maturity. David Herbert recalled their idiosyncratic lives with Beaton���s
assistance in Engaging Eccentrics: Recollections, 1990.
These photographs confirm excellence in composition and record
the appearance of noteworthy personalities. More so, they confirm
Beaton as both observer and magnet. Hugo Vickers, Beaton���s biographer, writes that Beaton ���developed the power to observe, first
with his nose pressed up against the glass���. Later, he was at the
center of the confluence of beauty, power, wealth and art. There, he
found varying aesthetics.
In Greta Garbo, 1946, the stark lines of Modernism are evoked in the
Model in a costume for Noel Coward���s Look After Lulu, 1959 �� Cecil Beaton Studio Archive at Sotheby���s Courtesy Cecil Beaton Studio Archive at Sotheby���s
HYLAND
