Arnold Newman, Chris Beetles Fine Photographs - review

"It's what they are, not who they are, that fascinates me," said the American photographer Arnold Newman (1918-2006), whose reputation is based on portraits of the most significant artists and politicians of his time. Presenting what they are was assisted by his decision to set subjects among their work and personal objects rather than in conventional studio set-ups.

Newman entered photography in the 1930s while working in a Miami photo studio. Painting clearly influenced his photographic style and the abstract images in this exhibition retain a fascination with design and texture. A striped barbershop pole clashes with horizontal clapboards; part of a mirror hanging on a wall is deemed "artistic" today but probably baffling in 1941.

Newman's celebrated 1940s portraits helped transform the genre: he overlays Marcel Duchamp's face with a cats' cradle of string suggestive of his Dada masterpieces; Stravinsky's piano sees angularity and blackness representing his music.

Through the decades, greater drama lies alongside lyricism: Francis Bacon, isolated from studio chaos and reduced to an isolated head illuminated by a light bulb, creates a sinister atmosphere, while the haunting Marilyn Monroe, drugged and bedraggled, sees Newman make no attempt to glamorise her.

Of the few colour images is David Hockney, in his studio in 1978, posed between lifestyle and work. He stands with a cup and saucer looking vulnerable and uninterested.

The variety in this collection contributes to Newman's lasting influence on contemporary photography.

Until Feb 11 (020 7434 4319, chrisbeetlesfinephotographs.com)

Arnold Newman
Chris Beetles Fine Photographs
3-5 Swallow Street
W1B 4DE