![]() ![]() Her color work was often compared to pointillist paintings, and at times she obscured the images further by scratching the negatives or allowing her Polaroid negatives to be lightened by the sun. ![]() In her long career, Turbeville would often shoot in romantic spaces: crumbling palazzos, old theaters, rococo apartments and formal gardens. The series included many of the hallmarks of Turbeville’s career: mysterious images seen as if through a mist, a slightly ominous atmosphere, and a fascination with architecture and environments. The photos showed models posing languidly in the rooms of a former bathhouse. She became internationally renowned through her “Bathhouse” series, published in 1976. She published her first essay in Vogue in 1970. Throughout her career, Turbeville created fashion, travel and architectural images that were “Romantic, feminine, elegant, unconventional, dreamy,” as Italian Vogue editor Franca Sozzani wrote in the 2011 book Deborah Turbeville: The Fashion Pictures (published by Rizzoli).īorn in Medford, Massachusetts (she didn’t like to disclose the year), Turbeville worked for designer Claire McCardell and as a stylist and magazine editor before she began experimenting with a camera. ![]() Photographer Deborah Turbeville, whose atmospheric images for Mademoiselle, Harper’s Bazaar, Italian Vogue, L’Uomo Vogue, Cacharel, Valentino and Barneys New York were distinctive for their mystery and drama, died in a New York hospital October 24, her agents, Marek Associates, confirmed. ![]()
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