Born as Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy

Born in Lissa, Germany in 1944, Peter Lindbergh is a
portrait and fashion photographer known for his highly cinematic images.

Inspired by the work of van Gogh, Lindbergh moved to Arles
for close to a year, after which he spent time hitchhiking across Europe and
North Africa. Lindbergh studied free painting at the College of Art in Krefeld
where he was invited, in 1969, to exhibit his work at the renowned avant-garde
Galerie Denise René – Hans Mayer. Moving to Düsseldorf in 1971, Lindbergh began
to focus on photography as his primary artform, and studied for two years under
photographer Hans Lux until 1973, at which point he opened his own studio.

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A pioneer in photography, Lindbergh’s humanist approach and
idealisation of women is well known, and his portraits focus more heavily on
the personality than soul than the excessively retouched facades promoted by
some contemporaries. Lindbergh drastically altered the standards of the fashion
photography in times of excessive retouching, encouraging his fellow
photographers to focus on what made a subject interesting, rather than age. On
the matter, Lindbergh had this to say:

“This should be the responsibility of photographers today to
free women, and finally everyone, from the terror of youth and perfection.”

 Lindbergh gave little
thought to what a subject was wearing, stating that “If you take out the
fashion and the artifice, you can then see the real person.” Lindbergh
photographed the raw soul of his subjects, showing the humanity beneath the
impassively divine faces of celebrities and superstars, documenting their fears
and dreams, making them tangible to a wider audience, not some unattainable

storytelling in his fashion work, unheard of at the time, brought a new
perception of art and fashion photography. In 1988, Lindbergh found global,
widespread acclaim by showing a group of up-and-coming models, the careers of
whom were launched by Lindbergh, all in white shirts. A year later, in 1989,
Lindbergh became the first person to photograph such household names as Naomi
Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington, and Cindy
Crawford – at the time unheard of – for his legendary January 1990 cover of the
British edition of Vogue. It was this Vogue cover that inspired George Michael
to create the iconic music video for his song ‘Freedom! ’90’, in which several
models lip-synced the lyrics in Michael’s place.

In May 2016, the well-known and highly prestigious magazine
Art Forum published an interview with Lindbergh, in which he took the time to
state his deeply held belief that:

 “…a fashion
photographer should contribute to defining the image of the contemporary woman
or man in their time, to reflect a certain social or human reality. How
surrealistic is today’s commercial agenda to retouch all signs of life and of
experience, to retouch the very personal truth of the face itself?”

Peter Lindbergh is best known for his simple yet revealing
portraits, influenced by the urban surroundings of his childhood, dance and
cabarets. Lindbergh has worked with some of the most famous fashion brands and
magazines, including international editions of Vogue, The New Yorker, Rolling
Stone, Vanity Fair, Wall Street Journal Magazine, and W. In 2016, Lindbergh did
a record third photoshoot for the pirelli calendar. His work is part of the
permanent collections of many Fine Arts museums around the world, also being
shown in hundreds of award-winning and prestigious art galleries and museums,
including the Victoria & Albert Museum (London) and the Centre Pompidou
(Paris). Most recently, Lindbergh took part in the exhibition ‘Alberto
Giacometti Beyond Bronze’ presented at the Kunsthau, Zurich, which was followed
by ‘Shadow And Substance’ at the Gagosian Gallery, London.

Lindbergh photographs always in black and white. This causes
colour to cease being a distraction from the emotion of an image, increasing
the impact of a tear or smile on the viewer. Black and white photography allows
the viewer to pick up on the minutest of visual cues given by a subject to
convey emotion, cues that would be otherwise lost in a mess of colour.