Brooke Shields was just 10 when photographer Gary Gross took photos of her posing nude in a bathtub in Wearing heavy makeup and nothing else, her body was later displayed in a series of shots published in Playboy publication Sugar and Spice. At the time she was just a little girl with her bare body splashed across the pages of a glossy magazine, but just a few years later she'd star in her first film role that would kick off her acting career. It's almost ironic that her character in that film, Pretty Baby , was a child prostitute. But the sad truth is that at just 10 years old, Brooke had no way of knowing or understanding what those nude photos meant, or how they would affect the rest of her life. Surprisingly, her mother Terri Shields was on board with the shoot, as she had long dreamed of her daughter becoming a star. Terri declared her desire for Brooke to go into show business just five days after the little girl was born in , saying: "She's the most beautiful child and I'm going to help her with her career. It seems Terri's dreams of her daughter's fame inspired her to agree to the photoshoot, which saw Brooke painted in heavy eye makeup and lipstick and covered in oil. The year-old was then directed to pose standing and sitting in a bathtub, with two images showing Brooke full-frontal and completely exposed.
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Nude photographs of the American actress have been the source of controversy for decades.
There was no hiding Brooke Shields from the frenzy surrounding the film Pretty Baby, in which she starred as year-old Violet, who lived with her prostitute mother in a Storyville brothel in New Orleans. But she was insulated from the controversy ignited by her nude scenes in the film. At the time, the precociously striking Shields had done modeling, commercials, and a couple of made-for-TV movies.
We will use your email address only for sending you newsletters. Please see our Privacy Notice for details of your data protection rights. The supermodel, who was 18 at the time the indie film was shot, could be seen stripping down to a thin, white vest top in the scene before climbing under a waterfall to shower. Brooke stood beneath the pouring water as her top turned see-through, flashing her nipples through the wet fabric. The brunette bombshell certainly knew how to turn heads as she ran her hands through her long, dark locks, looking to very much enjoy the cool stream.
T he Richard Prince photograph of Brooke Shields that Tate Modern recently withdrew from the exhibition Pop Life, after Scotland Yard suggested it might break obscenity laws, travelled across the Atlantic carrying a long history of controversy. It shows a year-old Shields, oiled and glistening, naked and made-up, posing in a marble bathtub with a seductive danger that belies her years. It tells you everything about what we fear and desire. Prince, Schorr tells me, has never met Shields. Intent on questioning notions of authorship and originality, he rephotographed an existing image that had already inspired two years of legal debate. It was one of a dozen images of Shields designed, according to Gross, to reveal the not-so-latent sexuality of the prepubescent child. Prince enshrined it as a kind of coda to celebrate freedom of expression.