most cinematic and dynamic photo books ever published."

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popular at the time. According to one colleague, his images "spat in the face of technique and pointed out a new way in which photographers could work."

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found its way onto the pages of the magazines in various experimental forms. For example, Brodovitch once used fashion photographs sent via radio from

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and his wide knowledge of photography, the magazine introduced the work of many artists and photographers to its American audience. Before starting at

429:), was overwhelmed by Brodovitch's talents and asked him to head the school's Advertising Design Department. In September 1930, Brodovitch moved to 1047:, and it appeared in the November 1958 issue with only a single full-page photo of Attie's, despite Capote's urging that more of the work be used. 728:, saw Brodovitch's work for the first time. She knew right away that Brodovitch would be the one to transform the magazine into a real revival of 2312: 363:

He gained public recognition for his work in the commercial arts by winning first prize in a poster competition for an artists' soiree called

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with his wife and son to take the job. Brodovitch began teaching advertising design, creating a special department devoted to the subject.

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around, pick one up, until there were six or eight or ten and then he'd lay them out and it worked ... that was the magic of it, you know?

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the photographs for the issue arrived, he would pick the most visually interesting and have a variety of sizes of reproductions made on a

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his students, encouraging them to use new techniques like the airbrush, industrial lacquers, flexible steel needles, and surgical knives.

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Brodovitch, Alexey, and Galeries nationales du Grand Palais (France). Alexey, Brodovitch : . Paris: Ministère de la culture, 1982

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many of the customers were fairly traditional in their tastes, so he balanced out his modern designs with classical Greek references.

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In spring of 1934, the Art Directors Club of New York asked Brodovitch to design their "13th Annual Art Directors Exhibition" at the

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While it has never been published or seen, Brodovitch did the design work for what would have been the very first publication of

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at the young age of 16, Brodovitch abandoned his dream of entering the Imperial Art Academy and ran away from home to join the

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Paris was a cosmopolitan city through which many artists and art movements passed. Brodovitch was exposed to everything from

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were used in this book, which is still available with its original Attie photos and Brodovitch design in a Kindle edition.

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exhibition "Hommage à Alexey Brodovitch" was held at Grand-Palais, Paris. In 2002 Phaidon Press published the book

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a nearby regiment. Once again I was caught, and this time I was sent to an officers' school, the Corps de Pages.

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In terms of photography, Brodovitch had a distinct feel for what the magazine needed. He favored on-location

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Rogers, Michael. "Penn, Irving. Irving Penn: A Career in Photography." Library Journal, 132.4 (2007): p125.

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By good fortune, Alexey's brother Nicolas turned out to be one of the soldiers guarding the refugees in

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into and around the text of the book itself. Some of Attie's original, unpublished photo montages for

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on March 24, 1924. The poster was exhibited on walls all over Montparnasse along with a drawing by

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Rowlands, Penelope, ("A Dash of Daring: Carmel Snow and Her Life in Fashion, Art, and Letters."

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and used Attie’s evocative images and Brodovitch's innovative layouts to illustrate essays by

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in Odessa, he was badly wounded and was hospitalized for a time in Kislovodsk, in the

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Jr. Gallery. New York: Cooper Union for the Advancement of Science and Art, 1994: p4.

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Alexey Brodovitch and His Influence: Exhibition Philadelphia College of Art, April 72

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In 1949, Brodovitch collaborated in the production of the revolutionary publication

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emphasized culture for its own sake. Taking advantage of Brodovitch's contacts in

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s managing editor for much of Brodovitch's tenure, explained his working method:

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Tomkins, Calvin. "The World of Carmel Snow." New Yorker, 70.36 (1994): 148–158.

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Coyne, Patrick. "Alexey Brodovitch." Communication Arts, 44.8 (2003): 102–105.

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Zachary, Frank (1999) Interview by Kerry William Purcell and Edward Dimsdale.

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Already suffering ill health, Brodovitch was plunged into an acute state of

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One of his assistants at the magazine was future Rolling Stone art director

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Coyne, Jean A. "Pioneers: Henry Wolf." Communication arts 48.8 (2007): 86.

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With such great capital spent on publicity, Zachary and Rosenthal decided

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and others; it has been republished in book form, most recently in 2018.

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Morris, Holly. "Photo Finish." U.S.news world report 133.17 (2002): 52.

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Brodovitch released a book of these photographs in 1945, titled simply

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The offer was, of course, dependent on the approval of the owner of

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From a course description in a New School catalogue, date unknown.

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Brodovitch, Alexey (December 1961). "Brodovitch on Photography."

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Brodovitch, Alexey. Notes on Design Lab. Undated, c. 1935.

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Porter, Allan (February 1968) "Brodovitch on Brodovitch,"

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Modernity at Large: Cultural Dimensions of Globalization

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Sherin, Aaris. "Style Book." Print, 60.2 (2006): 48–55.

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Between 1935 and 1937, Brodovitch photographed several

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publishing house La Pléiade to illustrate three books:

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Another strong example of Brodovitch's book design is

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Brodovitch's work as a book designer can be seen in

1803:"Remembering Art Director & Designer Tony Lane" 1251:Brodovitch, Alexey. "What Pleases the Modern Man." 1650:Smith, Virginia. "Launching Brodovitch", p. 12 in 1123:Saloon Society, The Diary of a Year Beyond Aspirin 1219:Brodovitch, Alexey. "Brodovitch on Photography." 2279: 322:from the Netherlands, and the native strains of 1328: 1186:, a small village even closer to his family in 267:, Brodovitch wanted to be a painter. A Russian 2333:Expatriates from the Russian Empire in France 2274:at biographer Kerry William Purcell's website 419: 253: 2328:White Russian emigrants to the United States 1335:. Perseus Distribution Services. p. 3. 724:, the recently appointed editor-in-chief of 1699:Carmel Snow. The World of Carmel Snow: p90. 414: 1949: 1005:Unpublished Work on Breakfast at Tiffany's 29: 2303:Graphic designers from the Russian Empire 1244:Brodovitch, Alexey. "Libres de miseria." 602:Learn how and when to remove this message 520: 1784:. University of Minnesota Press, p. 35. 1309: 1307: 805: 197: 2155:"The Art Directors Club / Hall of Fame" 1664:Oral history interview with Hans Namuth 1190:. He died three years later at age 73. 1166:With no pension or regular salary from 547:, fine art and commercial photographer 341: 150: 2280: 1800: 1121:columnist Bill Manville's 1960 memoir 856:in the form of lips, hands, and eyes. 78:April 15, 1971 (aged 72–73) 2313:Art directors from the Russian Empire 1304: 1294: 1292: 1080: 739:provisional contract as art director. 346:On nights and weekends away from the 1950:Parr, Martin; Badger, Gerry (2004). 734:, where she had started her career. 584:adding citations to reliable sources 555: 456: 2255:on Brodovitch at Iconofgraphics.com 1138: 1087:Brodovitch collaborated again with 551: 13: 2212: 1801:Brower, Steven (13 January 2016). 1289: 709: 193: 14: 2344: 2246: 1212:Brodovitch, Alexey. "Aphorisms." 1110: 1061:, a collection of photographs by 876:With this goal of story-telling, 119:Alexey Vyacheslavovich Brodovitch 2079:, 1960, Duell, Sloan and Pearce. 2006:, Simon & Schuster, p. 308. 813:To those who worked with him at 560: 533:, fashion and music photographer 356:, an important art journal, and 182:, a prestigious institution in 139:Алексе́й Вячесла́вович Бродо́вич 2318:Artists from the Russian Empire 2203:Purcell, Kerry William (2002). 2172: 2147: 2135: 2123: 2082: 2069: 2048: 2036: 2016: 1943: 1931: 1919: 1906: 1894: 1882: 1873: 1861: 1834: 1822: 1794: 1774: 1762: 1750: 1738: 1726: 1714: 1702: 1693: 1681: 1669: 1657: 1644: 1624: 1612: 1600: 1588: 1579: 1567: 1558: 1548: 1536: 1524: 1497: 1485: 1473: 1461: 1434: 1422: 1206: 1069:, both regular contributors to 1050: 880:can be seen as an example of a 571:needs additional citations for 2193: 2042: 1937: 1855: 1768: 1744: 1687: 1542: 1491: 1467: 1440: 1416: 1410: 1398: 1386: 1374: 1362: 1349: 1240:. Philadelphia College of Art. 1193: 894: 720:, New York. It was there that 155:Alexey Brodovitch was born in 45:Alexey Cheslavovich Brodovitch 1: 2268:on Brodovitch at AIGA website 1979:Plimpton, George, ed. (1997) 1954:. London New York : Phaidon 1283: 1223:, 49; December, 1961, p82-83. 231:. While fighting against the 227:, Brodovitch served with the 2202: 2129: 1925: 1900: 1888: 1867: 1840: 1828: 1720: 1675: 1594: 1573: 1530: 1503: 1479: 1455: 1428: 1404: 1380: 1368: 1298: 1155:camera from an old student, 912: 258: 7: 1271: 1259:Brodovitch, Alexey (1994). 1248:, 39; September, 1945, p69. 1234:Brodovitch, Alexey (1972). 978:Ballet Russe de Monte Carlo 899: 691:, later editor in chief of 10: 2349: 2308:American graphic designers 2187: 1983:, Doubleday, pp. 162–163. 1255:, 9; August, 1930, p60-70. 1216:, 49; December, 1961, p92. 1203:by Kerry William Purcell. 420:A new approach to teaching 358:Arts et Métiers Graphiques 254:Influential years in Paris 96:Art director, photographer 1780:Appaduria, Arjun (1996). 976:companies, including the 965: 138: 130: 108: 100: 92: 74: 40: 28: 21: 2207:. London: Phaidon Press. 2194:Grundberg, Andy (1989). 2178: 2141: 2117: 2022:Wise, Kelly, ed. (1981) 1952:The photobook: a history 1756: 1732: 1708: 1651: 1630:Wise, Kelly, ed. (1981) 1618: 1606: 1518: 1392: 1329:Bauret, Gabriel (2005). 1313: 1258: 1233: 1161:Manhattan State Hospital 415:Brodovitch as instructor 302:from Zurich and Berlin, 2026:, Lustrum Press, p. 7. 1634:, Lustrum Press, p. 6. 749:William Randolph Hearst 180:Prince Tenisheff School 2002:Clarke, Gerald (1988) 1278:List of AIGA medalists 1132:Breakfast at Tiffany's 1017:Breakfast at Tiffany's 951: 852:covers and spreads of 828: 741: 540:, fashion photographer 521:Students on Brodovitch 474: 427:University of the Arts 221: 203: 174:, his family moved to 946: 823: 736: 469: 397:Monsieur de Bougrelon 314:design from Germany, 216: 201: 982:straight photography 580:improve this article 342:Move to graphic arts 202:Brodovitch in Russia 188:Imperial Art Academy 151:Early life in Russia 2004:Capote: A Biography 1914:Popular Photography 1221:Popular Photography 1214:Popular Photography 865:fashion photography 389:Contes Fantastiques 147:from 1934 to 1958. 2264:2011-05-14 at the 1159:, visiting him at 1105:Archibald MacLeish 1082:Writing in America 1065:and commentary by 718:Rockefeller Center 393:Fyodor Dostoyevsky 204: 172:Russo-Japanese War 35:Brodovitch in 1950 2272:Alexey Brodovitch 2230:Publishers Weekly 2205:Alexey Brodovitch 2179:Brodovitch (1994) 2142:Brodovitch (1994) 2118:Brodovitch (1972) 1961:978-0-7148-4285-1 1757:Brodovitch (1972) 1733:Brodovitch (1994) 1709:Brodovitch (1994) 1652:Brodovitch (1994) 1619:Brodovitch (1972) 1607:Brodovitch (1972) 1519:Brodovitch (1994) 1393:Brodovitch (1994) 1342:978-2-84323-701-0 1332:Alexey Brodovitch 1314:Brodovitch (1972) 1201:Alexey Brodovitch 1093:Robert B. Silvers 833:photostat machine 685:, photojournalist 612: 611: 604: 457:Design laboratory 385:Alexander Pushkin 263:Upon arriving in 225:Russian Civil War 116: 115: 23:Alexey Brodovitch 2340: 2232:, 252.38 (2005). 2208: 2199: 2182: 2176: 2170: 2169: 2167: 2166: 2151: 2145: 2139: 2133: 2127: 2121: 2115: 2106: 2105: 2103: 2101: 2090:"Saloon Society" 2086: 2080: 2075:Manville, Bill, 2073: 2067: 2066: 2064: 2062: 2052: 2046: 2040: 2034: 2024:Portrait: Theory 2020: 2014: 2000: 1991: 1977: 1966: 1965: 1947: 1941: 1935: 1929: 1923: 1917: 1910: 1904: 1898: 1892: 1886: 1880: 1877: 1871: 1865: 1859: 1853: 1844: 1838: 1832: 1826: 1820: 1819: 1817: 1815: 1798: 1792: 1778: 1772: 1766: 1760: 1754: 1748: 1742: 1736: 1730: 1724: 1718: 1712: 1706: 1700: 1697: 1691: 1685: 1679: 1673: 1667: 1661: 1655: 1648: 1642: 1632:Portrait: Theory 1628: 1622: 1616: 1610: 1604: 1598: 1592: 1586: 1583: 1577: 1571: 1565: 1562: 1556: 1552: 1546: 1540: 1534: 1528: 1522: 1516: 1507: 1501: 1495: 1489: 1483: 1477: 1471: 1465: 1459: 1453: 1444: 1438: 1432: 1426: 1420: 1414: 1408: 1402: 1396: 1390: 1384: 1378: 1372: 1366: 1360: 1353: 1347: 1346: 1326: 1317: 1311: 1302: 1296: 1267: 1246:Art and Industry 1241: 1139:Declining health 754:The new look of 658:Ryszard Horowitz 629:Jerry Schatzberg 607: 600: 596: 593: 587: 564: 556: 552:Notable students 447:romantic realism 206:At the start of 184:Saint Petersburg 165: 140: 132: 131:Аляксей Брадовіч 60: 33: 19: 18: 2348: 2347: 2343: 2342: 2341: 2339: 2338: 2337: 2323:Harper's Bazaar 2278: 2277: 2266:Wayback Machine 2249: 2244: 2215: 2213:Further reading 2190: 2185: 2177: 2173: 2164: 2162: 2159:web.archive.org 2153: 2152: 2148: 2140: 2136: 2128: 2124: 2116: 2109: 2099: 2097: 2096:. 10 April 2013 2088: 2087: 2083: 2074: 2070: 2060: 2058: 2054: 2053: 2049: 2041: 2037: 2021: 2017: 2001: 1994: 1978: 1969: 1962: 1948: 1944: 1936: 1932: 1924: 1920: 1911: 1907: 1899: 1895: 1887: 1883: 1878: 1874: 1866: 1862: 1854: 1847: 1839: 1835: 1827: 1823: 1813: 1811: 1799: 1795: 1779: 1775: 1767: 1763: 1755: 1751: 1743: 1739: 1731: 1727: 1719: 1715: 1707: 1703: 1698: 1694: 1686: 1682: 1674: 1670: 1662: 1658: 1649: 1645: 1629: 1625: 1617: 1613: 1605: 1601: 1593: 1589: 1584: 1580: 1572: 1568: 1563: 1559: 1553: 1549: 1541: 1537: 1529: 1525: 1517: 1510: 1502: 1498: 1490: 1486: 1478: 1474: 1466: 1462: 1454: 1447: 1439: 1435: 1427: 1423: 1415: 1411: 1403: 1399: 1391: 1387: 1379: 1375: 1367: 1363: 1359:, 47, pp. 6–19. 1354: 1350: 1343: 1327: 1320: 1312: 1305: 1297: 1290: 1286: 1274: 1209: 1196: 1168:Harper's Bazaar 1141: 1115: 1085: 1071:Harper's Bazaar 1055: 1022:Harper's Bazaar 1008: 970: 925:Harper's Bazaar 917: 909:, winter 1950. 902: 897: 878:Harper's Bazaar 811: 796:A. 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Wyeth 304:Suprematism 223:During the 208:World War I 160: [ 112:Son, Nikita 55: [ 2282:Categories 2196:Brodovitch 2165:2024-09-19 2100:7 December 2032:0912810343 1640:0912810343 1284:References 1149:alcoholism 1145:depression 882:mediascape 841:Surrealism 780:Raoul Dufy 699:Ted Croner 663:Eve Arnold 483:Eve Arnold 336:Surrealism 278:Archipenko 233:Bolsheviks 229:White Army 127:Belarusian 2259:Biography 2253:Biography 2181:, p. 153. 2144:, p. 166. 2045:, p. 107. 2043:Grundberg 1938:Grundberg 1928:, p. 142. 1903:, p. 132. 1891:, p. 239. 1870:, p. 203. 1856:Grundberg 1843:, p. 196. 1831:, p. 211. 1769:Grundberg 1745:Grundberg 1688:Grundberg 1576:, p. 109. 1543:Grundberg 1492:Grundberg 1468:Grundberg 1441:Grundberg 1417:Grundberg 955:Portfolio 941:Portfolio 937:Portfolio 929:Portfolio 921:Portfolio 914:Portfolio 889:Tony Lane 592:July 2014 381:Nouvelles 290:Diaghilev 259:An émigré 123:Brodovich 2262:Archived 2120:, p. 43. 1940:, p. 49. 1916:, p. 92. 1858:, p. 86. 1711:, p. 14. 1690:, p. 57. 1678:, p. 56. 1621:, p. 16. 1609:, p. 13. 1545:, p. 55. 1533:, p. 36. 1506:, p. 33. 1494:, p. 38. 1482:, p. 22. 1470:, p. 37. 1458:, p. 20. 1443:, p. 35. 1431:, p. 18. 1419:, p. 34. 1407:, p. 17. 1383:, p. 16. 1371:, p. 14. 1301:, p. 12. 1272:See also 1157:Ben Rose 1038:Harper's 1030:Harper's 998:Ballet – 959:graffiti 900:Typeface 854:Harper's 849:New York 808:Harper's 695:magazine 531:Art Kane 320:De Stijl 316:Futurism 237:Caucasus 157:Ogolichi 109:Children 52:Ogolichi 2188:Sources 2130:Purcell 1926:Purcell 1901:Purcell 1889:Purcell 1868:Purcell 1841:Purcell 1829:Purcell 1721:Purcell 1676:Purcell 1595:Purcell 1574:Purcell 1531:Purcell 1521:, p. 6. 1504:Purcell 1480:Purcell 1456:Purcell 1429:Purcell 1405:Purcell 1381:Purcell 1369:Purcell 1316:, p. 40 1299:Purcell 1263:Gallery 1188:Avignon 1184:Le Thor 1044:Esquire 1032:editor 953:Inside 819:Bazaar' 792:Man Ray 464:Bauhaus 451:Cocteau 369:Picasso 328:Fauvism 312:Bauhaus 300:Dadaism 282:Chagall 135:Russian 82:Le Thor 67:Belarus 2030: 2010: 1987: 1958: 1788: 1638: 1357:Camera 1339: 993:Contax 989:Ballet 974:ballet 967:Ballet 815:Bazaar 772:Bazaar 760:Europe 693:Camera 395:, and 332:Purism 324:Cubism 284:, and 176:Moscow 121:(also 101:Spouse 86:France 1808:Print 1227:1937. 1153:Minox 1073:. In 845:Paris 774:were 731:Vogue 265:Paris 164:] 65:(now 59:] 2102:2014 2063:2019 2028:ISBN 2008:ISBN 1985:ISBN 1956:ISBN 1816:2017 1786:ISBN 1636:ISBN 1337:ISBN 870:Dior 800:Erté 794:and 668:Hiro 538:Hiro 513:and 499:Hiro 441:and 334:and 306:and 104:Nina 75:Died 48:1898 41:Born 1020:in 847:to 636:of 582:by 399:by 391:by 383:by 292:'s 2284:: 2157:. 2110:^ 2092:. 1995:^ 1970:^ 1848:^ 1805:. 1511:^ 1448:^ 1321:^ 1306:^ 1291:^ 1103:, 1099:, 891:. 802:. 790:, 786:, 782:, 778:, 747:, 517:. 509:, 505:, 501:, 497:, 493:, 489:, 485:, 481:, 403:. 387:, 330:, 326:, 280:, 166:, 162:ru 137:: 133:, 129:: 125:; 84:, 61:, 57:ru 2168:. 2104:. 2065:. 1964:. 1818:. 1654:. 1345:. 605:) 599:( 594:) 590:( 576:. 69:)

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