Marilyn Monroe on the Set of "The Misfits" (Black and white)
Marilyn Monroe on the Set of "The Misfits" (Black and white)
Printed on archival quality paper using high resolution technology for maximum depth, sharpness and contrast. This poster is 16 x 20 inches (40 x 50 cm).
Please note: Each posters is printed on demand and shipped worldwide. Delivery can take up to 3 weeks for some locations.
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Marilyn Monroe in the Nevada desert going over her lines for a difficult scene she is about to play with Clarke Gable in the film The Misfits. 1960. © Eve Arnold
“I would prefer photography to be a folk art - cheap and available to everybody, rather than elevated to mandarin proportions created through an artificial scarcity.” - Eve Arnold
Born into a poor Russian immigrant family in Philadelphia in 1913, Eve Arnold often sought ways to make her artwork more affordable.
At an exhibition in the 1970s she sold her prints at a fraction of the normal price, so that students could buy them. She later learned that most of these prints were bought up by art dealers and sold for a profit.
This poster collection includes 3 unseen and 12 of her most iconic images, carefully chosen by her family to capture the diversity of Eve Arnold’s powerful work. Prior to this Arnold’s best work was currently only available starting at £1000 for museum quality prints.
Poster specifications:
Epson Ultra Premium Luster Photo Paper is between a gloss and matte finish, providing you with highly saturated look and maximum ink coverage. Because of its saturation and resistance to fingerprints, luster paper is a popular choice for giclée quality photographic prints.
16 x 20 inches (40 x 50cm)
Archival quality paper
Paper weight: 7.67 oz/y² (260 g/m²)
Slightly glossy
Fingerprint resistant
Printed using Epson UltraChrome water-based HDR ink-jet technology
In Eve Arnold's words:
"My most poignant memory of Marilyn is of how distressed, troubled and still radiant she looked when I arrived in Nevada to work on The Misfits. She asked immediately how she looked and she wanted and needed reassurance. It was four years since we had worked together, and she looked into my eyes for a long moment to make sure she could still trust me. Then she drew her breath, sighed and said, "I'm thirty-four years old. I've been dancing for six months [on Let's Make Love]. I've had no rest, I'm exhausted. Where do I go from here?" She was not asking me - she was asking herself. This was less than a year before she died. It occurred to me then that when she had lived with the fantasy of Marilyn that she had created, that fantasy had sustained her, but now the reality had caught up with her and she found it too much to bear.”
