Fashion photographer André Rau has established himself as more than just a photographer – he's a director of the invisible, constructing spaces of projection rather than simply capturing images. His mastery of light as a sculptural material allows him to chisel contours and deepen gazes with painterly precision, transforming each portrait into an enigma and meditation on beauty's power of illusion.
Rau's approach goes beyond glorifying his subjects; he questions the very nature of imagery itself. His iconic portraits of stars like Catherine Deneuve and Monica Bellucci appear simultaneously distant and intimate, divine and human. This tension forms the core of his artistic strength, offering immediately recognizable glamour while opening avenues for reflection on what it means to see and be seen.
His photographs transcend mere glossy surfaces, functioning as critical mirrors that reflect an era obsessed with appearances yet searching for depth. This sophisticated approach recently found striking resonance in his exhibition at the Leica Gallery in Munich, presented in a space emblematic of photographic culture. The show highlights the coherence and force of his work, presenting a body of images where beauty unfolds as a universal language and each portrait testifies to an aesthetic that is both demanding and timeless.
As an heir to classical European elegance while being nourished by contemporary sensibilities, Rau stands as a visual architect of collective memory. His images do more than document famous faces – they construct mythologies. In this sense, he belongs to that rare lineage of artists capable of transforming fashion photography into a profound aesthetic and intellectual inquiry at the intersection of the visible and intangible.
Currently, Rau's "FAMOUS" exhibition is running at the Leica Gallery Munich until October 18, 2025. In a recent questionnaire, Rau revealed his inspirations and perspectives on photography. When asked about the image professional who inspires him, he cited Roman Polanski. The image he wishes he had taken is Arthur Sasse's famous portrait of Albert Einstein sticking out his tongue on March 14, 1951.
Regarding the photograph that moved him most, Rau mentioned the Dalai Lama. A key image in his personal pantheon is his own work: a portrait of Catherine Deneuve for YSL. When discussing images that changed the world, he pointed to Nick Ut's "Napalm Girl – The Terror of War" from 1972, which exposed the true horror of the Vietnam War near Trang Bang, South Vietnam on June 8, 1972.
If given unlimited budget, Rau would dream of acquiring Arthur Sasse's photograph of Einstein. He believes patience is the essential quality for being a good photographer, and refreshingly admits that "the perfect image doesn't exist – and that's a very good thing." Einstein is also the person he would have most loved to photograph, while he would choose Helmut Newton to photograph him.
Rau considers Irving Penn's "Passage – A Work Record" an indispensable photo book. His photographic journey began with an Instamatic camera in childhood, and he currently uses Nikon equipment. When asked about his favorite drug, he enthusiastically answered "LOVE!" and finds swimming to be his best way to disconnect from work.
Interestingly, war photography is the one job he would never want to pursue, despite his appreciation for powerful documentary images. Paris holds a special place in his heart as the place he never tires of, and he considers it the most photogenic city. Rau describes himself as "not a man of regrets" and works with both color and black-and-white photography, though he believes nothing compares to natural daylight.
For his dream dinner party, Rau would invite Roman Polanski, Billy Wilder, and Albert Einstein. When asked if he would do anything differently if he could start over, his response reveals his satisfaction with his artistic journey: "I would do everything the same way again." His work continues to bridge the gap between commercial fashion photography and fine art, establishing him as a significant voice in contemporary visual culture.
