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394:. Her fashion photos, even of evening gowns and such, were often notable for their outdoor settings, emphasizing active women. She was one of the first photographers to move outside of the studio for fashion photography, setting a trend in the field. She did not shoot indoors primarily because “I don't know how to photograph in a studio. I never did know about technical points and still don't”. Her style continued in this ‘plein air’ way throughout her career. For this kind of innovation and experimentation she was well known.
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her models. She had a tendency to use uncommon perspectives, which she achieved by placing her camera on a dramatic diagonal axis, and/or using a low point of view and a wide-angle lens against a neutral background, thus creating the illusion of elongated human form. With her preference for close-ups and straightforward, unembellished images of winsome, sportswear-clad models, Frissell's action-fashion photographs are landmarks in the development of postwar fashion imagery.
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Steichen, Edward; Steichen, Edward, 1879-1973, (organizer.); Sandburg, Carl, 1878-1967, (writer of foreword.); Norman, Dorothy, 1905-1997, (writer of added text.); Lionni, Leo, 1910-1999, (book designer.); Mason, Jerry, (editor.); Stoller, Ezra, (photographer.); Museum of Modern Art (New York, N.Y.)
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Frissell's major contribution to fashion photography was her development of the realistic (as opposed to the staged) fashion photograph in the 1930s and 1940s. Like Martin
Munkacsi, she mastered the appearance of unselfconscious spontaneity in fashion pictures by working outside and on location with
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In the early 1970s, she began to have trouble with her memory. To counteract this, she began to write a memoir, one that turned into almost a thousand-page manuscript. Her memoir recounts the times from her childhood to her later life, detailing her privileged upbringing, exploration of Europe,
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parties in her 20s, youth romances, and adoration for the richer way of life. This early fascination with the privileged life influenced the choice in subjects of her photographs, and the more privileged sports, such as skiing and golf, that she went on to photograph for
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in 1931. Frissell was the granddaughter of
Algernon Sydney Frissell, founder and president of the Fifth Avenue Bank of New York, and great-granddaughter of Mary Whitney Phelps and Governor of Missouri
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on April 17, 1988, in a Long Island nursing home. Her husband, Francis M. Bacon 3rd, of Bacon, Stevenson & Company, predeceased her. She was survived by her daughter Sidney, and her son Varick.
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In later work she concentrated on photographing women from all walks of life, often as a commentary on the human condition. Her iconic 1944 photograph previously used for book illustration,
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contains around 340,000 images, and because of its size is not completely available to the public. She and her husband donated her archive of film negatives in 1971.
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in New York, that was seen by 9 million visitors. In 1957 the photograph was used for the cover of a popular psychology text. In 1963 an entire feature in
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Antoinette
Frissell was born in 1907 to Lewis Fox Frissell and Antoinette Wood Montgomery. Her brothers were Phelps Montgomery Frissell and filmmaker
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twice. Her first picture to be published in Life magazine was of bombed out London in 1942. Her moving photographs of military women and
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at Saint James called 'Sherrewogue' on the water of Stony Brook Harbor where the couple and their family lived for nearly 50 years.
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productions, she realized it was not for her. In her early 20s, she started taking pictures in part because of her brother,
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making captions and writing a bit for the magazine. She was fired because of her poor spelling, but was encouraged by
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She worked with many other famous photographers of the day. Her first photography job, as a fashion photographer for
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to take up photography. She took up photography to cope with the illness of her mother, the death of her brother
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In the 1950s, she took informal portraits of the famous and powerful in the United States and Europe, including
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magazine paid tribute to her in a page 3 editorial profile headed 'Patrician
Photographer of a Vanishing Age'.
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has a large collection of her photographs on pages about her, but apparently no single list of all of them.
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magazines. Throughout her photographic career, she worked at home and abroad for these large publications.
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which were an early example of the successful use of photography in illustration of children's literature.
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she continued her interest in active women and sports and was hired as the first woman on the staff of
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New York Times (1988). "Toni
Frissell, 81, Dies; A Noted Photographer". Retrieved 16 November 2015.
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During the War she produced a series of photographs of children that were used in an edition of
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When
Frissell was younger, she was passionate about theater, but after two roles in
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Toni
Frissell Collection (Prints and Photographs Reading Room, Library of Congress)
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Frissell, Toni (1994). "Toni
Frissell Photographs 1933-1967". Publisher: Doubleday
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When she grew tired of fashion photography and fluctuating between contracts with
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Endless Summer (Imagination): American
Treasures of the Library of Congress
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was devoted to photographs of 'The Loving
Embrace' from across her career.
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Toni Frissell - Women Come to the Front (Library of Congress Exhibition)
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Childhood and adolescence : a psychology of the growing person
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Picturing an exhibition : the family of man and 1950s America
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Tuskegee airmen playing cards in the officers' club in the evening
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In 1941, Frissell volunteered her photographic services to the
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for several decades. After 1950, she did freelance work for
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Stone, L. Joseph (Lawrence Joseph); Church, Joseph (1957),
804:, Library of Congress website; accessed November 11, 2016.
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Toni Frissell Collection:Prints and Photographs Division
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Publications of others with illustrations by Frissell
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Deaths from Alzheimer's disease in the United States
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The family of man : the photographic exhibition
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Dherbier, Yann-Brice; Verlhac, Pierre-Henri (2004),
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in 1953, and continued to be one of very few female
137:"I'd Rather Stalk with a Camera Than a Gun", c. 1935
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914:(1st ed.), University of New Mexico Press,
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783:LIFE Magazine, Time Inc (September 16, 1966).
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109:Learn how and when to remove this message
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494:Vanderbilts
361:Carmel Snow
331:Frida Kahlo
305:Long Island
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1086:Categories
1001:6 Dec 1963
705:References
282:The Viking
174:Occupation
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947:cite book
684:Tethered.
635:Doubleday
553:My Shadow
342:Manhattan
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637:, 1994.
581:In 1966
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