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‘Charmeuse in Box’, ca 1955 On the boulevard between Pigalle and Place Blanche, the sideshows provided the ideal stage for Strömholm, who enjoyed photographing both the actors and their spectators. The snake charmer was a perfect subject and a very fitting metaphor: shedding its skin through mol...

‘Charmeuse in Box’, ca 1955 On the boulevard between Pigalle and Place Blanche, the sideshows provided the ideal stage for Strömholm, who enjoyed photographing both the actors and their spectators. The snake charmer was a perfect subject and a very fitting metaphor: shedding its skin through mol...

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Christer Strömholm ‘Charmeuse in Box’, ca 1955 On the boulevard between Pigalle and Place Blanche, the sideshows provided the ideal stage for Strömholm, who enjoyed photographing both the actors and their spectators. The snake charmer was a perfect subject and a very fitting metaphor: shedding its skin through mol... Christer Strömholm ‘Little Christer’, 1955 This is one of Strömholm’s most popular images, and one of the few that were given a title. Strömholm often said that his photographs were self-portraits, and this one in particular, which hence became “Little Christer”. The original frame was wider but he preferred this... Christer Strömholm Nana, 1959 Nana’s elegance and versatility made her one of Strömholm’s favorite subjects. She appears several times in this show. Nan Goldin, one of Strömholm’s first American admirers and collectors, bought a print of this image in 2003. Indeed there seems to be a natural connection between ... Christer Strömholm Gina & Nana, 1963 Strömholm was quickly and completely included in the Girlfriends’ circle of trust and friendship. This photograph shows a very touching complicity as well as a poignant spirit of camaraderie. There was a great sense of solidarity between the girls, and a cheerful sense of humor... Christer Strömholm Belinda, 1967 Belinda wears diamonds over the kohl on her eyelids. Suavely lying on a hotel bed, she looks straight into the camera, her mouth slightly open, at once confident and vulnerable. The undulating fur on her silky skin, the line of her naked shoulders and the posture of her head, make... Christer Strömholm Gina, 1963 Strömholm shot mostly at night, in what he called « existing light ». This photograph, split in two between Gina and a man eerily looking at us in the distance, shows the somber routine of the Girls, looking for clients in the streets of Paris. They needed the money to go to Casablan... Christer Strömholm Fétiche, 1960 This is one of two fine art prints made especially by the Strömholm Estate for this exhibition. Strömholm made some of his most beautiful pictures in the Girlfriends’ hotel rooms, where he also lived when he was visiting. This photograph shows the level of trust and intimacy that t... Christer Strömholm Nana, Brasserie Place Blanche, 1959 The café Place Blanche was the headquarters of Christer and the Girlfriends. In the background, a crowd of ordinary Frenchmen, both bourgeois and workers, contrasts bluntly with the delicate profile of Nana and her dignified posture. This violent juxtaposition... Christer Strömholm Cynthia, Hôtel Idéal, 1966 This incredibly delicate and classic image, another of Strömholm’s painting-like photographs, echoes the 1949 Provence Nude by his friend Willy Ronis. Every element -- the womanly curves, the reflection in the mirror, the white porcelain, the tender battle between shad... Christer Strömholm Pepita, 1963 The beauty and modernity of this image is extraordinary. An androgynous icon, Bowie before Bowie, Pepita is wrapping herself up in her coat like in a carapace. Her physical mutation is only visible in parts: the bangs, the eyebrows, the make-up, the disturbingly long nails. Like in ... Christer Strömholm Jacky, 1961 Jacky may well be the most playful and charismatic characters of Les Amies de Place Blanche. She used to say: “Christer made the most of our narcissism”. She was a natural born actor and actually played in a couple underground movies in the 1970’s. In her fur coat, biting her earrin... Christer Strömholm Sonia, 1962 This photograph of Sonia could have been taken today, for a fashion magazine. It is, in fact, a very dramatic and personal portrait made in 1962, in her dark hotel room. Her attitude, at once defying and distanced, is arresting. As is the contrast between the whiteness of her skin an...