04/2012 - Vanity Fair Italie
Des photos rares et inédites de Marilyn Monroe, prises par le photographe Earl Theisen, sont publiées sur le site de Vanity Fair Italia. Des photos prises entre 1947 et 1953.
L'édition italienne du magazine -Vanity Fair Italia- publie un article sur Marilyn Monroe dans son édition du mois d'avril 2012.
Marilyn prima che fosse Marilyn
Article
en ligne sur vanityfair.it
1947: un fotografo famoso scatta una serie di ritratti a un'attrice sconosciuta, capisce che è speciale, e le insegna a fare la diva. Poi lei ha un destino tragico, lui muore, e un tesoro di negativi giace dimenticato in una scatola. Oggi, queste immagini escono per la prima volta dalla scatola. E ispirano un racconto che potrete leggere su Vanity Fair in edicola
Octobre 1951, Los Angeles - Séance pour le magazine QUICK par Earl Theisen
Portraits en studio de Marilyn Monroe en octobre 1951 à Los Angeles photographiée par Earl Theisen pour le magazine américain Quick 19/11/1951 , qui lui consacre sa couverture et un article intitulé "Marilyn Monroe: The New Jean Harlow".
Le photographe dirige les poses de Marilyn, qu'il souhaite identiques à certaines photographies de Jean Harlow.
Studio portraits of Marilyn Monroe in October 1951 in Los Angeles photographed by Earl Theisen for the American magazine Quick 11/19/1951, which devoted its cover to her and an article entitled "Marilyn Monroe: The New Jean Harlow".
The photographer directs the poses of Marilyn, which he wishes to be identical to certain photographs of Jean Harlow.
- Marilyn en robe velours noire -
Marilyn in black velvet dress
Le photographe Earl Theisen, photographié par Rupert Allan (rédacteur en chef du magazine Look), montre à Marilyn Monroe quelle pose elle doit prendre. Peut être les photographies étaient-elles destinées au départ au magazine Look (Theisen en était l'un des photographes attitré) ?
Photographer Earl Theisen, photographed by Rupert Allan (editor-in-chief of Look magazine), shows to Marilyn Monroe what pose she should take. Perhaps the photographs were originally intended for Look magazine (Theisen was one of the appointed photographers) ?
- Dans la presse -
page de Quick, 19/11/1951 - USA
page de Vanity Fair, 04/2012 - ITALIE 
- Marilyn en robe satinée & plumes -
Marilyn in satin dress & feathers
- La pose de Jean Harlow - 
- Marilyn en robe empire & colonne -
Marilyn in empire dress & column
- La pose de Jean Harlow -
- Portrait visage de Marilyn -
Face Portrait of Marilyn
- Magazine -
Quick, 19/11/1951 - USA
> source: site web gettyimages
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copyright text by GinieLand.
Iza Olak pour Vanity Fair Italien
Iza Olak & David Guerre - par Esther Haase - pour Vanity Fair Italia, 7 décembre 2011 -
Marilyn & Arthur
Article
en ligne sur anneofcarversville.com
La photographe Esther Hasse a fait un travail remarquable en photographiant la relation naissante et magique entre le dramaturge Arthur Miller et Marilyn Monroe, sa seconde épouse à travers une relation tumultueuse qui dura près de 12 ans. Les mannequins Iza Olak et David Guerre interprètent le couple célèbre, avec le travail de la styliste Anna Brambilla pour l'édition italienne de Vanity Fair, paru le 7 décembre 2011.
Dans son livre ‘Arthur Miller: The Definitive Biography’, Christopher Bigsby raconte la première rencontre entre Miller et Monroe:
" Miller first met Marilyn Monroe on the Fox lot. He and Kazan watched her at work on the set of As Young as You Feel. It was a nightclub scene and she was required to walk across the floor in a black open-work lace dress, swaying her hips in a way that Miller would later insist was natural to her (her footprints on a beach, he explained, ‘would be in a straight line, the heel descending exactly before the last toe print, throwing her pelvis into motion’). Others, less emotionally committed, spoke of her lowering the heel on one shoe to create the effect.
When the shot was over, she crossed to Kazan, who had met her once before with the agent Johnny Hyde, tears in her eyes, still upset by Hyde’s death. ‘From where I stood, yards away,’ Miller wrote in Timebends, ‘I saw her in profile against a white light, with her hair coiled atop her head; she was weeping under a veil of black lace that she lifted now and then to dab her eyes. When we shook hands, the shock of her body’s motion sped through me.’ "
