French photographer Claude Iverné, exhibiting at the Fondation Henri-Cartier Bresson, worked in the press as a portraitist, rubbing shoulders with the masters. We are offering a glimpse into this facet of his work.
I had scribbled a few words to Alexander Lieberman after having read an edifying interview titled The Right Circle. There, the head of Condé Nast said talent was not enough to emerge. Developing in “the right circles” was more important. The article had announced a painting exhibition at an upscale gallery in the Upper East. I was a bit scared, but I was determined to receive his judgement on my portraits that were very inspired by Penn, to whom he was very close. He got out of a limousine and majestically entered the gallery, surrounded by two stunning women of remarkable elegance. I held up the procession, holding a tiny envelope towards him. I told him that it was to be read later, and rushed away, scarlet but relieved.
The next day at nine o’clock: “Good morning, pardon me for disturbing you. I’m looking for a Mister Claude Iverné, please.” “This is he,” I answered, with a relax voice. “Alexander Liberman, when can I meet you?” “This afternoon, at three o’clock?” An impressive peace and cordiality permeated the space. I was punctually announced with great delicacy. He rose to welcome me in his immense office and took his time looking at each of the twenty black and white prints I had brought.
“Obviously, you know we have many people here for portraits, but in Paris, I’d like to collaborate with someone like you. I’d also like to see how you treat color. Do you have a few images you could show me?” “Yes, but the catalogue images aren’t very representative.” “It’s just to take a look at your mastery. I won’t be here tomorrow, but if you could drop them off, I’d appreciate it.” It was agreed that I would collect everything two days later, without any guarantee of his presence. When I arrived, I was asked to wait because Mr. Lieberman wanted to be notified of my arrival. “I permitted myself to show your portraits to our creative director at Vogue.” “Claude Iverné is here, I’m passing him to you,” always in precise French.
André Léon-Talley shared the opinion of A. Lieberman, but wanted to meet me personally. Not being able to see me then and leaving for Paris for the start of the collections, we made a date for breakfast three days later at the Regina. In the meantime, the director of 3 Suisses, an essential client of mine, suddenly demanded my presence at an impromptu business meeting for the next catalogue. I managed to reach Léon-Talley. After a silence, he nodded and asked me to call him the next morning to make a new appointment, not able to find his agenda at the moment. I never succeeded in contacting him again.
During the same stay in New York, I received a phone call from Irving Penn. The note,I had shyly entrusted to the person who opened the door of his studio, had “touched” him, and he wanted to personally thank me. The sun shone bright that September day of 1993.
Claude Iverné
Claude Iverné, Bilad es Sudan
From May 11 through July 30, 2017
Fondation Henri Cartier-Bresson
2 Impasse Lebouis
75014 Paris
France
