 |
| Irving Penn Peter Ustinov, New York 1947 gelatin silver print Metropolitan Museum of Art, New York |
 |
| Irving Penn Jerome Robbins, New York 1948 gelatin silver print Metropolitan Museum of Art, New York |
 |
| Irving Penn Joe Louis, New York 1948 gelatin silver print Metropolitan Museum of Art, New York |
-New-York-1949-gelatin-silver-print-Metropolitan-Museum-of-Art-New-York.png) |
| Irving Penn Spanish Hat by Tatiana du Plessix, New York (model: Dovima) 1949 gelatin silver print Metropolitan Museum of Art, New York |
-New-York-1949-gelatin-silver-print-Metropolitan-Museum-of-Art-New-York.png) |
| Irving Penn Dior Dress, New York (model: Dorian Leigh) 1949 gelatin silver print Metropolitan Museum of Art, New York |
-Paris-1950-platinum-palladium-print-Metropolitan-Museum-of-Art-New-York.png) |
| Irving Penn Balenciaga Mantle-Coat, Paris (model: Lisa Fonssagrives Penn) 1950 platinum-palladium print Metropolitan Museum of Art, New York |
 |
| Irving Penn Cecil Beaton, London 1950 gelatin silver print Metropolitan Museum of Art, New York |
-1950-platinum-palladium-print-Metropolitan-Museum-of-Art-New-York.png) |
| Irving Penn Cordonnier, Paris 1950 platinum-palladium print Metropolitan Museum of Art, New York |
-1950-platinum-palladium-print-Metropolitan-Museum-of-Art-New-York.png) |
| Irving Penn Rempailleurs, Paris 1950 platinum-palladium print Metropolitan Museum of Art, New York |
 |
| Irving Penn Yves Saint-Laurent, Paris 1957 gelatin silver print Metropolitan Museum of Art, New York |
 |
| Irving Penn Picasso at La Californie, Cannes 1957 platinum-palladium print National Gallery of Art, Washington DC |
-San-Francisco-1967-platinum-palladium-print-National-Gallery-of-Art-Washington-DC.png) |
| Irving Penn Hippie Family, San Francisco 1967 platinum-palladium print National Gallery of Art, Washington DC |
 |
| Irving Penn Naomi Sims in Scarf ca. 1969 gelatin silver print Metropolitan Museum of Art, New York |
-17-1989-collage-of-platinum-palladium-prints-National-Gallery-of-Art-Washington-DC.png) |
| Irving Penn Platinum Test-Materials 5/17 1989 collage of platinum-palladium prints National Gallery of Art, Washington DC |
-17-1989-collage-of-platinum-palladium-prints-National-Gallery-of-Art-Washington-DC.png) |
| Irving Penn Platinum Test-Materials 8/17 1989 collage of platinum-palladium prints National Gallery of Art, Washington DC |
-17-1989-collage-of-platinum-palladium-prints-National-Gallery-of-Art-Washington-DC.png) |
| Irving Penn Platinum Test-Materials 10/17 1989 collage of platinum-palladium prints National Gallery of Art, Washington DC |
-17-1989-collage-of-platinum-palladium-prints-National-Gallery-of-Art-Washington-DC.png) |
| Irving Penn Platinum Test-Materials 15/17 1989 collage of platinum-palladium prints National Gallery of Art, Washington DC |
I write quickly but neatly. I know that people like my handwriting. I like writing neatly because I want people to understand my writing. I am not afraid of print. I like print, but print cannot convey the same feeling as writing. I do not like typing. I do not like shorthand. I like shorthand when one wants to write things down quickly. I consider it essential to know shorthand. I will speak quickly, and my speech will be taken down in shorthand. I like shorthand. I do not want shorthand-writers to sacrifice their whole lives to shorthand. I like the shorthand that takes down Wilson's speeches. I do not like the shorthand that takes down Lloyd George's speeches. I like both shorthands because I want people to understand their meaning. Without Lloyd George's speeches it is not possible to understand Wilson's speeches. I want Wilson to achieve his aims, because his aims are nearer to truth. I feel Wilson's death. I am afraid he might get a bullet through the head or some other part of his body that will not be able to take it.
– from The Diary of Vaslav Nijinsky, written in Russian in 1919, translated by Kyril FitzLyon and edited by Joan Acocella (New York: Farrar, Straus and Giroux, 1999)