{"id":54882,"date":"2026-10-05T17:28:15","date_gmt":"2026-10-05T17:28:15","guid":{"rendered":"https:\/\/lifestylemag.com\/?p=54882"},"modified":"2026-10-05T17:36:42","modified_gmt":"2026-10-05T17:36:42","slug":"portrait-horst-p-horst","status":"publish","type":"post","link":"https:\/\/lifestylemag.com\/pt-br\/portrait-horst-p-horst\/","title":{"rendered":"Portrait: Horst P. Horst"},"content":{"rendered":"

By Catherine Jacobi<\/p>\n\n\n\n

O fot\u00f3grafo por tr\u00e1s do espartilho mais famoso da Vogue tamb\u00e9m desenhou a pr\u00f3pria casa, plantou o pr\u00f3prio jardim e passou d\u00e9cadas nas salas de estar alheias, observando tudo com os mesmos olhos.<\/em><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Summer fashion at Horst’s house, Oyster Bay, 1948. Horst P. Horst for Vogue. \u00a9 Cond\u00e9 Nast \/ Horst Estate.<\/em><\/p>\n\n\n\n

Em 1947, um dos primeiros grupos de convidados a visitar a nova casa de Horst P. Horst<\/a>em Oyster Bay Cove<\/a> reunia No\u00ebl Coward, Christopher Isherwood, Greta Garbo e um diplomata brit\u00e2nico chamado Valentine Lawford, que viria a dividir a vida com Horst por mais de quatro d\u00e9cadas. A casa era baixa e branca, revestida de estuque, e o pr\u00f3prio Horst a desenhou, inspirado nas casas que guardava na mem\u00f3ria da Tun\u00edsia. O terreno, cerca de dois hectares na costa norte de Long Island que um dia pertenceram \u00e0 propriedade de Louis Comfort Tiffany<\/a>era, nas palavras dele, tudo o que sempre havia sonhado.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Laurelton Hall, Louis Comfort Tiffany’s estate, Laurel Hollow, New York, early twentieth century. Archival photograph, Library of Congress Prints and Photographs Division.<\/em><\/p>\n\n\n\n

A casa mal estava pronta quando o diretor de arte da Vogue<\/a> , Alexander Liberman<\/a>concluiu que ela j\u00e1 servia como loca\u00e7\u00e3o, e assim as primeiras fotos feitas ali foram fotos de moda: mai\u00f4s e vestidos de ver\u00e3o, dispostos ao sol sobre esteiras de palha. Desde o primeiro ver\u00e3o, a casa foi lar e cen\u00e1rio ao mesmo tempo, e Horst parecia muito satisfeito em deix\u00e1-la ser as duas coisas.<\/p>\n\n\n\n

Essa naturalidade entre viver num c\u00f4modo e comp\u00f4-lo tinha ra\u00edzes profundas. Nascido Horst Paul Albert Bohrmann em 1906, numa cidade pequena do leste da Alemanha, ele estudou artes aplicadas e marcenaria em Hamburgo e se mudou para Paris em 1930, na esperan\u00e7a de trabalhar com Le Corbusier<\/a>. A arquitetura o perdeu quase de imediato. Ele conheceu George Hoyningen-Huene, o grande fot\u00f3grafo da Vogue francesa<\/a>, tornou-se seu assistente, seu modelo e seu amante e, em poucos anos, assumiu o lugar dele como principal fot\u00f3grafo da Vogue de Paris.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Patterns from Nature, photographic collage, about 1945. Horst P. Horst. \u00a9 Cond\u00e9 Nast \/ Horst Estate, via the V&A.<\/em><\/p>\n\n\n\n

Mas nunca deixou de construir. Suas fotos de alta costura dos anos 1930, feitas para Chanel<\/a>, Vionnet<\/a> e Schiaparelli<\/a>, s\u00e3o encenadas entre colunas, pedestais e gesso, e o Horst Estate, que cuida de seu acervo, atribui aos anos em Hamburgo o senso de estrutura e propor\u00e7\u00e3o que o acompanhou a vida inteira. Depois que se sabe da marcenaria, fica dif\u00edcil n\u00e3o enxerg\u00e1-la em cada imagem.<\/p>\n\n\n\n

Sua fotografia mais famosa est\u00e1 exatamente no ponto de virada da sua vida. Em agosto de 1939, no est\u00fadio da Vogue em Paris, ele fotografou de costas uma modelo usando um espartilho de cetim rosa, feito por Detolle para Mainbocher<\/a>, embora a cor se perca para quem olha a c\u00f3pia em preto e branco. Ele trabalhou madrugada adentro, pegou as malas e embarcou num trem cedo para Le Havre, onde subiria a bordo do Normandie<\/em> rumo a Nova York.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Mainbocher Corset, Paris, 1939. Horst P. Horst for Vogue; corset by Detolle for Mainbocher. First published in American Vogue, September 15, 1939. \u00a9 Cond\u00e9 Nast \/ Horst Estate.<\/em><\/p>\n\n\n\n

Enquanto fazia a foto, contou mais tarde, \"eu pensava em tudo o que estava deixando para tr\u00e1s\".<\/p>\n\n\n\n

Tudo o que veio depois soa como uma resposta \u00e0quela noite. Nos Estados Unidos, ele passou a montar, pe\u00e7a por pe\u00e7a, um mundo onde quisesse viver e, em 1943, quando se alistou no Ex\u00e9rcito americano e se tornou cidad\u00e3o, chegou a dar a si mesmo um novo nome para habit\u00e1-lo: Horst P. Horst.<\/p>\n\n\n\n

Parte desse mundo ele encontrou brotando da terra. Depois da guerra, passou um tempo longe da alta costura, fotografando conchas, plantas e minerais t\u00e3o de perto que eles se tornavam estranhos, e esses estudos viraram o livro Patterns from Nature<\/em>, de 1946. Horst dizia ter se impressionado com o quanto as formas vegetais lembravam o ferro forjado e a arquitetura g\u00f3tica, o que diz muito sobre a maneira como ele olhava para um jardim: como algo constru\u00eddo, com suas pr\u00f3prias colunas e rendilhados.<\/p>\n\n\n\n

Em Oyster Bay, ele e Lawford desenharam um jardim em volta da casa, e o Horst Estate descreve o lugar inteiro como, ao mesmo tempo, o ref\u00fagio particular dos dois e um dos temas recorrentes de suas fotografias.<\/p>\n\n\n\n

As viagens alimentavam a mesma curiosidade, desta vez sobre como outras pessoas organizam a vida. Lawford foi transferido para a Embaixada Brit\u00e2nica em Teer\u00e3 e, no ver\u00e3o de 1949, os dois foram de carro de Beirute a Pers\u00e9polis, onde Horst fotografou partes da antiga cidade persa que haviam sido descobertas pouco tempo antes. Na primavera seguinte, passaram dez dias como h\u00f3spedes de Malik Mansur Khan Qashqa'i, viajando com sua tribo, de camelo e a cavalo, durante a migra\u00e7\u00e3o sazonal em busca de pasto.<\/p>\n\n\n\n

Em um \u00fanico ano, ele fotografou um pal\u00e1cio que sobreviveu aos seus reis e uma comunidade que arrumava a bagagem e seguia o capim.<\/p>\n\n\n\n

Quem enxergou como tudo isso se encaixava era uma convidada frequente de Oyster Bay. Diana Vreeland, que chegou \u00e0 Vogue em 1962, colocou Horst e Lawford para trabalhar em Fashions in Living<\/em>, p\u00e1ginas dedicadas \u00e0s casas de pessoas cujo gosto ela considerava digno de registro. Lawford escrevia, Horst fotografava, e os retratados iam do duque e da duquesa de Windsor e Gloria Guinness a Yves Saint Laurent<\/a> e Andy Warhol<\/a>.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Cy Twombly at home in Rome, 1966. Horst P. Horst for Vogue (published as “Roman Classic Surprise”). \u00a9 Cond\u00e9 Nast \/ Horst Estate.<\/em><\/p>\n\n\n\n

Ele trabalhava como se comporta um bom h\u00f3spede, muitas vezes ficando dias, \u00e0s vezes at\u00e9 duas semanas, at\u00e9 entender uma casa e a sua luz. Em Roma, em 1966, fotografou Cy Twombly<\/a> e sua mulher, a pintora Tatiana Franchetti, circulando pelos c\u00f4modos de seu palazzo do s\u00e9culo 17, e deixou os m\u00f3veis exatamente onde o casal os mantinha.<\/p>\n\n\n\n

\u00c0s vezes um \u00fanico objeto carregava o retrato inteiro, como o chinelo bordado de Philippe de Rothschild<\/a>pousado sobre um tapete tecido com o rosto de Napole\u00e3o III.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Baroness Pauline de Rothschild at her apartment in Paris, 1969. Horst P. Horst for Vogue. \u00a9 Cond\u00e9 Nast \/ Horst Estate, via the V&A.<\/em><\/p>\n\n\n\n

Dezoito dessas casas foram reunidas em Vogue\u2019s Book of Houses, Gardens, People<\/a><\/em> , em 1968. Vistas ao lado de seu trabalho de est\u00fadio em Paris, elas mostram o mesmo m\u00e9todo funcionando ao contr\u00e1rio: se antes ele constru\u00eda um c\u00f4modo em torno de um vestido, agora encontrava pessoas que j\u00e1 viviam em c\u00f4modos constru\u00eddos em torno de si mesmas, exatamente como ele havia feito em Long Island.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Round the Clock, New York, 1987. Horst P. Horst. \u00a9 Cond\u00e9 Nast \/ Horst Estate, via the V&A.<\/em><\/p>\n\n\n\n

Horst parou de trabalhar em 1992, quando a vis\u00e3o falhou, e morreu na Fl\u00f3rida em 1999, aos 93 anos. Em sua \u00faltima d\u00e9cada de trabalho, revisitou negativos de todas as fases da carreira e mandou reimprimir os que lhe eram mais caros em platina e pal\u00e1dio, um processo lento e custoso que usa metais mais valiosos que o ouro.<\/p>\n\n\n\n

O espartilho estava entre eles.<\/p>\n\n\n\n

No verso de uma dessas c\u00f3pias, vendida depois pela Christie's<\/a>, as anota\u00e7\u00f5es a l\u00e1pis que registram a impress\u00e3o e a tiragem foram feitas por R.J. Horst, o filho que ele e Lawford criaram na casa branca de Long Island.<\/p>","protected":false},"excerpt":{"rendered":"

By Catherine Jacobi The photographer behind Vogue\u2019s most famous corset also designed his own house, planted his own garden and spent decades in other people\u2019s drawing rooms, looking at each of them with the same exacting eye. Summer fashion at Horst’s house, Oyster Bay, 1948. Horst P. Horst for Vogue. \u00a9 Cond\u00e9 Nast \/ Horst […]<\/p>\n","protected":false},"author":7,"featured_media":54889,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"tpgb_global_settings":"","_lifestyle_hero":false,"_lifestyle_hide_title":false,"footnotes":""},"categories":[3,5],"tags":[263,466,468],"edicao":[],"class_list":["post-54882","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-people","category-arts-culture","tag-art","tag-culture","tag-horst-p-horst"],"acf":[],"yoast_head":"\nPortrair: Horst P. 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