Customer Reviews

Ruth Bernhard: The Eternal Body: A Collection of Fifty Nudes

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For those who are interested in inspiring portrayal of the human body, this book is a must! It is one of the finest collections of female nudes ever done. The images, reproduction, and paper are all superb. The book clearly deserves more than five stars!

The images in this book would garner an R rating if the book were a motion picture.

Ms. Bernhard takes a different approach to nude photography, partly in reaction to the exploitive work that some men do. She says, "I photograph a woman as part of the universe." She feels that "a minute insect, a mountain range, a human body -- all share equal significance." As a result she notes that "much of my work shares a similar intention [to a Japanese Haiku]." She wants to "illuminate the innate life force and spirit as well as the underlying remarkable bone structure." She looks on these photographs as being similar to the problem of composing a still life. She wants to create a "heightened emotional response" and is "deeply aware of my spiritual connection with it." She is responding to a "great yearning for balance and harmony beyond the realm of human experience, reaching for the essence of oneness with the Universe."

Margaretta Mitchell (no relation) points out that the work stands primarily for going "beyond cultural stereotypes of women." In doing so, Ms. Bernhard has created "focused meditations." She "directs her forms with studio lighting where the model is transfigured by light into sculpture." As a result, you see an "ideal radiant form." She is one of the "masters of the subtleties of lighting." The work evokes much of the majesty of Michaelangelo, Rodin, and Henry Moore.

Finally, from Ms. Bernhard, "The female body is the bearer of new life, it is so very innocent."

You will come away from seeing these images refreshed and reawakened.

My favorites here include: At the Pool, 1951; Dancer in Repose, 1951; Draped Torso, 1962; In the Box, Horizontal, 1962; Two Forms, 1963; Perspective II, 1967; Sand Dune, 1967; Profile, 1967; Transparent, 1968; Dream Figure, 1968; Rice Paper, 1969; Hourglass, 1971; Balancing, 1971; Spanish Dancer, 1971; Symbiosis, 1971; In the Window, 1971; and Resting, 1972.

Many of these images use the human body to evoke nature, our connection to nature, and the similarity of forms throughout nature. For example, in Sand Dune a woman's body is transformed into a landscape.

After you have enjoyed this great book, I suggest that you consider where else you can see connections from one person to another, and from people to objects and vice versa. That can expand your enjoyment of all that surrounds you, as well as open you to experiencing more joy.

Look for the eternal in all you examine!

When Ruth Bernhard turned 100, this book was reprinted as a Centennial Edition to celebrate. Published in a limited edition of only 1000 copies (hardcover) it features beautifully embossed end papers and minor editorial changes. It is the best version of this book to buy if you are a collector of photographic books. Ruth signed copies immediately before her death and those are available from the publisher.

Bernhard simiply reminds us of the beauty of the female body. It is a study of perfect lighting and posing.

I recently purchased this book and why did I wait this long? All I can say is breathtaking. Being a photographer who sometimes does nudes for personal project, it is a challenging task to compose and light the human body avoiding from making it "pornlike" or overtly sexual. Each style has its own place in the marketplace; however, the former requires much more skills than just a good looking model.

Ruth Bernhard's photographs are much sought after and the prices have climbed incredibly the past five years. This book explains why without words. Her nudes are classic in every sense of the word. Easily enjoyed by anyone, this book can also serve as an exceptional instruction tool for aspiring photographers.

Ansel Adams declared Berhard "the greatest photographer of the nude." Perhaps she is, but I haven't wholly understood why - not because the work is obscure (it's not at all), but because it's deep.

This book contains plenty of evidence. These fifty B&W pictures span forty years of her career, in chronological order. In the 1930s, "In the Circle" and "Embryo" use simple props to contrast the harsh geometries of human products with the softness of the human herself. Other photos from that era use running water or draping to highlight the figure. By the 1950s, though, Berhard had simplified down to just the figure itself, as in "Dancer's Hips," making her work plainer, but bolder and more monumental. Still later, Berhard added back in screens to soften focus and create a new play of shadow. Although interesting, I'm still more moved by the compositions in terms of figure alone, including "Crossover," "Two Forms," and "Sand Dune."

Throughout, Bernhard examines the female models with a female eye, celebrating the feminine in the figure for what it is. "Early Nude," "Harvest," and "Hourglass," among others, emphasize curves that embody strength - curves that other photographers, especially male, could have made awkward. It's a wonderful collection, one that I know I'll keep coming back to. I have much to learn from it.

-- wiredweird

"Half a century of Bernhard's reserved, sensual, and ethereal female nudes collected in 50 beautifully produced duo tones. An insightful text enhances our understanding of a pre-eminent American photographer. 'Outstanding...the greatest photographer of the nude'--Ansel Adams"--© zebraz