In this essay I will be analysing two images from the work of Richard Avedon, an American

fashion and portrait photographer.

Avedons interest in how portraiture captures the personality and the soul of its subject and his
intention to portray people in their most honest form became one of the reasons why I wanted
to study his work.
His style of portraiture is typically black and white and is very distinguishable by its minimalistic
qualities. His portrait work usually relies on the subject posed in front of him and looking
straight at the camera. He eliminates the use of soft lights and props as he wants to focus on the
actual subjects themselves and their emotions during that photo session.
I wanted to pick two images that really stood out to me the most and after researching his work,
I came across two portraits.
One of them is an image of Arthur Miller and Marilyn Monroe and the other one is just of
Marilyn Monroe on her own. Both images were taken in 1957, the obvious similarities drawing
the two images together are the style and the colour as both images are black and white portraits.
I chose to study these particular images because of how Avedon aimed to reveal the true
personalities of the two most influential and prominent public figures during the time that the
photograph was taken.
The first image I am going to analyse is of actress Marilyn Monroe and playwright Arthur Miller
(Figure One).
The image of the couple is a medium shot as it captures both Monroe and Miller from the chest
up and the angle of view of the photograph is in level of the eyes of the viewer. The composition
of the shot is asymmetrical therefore adding a naturalness to the image despite it being shot in a
studio. Like the majority of Avedons work, the image is black and white and it possesses a very
timely and classical aura to it. There is evidence of high key lighting as both Miller and Monroes
face are illuminated. Their facial features are highly emphasised and is, what I would class as the
punctum of the image.
There is a strong focus on Marilyns face because of the lighting. It softens her face but also
emphasises the shape of it, highlighting her cheekbones and her jawline due to the shadow
underneath her chin. It puts great importance on Marilyns smile and highlights the beauty that
everyone in her era fell in love with and has strong connotations of positivity. The image also
conveys a sense of love and togetherness due to both Miller and Monroes facial expressions.
Both are wearing typical smiles of happy couples and the use of high key lighting also fuels this
connotation of optimism.
An article from The New York Times describes Avedons style in terms of photographing
couples, stating that, Avedons virtuosity is particularly evident in photographs of couples,
which attempt to unlock the nature of a relationship or some versions of it in a single, still
image. Monroes affectionately hugging her playwright husband, Arthur Miller, in 1957
humanizes the clichd beauty-and-brains equation. (Schwesdener, 2011)
The body contact between Miller and Monroe can suggest the type of relationship they had in
that particular time period when they were both happy. Monroe has a huge smile on her face,
capturing her enamoured disposition during that photo session with her arms wrapped around
Miller. It makes her look youthful and in love and so very happy.
The denotation of Millers posture emanates a dominant male figure because of how he is posing
in front of the camera. He is facing the camera, head he has his arms folded and his shoulders
are squared. His posture can also have connotations of the type of relationship he has with
Monroe. He doesnt seem to be lovingly embracing her as Monroe is with him in the photograph
which can be argued as a sense of foreshadowing of their split in 1960.
To the viewer of the image who has no idea of the background context and the nature of Miller
and Monroes relationship, it may seem like a picture perfect moment between them. Monroe is
seeming like her Marilyn character all smiles and radiant. There is also the sense of Monroe
being sexualised due to the fact that her arms are bare and she doesnt look like shes wearing
anything in the photograph.
There is an obvious tone of dark and light in terms of the relationship between the two subjects.
Marilyn is portrayed in high contrast and high key lighting, from her illuminated face and blonde
hair. Whilst Miller is portrayed darkly, from his suit to his dark hair and his black glasses. Millers
representation in this image has a strong sense of maturity and can be connoted as such due to
the lighting and his nonverbal communication whilst Monroe can signify innocence and a
childlike disposition due to her beaming expression.
TheRedList.com makes a comment on the type of relationship Miller and Monroe had stating
that, The answer [how their relationship was formed] resided in their personal problems: on
one hand, the sexy actress needed stability and intellectual respectability but moreover was
yearning for a fatherly figure to take care of her called him Papa and on the other, Arthur
Miller longed for pleasure and fame outside from his New York circle. (Leblond & Vaillat).
The second image I will be analysing is a portrait of Marilyn Monroe (Figure Two) taken in the
same year as the first image. Once again, the overall composition of the image is classical because
of the black and white colour. Due to her pale complexion, the grey background makes Monroe
stand out and the fact that she is centralised in the image is another reason that validates this.
The black sequined dress that she is wearing and curly platinum blonde hair also stands out from
the background.
Her outfit, her hair and her make up resonates Marilyn Monroe, all the characteristics of the
bombshell beauty of the 50s and that is the studium of this image the mere silhouette and
outline the idea of Marilyn Monroe.
The punctum of this image and what I found especially captivating about it relies on the fact that
the picture doesnt actually portray the real Marilyn Monroe. Avedon recalls the moment that
the photograph of Monroe was captured in a video clip from American Masters Richard
Avedon: Darkness and Light directed by Helen Whitney.
There was no such person as Marilyn Monroe, Avedon (1996) stated. Marilyn Monroe was an
invention of hers, a genius invention that she created like an author creates a character. So
when Marilyn Monroe put on a sequined dress and danced in the studio I mean for hours, she
danced and sang and flirted and did this thing, thats no describing what she did she did
Marilyn Monroe.
This statement has connection with the charismatic movie star that was Marilyn Monroe during
the years she was active in the entertainment industry. The clothes that Monroe is wearing have
clear connotations of her glamorous lifestyle and her work. A low cut sequined dress is a strong
attribute that the characters in the movies she has starred in wear and they have strong
connotations of provocativeness emphasising the character of Marilyn Monroe.
Avedon (1996) continued, And then there was the inevitable drop. Because she was someone
who went very high up and was very weighed down. And when the night was over, she sat in the
corner like a child, with everything gone. And for me, this explained why the punctum of the
image is her facial expression.
Her nonverbal communication speaks volumes. The way her shoulders are drooping, her sunken
eyes and the tired look on her face. Its very different to the happy, smiling face that is often
associated with her and a definite contrast to the first image where she was seemingly happy.
Her gaze is distant and the vacant look on her face can be interpreted as strange to those viewing
this image when it was first published because it is not the same Marilyn Monroe that they are
used to seeing in the big screen.
She seems completely out of character. There is no happy, smiling and seductive Marilyn
Monroe. She is stripped of her usual faade. Its almost haunting, the way her eyes are seemingly
vacant and her facial expressions are distant. There is a quiet sadness to her being, one that went
unnoticed by the world in her time that imminently lead to her tragic death.
Avedon (1996) then shared, But I wouldnt photograph her without her knowledge of it. And
as I came with the camera I saw that she was not saying no. And in this moment, he managed
to capture one of the most alluring movie stars with her public faade down.
An article from The Sydney Morning Herald described Avedons process, He intensified
presence by removing what surrounded it. (Stephens, 2014) The way that Avedon took her
portraits against a simple background is effective because she is the focal point of the image, the
centre of attention. Despite the flashy glamourous Marilyn-esque dress that she is wearing,
Avedon removed the extravagant Marilyn Monroe so the image of simple Norma Jean Baker
resurfaced in the photograph.
By removing the surrounding nature that Marilyn Monroe was accustomed to, he intensified the
presence of Norma Jean Baker. The point is that you cant get at the thing itself, the real nature
of the sitter, by stripping away the surface. The surface is all youve got. You can only get beyond
the surface by working with the surface. All you can do is manipulate that surface gesture,
costume, expression radically and correctly. (Avedon, 2002)
In conclusion, both images show the nature of Avedons powerful work in terms of his style and
his approach to photography and that was to discover the truth that was sometimes hidden from
the subject or which the subject was hiding.
There is already an instilled fixed image of a person in the minds of the people viewing the
photograph, especially if the fixed image of that person is that of a public figure. What Avedon
does with this instilled idea is he subverts it completely, he creates a portrait that leaves the
viewers questioning, and he shifts the sense of truly knowing someone. He makes the viewers
of the photographs think and he capture the essence of this in both of his images.
(Figure One) Marilyn Monroe and Arthur Miller by Richard Avedon, 1957
(Figure Two) Marilyn Monroe by Richard Avedon, 1957
References
Holm, M.J., Crenzien, H and Dyer, G. 2007. Richard Avedon: Photographs 1946 2004. . Louisiana
Museum of Modern Art.
Leblond, R., Vaillat, J. 2016. Marilyn Monroe and Arthur Miller. [15th April 2016]. Available from:
http://theredlist.com/wiki-2-24-224-523-view-hollywood-cinecitta-stars-profile-marilyn-
monroe-arthur-miller.html
Hambourg, M.M. 2002. Richard Avedons Portraits. New York: Harry N. Abrams.
Stephens, A. 2014. Fame and falsehoods: Richard Avedons photos are works that can lie. [15th April 2016].
Available from: http://www.smh.com.au/entertainment/art-and-design/fame-and-falsehoods-
richard-avedons-photos-are-works-that-can-lie-20141125-11suu2.html
American Masters Richard Avedon: Darkness and Light. 1996 [documentary film]. Directed by
Helen Whitney. Eagle Rock Entertainment.
Bibliography
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Hambourg, M.M. 2002. Richard Avedons Portraits. New York: Harry N. Abrams.
Holm, M.J., Crenzien, H and Dyer, G. 2007. Richard Avedon: Photographs 1946 2004. . Louisiana
Museum of Modern Art.
Leblond, R., Vaillat, J. 2016. Marilyn Monroe and Arthur Miller. [15th April 2016]. Available from:
http://theredlist.com/wiki-2-24-224-523-view-hollywood-cinecitta-stars-profile-marilyn-
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Stephens, A. 2014. Fame and falsehoods: Richard Avedons photos are works that can lie. [15th April 2016].
Available from: http://www.smh.com.au/entertainment/art-and-design/fame-and-falsehoods-
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American Masters Richard Avedon: Darkness and Light. 1996 [documentary film]. Directed by
Helen Whitney. Eagle Rock Entertainment.