Nudes

Rating:
Summary: Beautiful essence of real women
Review: Friedlander exquisitely captures the true essence of real women. These women, usually photographed in their own apartments, are not models -- they are authentic. Friedlander's work shows every blemish, hair, and "imperfection", which made this reader almost feel as if I could hear them breathing, smell their skin. To see such a beautiful work with wonderful women who did not see the necessity of applying thick layers of makeup, shaving body hair, or wearing excessive jewelry was truly refreshing. Thank you Mr. Friedlander for "exposing" what women really look like!

Rating:
Summary: Beautiful essence of real women
Review: Friedlander exquisitely captures the true essence of real women. These women, usually photographed in their own apartments, are not models -- they are authentic. Friedlander's work shows every blemish, hair, and "imperfection", which made this reader almost feel as if I could hear them breathing, smell their skin. To see such a beautiful work with wonderful women who did not see the necessity of applying thick layers of makeup, shaving body hair, or wearing excessive jewelry was truly refreshing. Thank you Mr. Friedlander for "exposing" what women really look like!

Rating:
Summary: some helps
Review: I am a photographer who lives in Iran. I'm so glad that finally could find somthing about my most favorite photographer Mr. Lee Friedlander in amazon web site.

Rating:
Summary: BEAUTY BEFORE CAMERAS
Review: The majority of celebrated modern photography of the female nude smacks of the conceit of light games. Worse: most of the best-reviewed contemporary works are, if truth were told, more about camera technology than aesthetics. It often seems as if the riptide of post-feminism has rid us of the privilege of inventive eroticism and made eunuchs of photographers and harlots of models. Can the aficionado really bear another misty-lensed Caribbean superwaif or mottled, breastless sub-celebrity? Helmut Newton has taken the daring of Blumenfeld, Man Ray and Edward Weston and spiked it with humor, but Lee Friedlander, in his innocence and directness is - ironically - closer to the wake-up call of Maplethorpe. These are beautiful photographs of real women in real, average rooms, carved with basic flashguns and noonlight, much in the informal style the French Symbolist Pierre Louys (who also used domestic settings and natural light). Texturally they come closest to Weston: the monochrome has his luxurious, colorful feel. But architecturally the pictures recall Georgia O'Keeffe in their adventurous embrace of hip sweeps and knee bends tight-cropped like zoomshots of winderness outcrops. The women are hairy, fragrant and alive. What warms the heart most is the reality of their expressions: self-possessed, agitated, engrossed, bored, antsy - by turns. These are real women, monumental in their personalities, as in their natural curves and caves. Madonna, now pop legend, was one of Friedlander's early models and it is moving, almost disturbing, to see unaffected beauty before the jazzy conceptual tricks of consumerism. Lee Friedlander's work isn't confined to nudes: seek out his other provocative portfolios.