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Frank Horvat
Frank Horvat
Frank Horvat

Frank Horvat

Country: Italy
Birth: 1928 | Death: 2020

Frank Horvat is an internationally renowned fashion photographer, who has recently celebrated fifty years experience in the field. Throughout these years he has not only embraced fashion photography, but also been unafraid to experiment and adapt to new technologies, transcending the confines of photographic borders. His photography is diverse and considerably more complex than a cursory glance could reveal. He is perhaps best known for his spontaneity, trust and empathy, qualities that express themselves in his sophisticated photographs.

Frank Horvat was born in Italy in 1928. He first started photographing at age fifteen with a 35 mm Retinamat camera, and moved to Milan to study art in 1947. By 1950 he was doing freelance work for Italian fashion magazines; Epoca published his first photographic essay in 1951. Horvat was one of the first artists to apply the 35mm film camera and reportage techniques to fashion art photography. He created a new and more realistic style that revolutionized the development of fashion-based photography in England, France, and the United States. He stylistically combined realism and artifice, movement, and inventive locations, which won him immediate success as a French fashion photographer. His photographs have appeared in leading European and American magazines including Life, Elle, Vogue, Harper’s Bazaar, Glamour and Jardin des Modes from 1951-61.

Horvat initially worked for the American picture agency, Magnum, but since he “posed” his subjects he left for Realities and Black Star. He moved to Paris three years later and currently divides his time between the city and the south of France. Horvat’s work with French fashion photography has been exhibited around the world and can be found in the permanent collections of numerous prestigious museums including Bibliothèque Nationale, Musée National d’Art Moderne, Kunst-bibliothek, Museum of Modern Art, and the George Eastman House, and numerous other collections.

Source: Holden Luntz Gallery

 

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More Great Photographers To Discover

Alessandro Puccinelli
My earliest professional experience dates from 1993 when I moved to Australia, as an assistant in advertising photography. Returning to Italy a few years later, I chose to concentrate my attention on commercial photography and personal work. At the age of 16 I had the great good fortune, especially living in Italy, a country not widely known for big waves, of discovering the joy of surfing. From that moment forward was born a strong link with the sea that still today profoundly influences my life choices, both professionally and personally. The presence of the sea in my daily life represents something extremely important to me onto which I project fear, dreams, hope and receiving in return inner strength and mental clarity. The choice of placing the sea centre stage in my life positively affects my personal work which, in truth, is born from this choice. In short, it is the place above all other places where I prefer to be. In an entirely natural way, in my personal work there has evolved a current of romanticism, reflected above all others in my love of the work of J.W Turner. This does not surprise me as with the sea I co habit with the virtues of force, elegance and simplicity. I recognise the sea in front of me as my ancestral home, it’s force and vastness make me feel small and vulnerable, yet, at the same time, it indicates to me a pathway, an example to follow or even a point of arrival. In 2008, motivated by the desire to remain in close contact with the ocean, I decided to divide my time between Italy and Portugal. Attracted by this country, bathed by a stupendous and vigorous sea, I found a good balance between a European lifestyle and a strong contact with nature. Today, I principally divide my time between Tuscany, Lisbon and the southern coast of Portugal where frequently I take refuge in my motorhome hideaway in search of intimacy with the ocean. My works have been recognized in many photography awards including, Sony World Photography Awards, International Photography Awards, Black and White Photography Awards, Hasselblad Masters and others.
Iris Brito Stevens
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I was born and raised in Salinas, California (U.S.), a farming community known for its lettuce. As a daughter of Mexican immigrants, I became aware of, and sensitive to, the differences between the immigrant and non-immigrant communities and their perspectives, which at times felt narrow and somewhat limiting. Growing up surrounded by family grounded me deeply, yet an insatiable curiosity and passion for learning about the world beyond me, called out. I spread my wings and traveled to destinations that were completely foreign, often under the auspices of humanitarian and educational endeavors. The lens through which I saw the world opened-up and expanded my perspective, just like a camera. Through first-hand experience, I became aware of the lives and conditions of marginalized and oppressed peoples globally. This new dimensionality helped me to confront certain realities, to grow, and to self-reflect on what it means to be human. It also led me toward activism and social documentary photography, which enabled me to blend visual narrative with the stories of other people through projects or partnerships in Uganda, the Occupied Palestinian Territories, Spain, San Francisco and more. My photographic work is my passion, and it serves to create awareness and a more intimate human connection, by encouraging a path that looks beyond our limited and inherent perceptions and conditioning. Statement In America, we place so much value on individuality and independence, that we forget how truly interdependent we are on one another, both on a local and global scale. We have become hyper-focused on the self and are losing our ability to empathize and see the intense vulnerability around us—though considering recent events, this appears to be shifting. As a social documentary photographer, I am drawn towards people and the conditions that are relevant in their lives, as individuals and as members of a family, community, or society. Our perception of the world can be limited to our own multi-faceted forms of conditioning; I utilize the impact of visual narrative to bring awareness of the human condition worldwide. There is so much beauty in diversity. I want to validate that diversity through photography, to help others grow in that appreciation, to demonstrate that we are all a part of something collectively - that life's experience doesn't begin and end with us, as individuals. Dominance consciousness is so pervasive in society; it's like a box with thick walls and nothing to see, nowhere to go, devoid of any inspiration. It kills curiosity and ideas. I want us all to be inspired and curious by the diversity we see and experience in everyday life. Diversity is beautiful.
Sumaya Agha
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Sumaya Agha is a freelance photographer based in Portland, OR, who began documenting the Syrian refugee crisis over four years ago in Jordan and Europe. She is of Syrian descent with many aunts, uncles, and cousins still living in Damascus. Sumaya holds a BS in Applied Art and Design with a concentration in Photography from Cal Poly State University in San Luis Obispo, CA and an MPA from Middlebury Institute of International Studies. Her worked appeared in the Huffington Post, BBC Focus on Africa, Forbes Africa, and NPR.org, and she was a still photographer for the Academy Award winning film “The Fog of War.” She has lived in Syria, Liberia, and the United States. Watching from afar as civil war ripped apart Syria, I felt compelled to help the refugees whose lives have been destroyed by the conflict. And with dozens of close relatives enduring the horrors in their hometown of Damascus, I had a personal connection to the crisis. I moved to Amman, Jordan in 2012 and began working as a photographer for humanitarian organizations helping mitigate the crisis that had spilled over from neighboring Syria. While in Jordan, I spent many days in the refugee camps and host communities, getting to know countless families living there and documenting their substandard living conditions. I heard myriad stories of heartbreaking loss and brutality and enduring spirit, and found that hopelessness is pervasive among the young, as they cannot see a future for themselves. In January 2016 I went on assignment to Macedonia and Serbia to photograph the refugees migrating through the Balkans. Throughout the freezing winter, 2,200 refugees per day crossed into Serbia. Up to 10,000 a day crossed in warmer months. They came from Afghanistan, Iraq, and Syria, from a wide range of socioeconomic backgrounds, including many families with young children. The typical journey went like this: flee their home country, take a perilous raft ride from Turkey to Greece, and then move onward through foreign lands in search of a peaceful home. Now that the Balkan borders are closed to refugees, thousands are stranded in Eastern Europe, hoping to be relocated to Western Europe. More than 60,000 refugees are in camps throughout Greece, including Ritsona Refugee Camp, where I went on assignment in July to document the crisis. With no end in sight to the conflict in Syria and elsewhere, the refugee crisis is certain to continue right along with it. That means millions of regular people continuing to seek safety and some sense of normalcy in the absence of peace.
Barry Salzman
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Barry Salzman is an award-winning contemporary artist who currently works in photography, video and mixed media and whose projects have been shown widely around the world. He lives and works between New York City and Cape Town, South Africa. His photographic work in particular, began with a fascination for the practice as a teenager, during a time when it served as a way for him to grapple with the racial segregation in apartheid South Africa. Today, his work continues to explore challenging themes around social, political and economic narratives, often coming down to the core concept of identity. Acutely relevant and brave in its willingness to confront, Salzman's photography garnered the 2018 International Photographer of the Year Award in the Deeper Perspective category at the International Photography Awards for his project, The Day I Became Another Genocide Victim, which endeavors to humaize victims of the Rwandan genocide. For the last six years, Salzman has worked on ongoing projects that attempt to challenge the universal fatigue around the genocide narrative. Mostly, he applies visual tools of abstraction to landscape images shot at precise locations around the world where acts of genocide were perpetrated as a means of reminding us that 'that place' can be 'any place'. In writing about his ongoing genocide landscape work Salzman says, "The landscape witnesses all. It sheds its leaves in cover-up and complicity. But through its rebirth, so it rejuvenates. It carries with it the traces of the past and promises of the future. It triumphs over trauma. It is inextricably intertwined with our darkest moments and brightest days." The following images were made in Ukraine, Poland and Rwanda at precise locations where acts of genocide were perpetrated. For additional information, please see: www.barrysalzman.net
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