![](https://partnouveau.com/wp-content/uploads/2013/12/Richard-Rutledge-and-Steven-Meisel-1024x614.jpg)
Photo-Booth
When compared to his widely recognized contemporaries, Richard Rutledge remains relatively obscure today. Little is known about the slightly enigmatic photographer, however, a fondness for the color red is evident in his countless images that featured cherry-colored lacquered nails and dresses of crimson. True to form, a 1954 Rutledge image
![](https://partnouveau.com/wp-content/uploads/2013/11/Francisco-de-Goya-and-John-Rawlings-1024x614.jpg)
In the Red
Francisco de Goya’s peculiar portrait of Manuel Osorio Manrique de Zuñiga depicts childhood innocence while also suggesting youth’s inevitably fleeting nature. Resplendent in a crimson suit and satin sash, Manuel stands at odds with his surroundings as three eager cats eye a magpie–the leashed pet of the young boy. Despite the
![](https://partnouveau.com/wp-content/uploads/2013/11/Rene-Magritte-and-Holger-Trülzsch--1024x614.jpg)
Head in the Clouds
Belgian artist René Magritte toyed with perspective and reality, creating surreal works through real, ordinary settings and mundane objects. A common theme in Magritte’s work included the unsuspecting use and placement of clouds with an indistinguishable divide between grounded reality and fantastical skies. A Holger Trülzsch photograph of Veruschka from 1972
![](https://partnouveau.com/wp-content/uploads/2013/11/Man-Ray-and-Jean-Baptiste-Mondino-1024x614.jpg)
Mask Out
A proponent of the Surrealist and Dada movements, Man Ray would build a prolific body of work as an artist and photographer. In 1926, Man Ray photographed Alice Ernestine Prin, better known as Kiki de Montparnasse, a social fixture of the Parisian bohemian scene of the 20s (and yes, the
![](https://partnouveau.com/wp-content/uploads/2013/10/10.30-Harry-Richman-and-YSL-2-1024x614.jpg)
Snail Mail
Soon after Yves Saint Laurent’s death in 2008, his eponymous label would launch a collection of leather goods to commemorate the late designer. The postage-like script featuring the address of the couturier belonged to Mr. Saint Laurent himself, taken from a letter he had written. The trompe-l’oeil design may not have