The American photographer first turned himself to fashion photography, closely collaborating with Vogue and Harper’s Bazaar - one of Diana Vreeland’s favorites - before moving into journalism and artistic portraiture. He revolutionized postwar’s fashion photography while he established the impactful figure of models, highlighting such figures as Dovima, Veruschka or Stephanie Seymour - a trademark that influenced the film Funny Face in 1956 and that featured one of his favorite sitters, Audrey Hepburn. A formidable portraitist, he gave birth to minimalist yet highly emotional and radical close-ups that diffused compassionate feelings while the most intimate anxieties of his sitters could be revealed: ‘A photographic portrait is a picture of someone who knows he's being photographed and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks’. Despite from all the major celebrities and cultural figures he illustrated in his photographies, Richard Avedon also dedicated himself to documentary projects: images of rural workers, active demonstrators, asylum patients…The comprehension of the photographers’ work may reside in his sister, Louise, whom he loved to capture. She was beautiful and schizophrenic and spent much of her life in mental institutions. When Richard Avedon once confessed all his first brunette gracious models were memories of his sister, one can only notice that his career affiliated the two faces of his beloved sibling: her beauty and her alienation - glamour and melancholy.