{"title":"Audrey Hepburn Wall Art","description":"\u003cp\u003e\u003cstrong\u003eAudrey Hepburn Wall Art\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eClassic Hollywood Portrait Wall Art Settle one thing before you look at a single image: where the door is, and which way the face will be looking. A portrait whose subject gazes out of the frame towards a blank wall closes a room down. Turn that same picture so the gaze runs into the room, or towards the seating, and the space opens. Direct eye contact is a third option, and a demanding one — some people cannot eat dinner opposite a face that stares back. The second thing to settle is the size of the head. A face reproduced near life size reads as a companion. A face reproduced much larger than life reads as a monument, and it shifts the register of the room from personal to public. Neither is wrong, but a two metre face in a small sitting room is a decision to make deliberately. Most of this material is black and white studio photography from the middle of the last century: hard key light, sculpted shadow, visible grain, a cigarette or a string of pearls doing the work of a prop. The grain is part of the appeal, so do not mark a scan down for being soft when it is simply old. Colourised versions exist and they divide people sharply. The tinting tends to give skin an even, waxy quality the original never had. If you want colour in the room, it is usually better to take it from the wall behind than from the portrait itself. When you hang it, put the subject's eyes at standing eye level, around a metre and a half from the floor, rather than centring the picture on the wall. A portrait hung high looks down its nose at everyone in the room, and you will feel that without being able to name it.\u003c\/span\u003e\u003c\/p\u003e","products":[],"url":"https:\/\/www.photo4sure.com\/collections\/audrey-hepburn-wall-art.oembed","provider":"photo4sure","version":"1.0","type":"link"}