Ha .. I don't remember exactly, because I bought it while staying briefly in New York, had it been from my home collection I could answer. I do remember it being a 2003 however which, as you know, is an exceptional year for Bordeaux.
never mind, i was just wondering. but be prepared, that i might ask the same question again next time you name a place of origin and a vintage. so why don't you include the bottle on the picture? that would make it so much easier for both of us. [link] (-;
oh yes, of course, i completely forgot. shame on me! well, over all this is once again a fabulous piece of art from you. i am a big fan. the pose of the model looks relaxed, as if she was just about to sit down with her glass of wine but wants to wait for you to join her on the sofa. it seems very natural to me, eventhough most people would say that it's not really natural to walk around only waring shoes, stockings and a necklace. but like helmut newton you somehow manage to make your models look very comfortable, selfconfident and certainly very beautiful, feminin and unbelievably sexy. furthermore i like photographs of nudes where you can see some of the surroundings. for example the mirror: it adds something to the whole because it reflects the model and also because it really is a nice peace of design. on the other hand, i would prefer to not see so much of the room on her left. it's the boring part of the room. there is nothing special to see, not even the light is interesting. if you had been a bit more on your left while taking the picture, it would have turned out a bit better. but may be that's just me who thinks that way. what i like in particular is that this picture tells a story to the one who looks at it. what story this is and how it will go on is something which everybody can decide by himself. i think my story would go on like this: i go to her, pour some more of the château ausone 2003 in her glass and... well, the rest of the story i keep for myself. (-;
Well beyond anything I could hope for .. thank you for this wonderful analysis. I have rarely enjoyed reading a critique so much.
Contrary to what some people will take joy in saying sometimes, I am not looking for praise. Repeatedly throughout these pages, when people are complimentary I ask them in response to remain very critical. It is after all what is the most useful for me.
I enjoyed your referral to Newton in this context. He rightly said that a woman does not live behind a white sheet of paper. Of course my work is oriented towards glamour and the sublimation of the fairer sex, but I do indeed try to show her often in a context with which we can more easily identify.
The "empty" room syndrome .. a lot of our lives are void of meaningful surroundings and the emptiness in these cases can sometimes be translated into images. On the other hand, a woman present in an empty space draws in all the energy around her, nothing else there has significance, and in that way I feel it empowers her and magnifies her presence. No doubt I sometimes miss the beat totally, but this is that I try to do. Some go on sometimes about technicalities, contrasts and such like. Though I appreciate being reprimanded in a certain sense, these factors are not the conveyers of my message. It's like the straight wall and horizon argument and the missing body parts. Let's be frank, they have next to no impact on the success or not of a photo. Look at any of the established artists and they don't care two hoots about such things. Best wishes and many thanks again for your time and thoughtful response. John