Irving Penn was photography’s great equalizer. He made unforgettable portraits of Hitchcock, Stravinsky, and Auden, but he could lend just as much dignity, even grandeur, to an anonymous English charwoman or a barefoot newsboy from the streets of Cuzco. Penn was interested in capturing, not flattering, his subjects. His frank gaze made some sitters, like the writer Thornton Wilder, “long for Cecil Beaton, three filters, and a background of rosebushes!”
“Irving Penn: Centennial,” the blockbuster retrospective at the Metropolitan Museum of Art in New York (running through July 30), shows how the many pieces of Penn fit together: his fearless curiosity, his classical rigor, his darkroom wizardry, and his surprising willingness to sometimes thumb his nose at good taste. A memorable example of this last tendency is his still-life series…