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Triplets in Their Bedroom, N.J.

Date

1963

Creator

Diane Arbus

Location

Raclin Murphy Museum of Art

Triplets in Their Bedroom, N.J. 1963, shot with a Rolleiflex camera, exemplifies Arbus's straightforward, traditional mode of portraiture, similar to the work of August Sander...This style had become relatively unusual at a time when progressive photographers preferred expressive, fleeting images. The triplets lean against the head of a small bed, one of three pushed tightly together in their little room, suggesting how closely they live. They sit comfortably together, touching affectionately. They are dressed alike, with a dark skirt, white buttoned shirt, and white headband against their common haircut. The white headboards flanking the girls create a strong horizontal band, further locked by the subjects' direct gaze. The sisters confront us as one, as if they were different aspects of one personality, simultaneously cordial, friendly and beguiling. The disconcerting effect challenges us to consider how much these three people must share, despite their different personalities. Similar genetic makeup, background and experiences set them apart, and make them fascinating. They comprise a rather intimidating team. Arbus brings the viewer into a guarded, private realm, both physical and personal. from Acton, A History of Photography at the University of Notre Dame: Twentieth Century (Notre Dame, 2019)

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Triplets in Their Bedroom, N.J. 1963, shot with a Rolleiflex camera, exemplifies Arbus's straightforward, traditional mode of portraiture, similar to the work of August Sander...This style had become relatively unusual at a time when progressive photographers preferred expressive, fleeting images. The triplets lean against the head of a small bed, one of three pushed tightly together in their little room, suggesting how closely they live. They sit comfortably together, touching affectionately. They are dressed alike, with a dark skirt, white buttoned shirt, and white headband against their common haircut. The white headboards flanking the girls create a strong horizontal band, further locked by the subjects' direct gaze. The sisters confront us as one, as if they were different aspects of one personality, simultaneously cordial, friendly and beguiling. The disconcerting effect challenges us to consider how much these three people must share, despite their different personalities. Similar genetic makeup, background and experiences set them apart, and make them fascinating. They comprise a rather intimidating team. Arbus brings the viewer into a guarded, private realm, both physical and personal. from Acton, A History of Photography at the University of Notre Dame: Twentieth Century (Notre Dame, 2019)
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  • Triplets in Their Bedroom, N.J. 1963, shot with a Rolleiflex camera, exemplifies Arbus's straightforward, traditional mode of portraiture, similar to the work of August Sander...This style had become relatively unusual at a time when progressive photographers preferred expressive, fleeting images. The triplets lean against the head of a small bed, one of three pushed tightly together in their little room, suggesting how closely they live. They sit comfortably together, touching affectionately. They are dressed alike, with a dark skirt, white buttoned shirt, and white headband against their common haircut. The white headboards flanking the girls create a strong horizontal band, further locked by the subjects' direct gaze. The sisters confront us as one, as if they were different aspects of one personality, simultaneously cordial, friendly and beguiling. The disconcerting effect challenges us to consider how much these three people must share, despite their different personalities. Similar genetic makeup, background and experiences set them apart, and make them fascinating. They comprise a rather intimidating team. Arbus brings the viewer into a guarded, private realm, both physical and personal. from Acton, A History of Photography at the University of Notre Dame: Twentieth Century (Notre Dame, 2019)
  • Triplets in Their Bedroom, N.J. 1963, shot with a Rolleiflex camera, exemplifies Arbus's straightforward, traditional mode of portraiture, similar to the work of August Sander...This style had become relatively unusual at a time when progressive photographers preferred expressive, fleeting images. The triplets lean against the head of a small bed, one of three pushed tightly together in their little room, suggesting how closely they live. They sit comfortably together, touching affectionately. They are dressed alike, with a dark skirt, white buttoned shirt, and white headband against their common haircut. The white headboards flanking the girls create a strong horizontal band, further locked by the subjects' direct gaze. The sisters confront us as one, as if they were different aspects of one personality, simultaneously cordial, friendly and beguiling. The disconcerting effect challenges us to consider how much these three people must share, despite their different personalities. Similar genetic makeup, background and experiences set them apart, and make them fascinating. They comprise a rather intimidating team. Arbus brings the viewer into a guarded, private realm, both physical and personal. from Acton, A History of Photography at the University of Notre Dame: Twentieth Century (Notre Dame, 2019)
Diane Arbus (American, 1923 - 1971)
1963
Photographs
Gelatin silver print
1977.090
bedrooms
beds
portraits
© Estate of Diane Arbus
Not on view, please request access
19 7/8 x 16 in. (50.6 x 40.5 cm)
Gift of Dr. M. L. Busch, by Exchange

Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.