Everyone who has loved the images from this photo shoot will be thrilled to see the two new photographs that Mr. Brassard recently released.
The first shows Katherine in all of her radiant loveliness. The sunlight bathes her in a warm glow and tenderly illuminates her angelic face. Katherine possesses the ideal facial features: high cheekbones softened by facial fullness--the kind of rich, well-fed look that gives Victorian dolls their exquisite beauty. Yet her expression is far from innocent, but rather an appetitive, bewitching gaze, with her sensually parted lips and come-hither eyes. Such a provocative combination of cherubic facial features projecting high-temperature allure is utterly heart-stopping. One can almost perceive the model batting her eyelashes, despite the fact that this is a still image--and such an ability to create the impression of motion in a still photograph represents the modelling art at its highest level of accomplishment.
Her attire similarly blends Victorian elegance with pulse-quickening seductiveness. The gossamer fabric of her blouse is delicately embroidered with intricate floral designs, as if it had been hand-stitched by court couturiers for a fairy-tale princess. Yet the very sheerness of the blouse also makes it excitingly alluring, as the diaphanous material subtly discloses a hint of the model's figure beneath, even her intimate attire. The weighty, ornate necklace gently presses down on the blouse, more closely defining the model's buxom curves. This coy half-perceived glimpse of the model's figure through such dream-like raiment is mesmerizing. For such airy apparel to adorn a goddess with such adorable facial features, yet exuding voluptuous passion, is is the ne plus ultra
of feminine sensuality.
Katherine's golden hair flows over her shoulders like the languidly brushed tresses of a young girl, yet cascades into half-curves waves at the very tips. The foliage behind her teems with emerald richness, as if externalizing the model's own robust opulence. In an especially artistic touch by the photographer, observe that he captures a batch of red currants in the bottom-left corner of the frame, these juicy berries corresponding to the model's delicious red lip colour and accentuating the overall expression of ripe fecundity, the lavish bountifulness of the natural world, of which Katherine's blossoming beauty is the very flower.
Although in a way, it is a shame to see this paradisaical world in black and white, as the colours thus far have been glorious, the vivid interplay of light and shadow creates a strikingly cinematic effect. Katherine's glamorous features recall those of the legendary silver-screen starlets of the Golden Age of Hollywood (though truly, her beauty far surpasses that of any celluloid deity). Her expression is inexpressibly bewitching--at first, it creates the impression of a smile, but when one gazes at the photograph for a longer duration, one realizes that Katherine is not smiling at all, but rather, that she has "her ripe lips slightly parted, to give her rapid breathing vent" (as Charles Dickens expresses it in his novel Barnaby Rudge). The pleasure that she exudes is conveyed by her vibrant eyes, which communicate eagerness and expectation. In black and white, her lip colour appears dark and velvety, adding an exotic touch to her doll-like prettiness and accentuating the passions that she so vividly exudes. Here too the composition is skilful: the leaves in the foreground, combined with Katherine's expression, suggest a narrative in which the viewer has been pursuing the model throughout the woods, and now, at last, he has espied her through the greenery; and she, in turn, beams with thrill and delight at having been discovered.
Words can scarcely convey the fascination of the breathtaking images that have emerged from this shoot. The attractiveness of the model and the artistry of the photographic team have combined to create a harmonious presentation of timeless beauty in every aspect.
(Click images to view larger.)
- Katherine Roll Gallery