Word: lebrun
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Bonheur, for instance, who died in 1899 at the age of 77, was one of the most popular animal painters in Europe; with her mannish working dress and Légion d'honneur, she was considered a walking proof that "genius has no sex." Elisabeth Vigee-Lebrun and Angelica Kauffmann were bright stars in the 18th century, Kauffmann in England for her history paintings, Vigee-Lebrun in France for her sparkling and elegant society portraits, like that of Varvara Ivanovna Narishkine (1800). By her 35th year, Vigee-Lebrun reckoned, she had earned more than a million francs with...
...through a murky decadence that has lost touch with even a sense of style until all it has left is ennui, automatic sex and hyper-self-consciousness. According to this view, the burden of the film is carried by the long, emotional monologue of a woman named Veronika (Francois Lebrun) who tells us that "the only time sex isn't sordid is when two people want to have a child." In this vein, you could talk about The Mother and the Whore as if it were an ethical statement about "purification" or "self-knowledge." But the total effect...
...geometry of the relationship is a familiar triangle. A young man, Alexandre (Jean-Pierre Léaud) is involved with two women: a nurse named Veronika (Francoise Lebrun), who titillates him with stories of her rampant promiscuity, and an older woman, Marie (Bernadette Lafont), with whom Alexandre shares an apartment. Alexandre has a kind of glib charm. He is garrulous, eccentric, at ease with his chronic unemployment, and exhilarated by the way in which he can play off his women against each other. For themselves, the women accept his rules and compete for Alexandre with a sort of sidelong intensity...
...MOTHER AND THE WHORE has been picked up for theatrical distribution in the U.S. That may be somewhat surprising, in view of its intimidating length (more than 3 ½ hours) and rigidly intimate scope: mostly three characters, a young man (Jean-Pierre Leaud), a young girl (Franchise Lebrun) and an older woman (Bernadette Lafont), toying with one another, taunting and seducing one another, finally vanquishing one another. The movie is direct and relentless, full of tough insight about the rites of what sometimes passes for love, and fierce in its final impact. Director Jean Eustache wrote the painstakingly accurate script...
...RICO LEBRUN - Nordness, 831 Madison Ave. at 69th. Lebrun was preoccupied with an image of humanity, "grand in meaning, even when disfigured by adversity." His paintings are filled with pain, and his illustrations for Dante's Inferno are some of the most forceful ever done...