Word: parisian
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Hell hath no fury like a woman broker scorned. Eileen sent Bibles to the defectors with passages about Judas marked in red. More significantly, Eileen, 58, and her partner-husband Jerry, 55, filed a $7.5 million suit against Casablancas' Elite Model Management Corp. and his four Parisian partners for "violation of fiduciary trust." The second largest agency in the U.S., Wilhelmina Models Inc., sued Casablancas for $4 million. While the suits have yet to come to trial-and quite possibly never will-the epithets and the raids and the counterraids have piled up with the intensity of Hawaiian breakers...
Stieglitz arranged to send Hartley abroad in 1912. With such sponsorship, Hartley found himself welcomed into the Parisian salon of Gertrude Stein and its animated talk of abstraction, of analytical cubism, of form vs, content. Soon Hartley was painting variants of Picasso, Braque, Delaunay, Cezanne and most of all of Kandinsky. He called his new style "subliminal or cosmic cubism...
...quickly, with such nimble digestion. What he needed, he kept. He had no use for the tendril-like, decorative line of Spanish art nouveau, for instance, but he retained its liking for large, silhouetted masses, and they, grafted onto the pervasive influence of Toulouse-Lautrec, keep appearing in his Parisian cabaret scenes of 1901. Some of these are of remarkable intensity. Picasso painted Gustave Coquiot, a fashionable Paris art and theater columnist, as a sinister god of urban pleasure, green shadows straining against red lips in a pale mask of a face. Some of the women, their faces blurred...
WHEN THE Beautiful People flocked around Radcliffe graduate Gertrude Stein, Class of 1897, in the Paris of the Twenties, they probably didn't realize that their trendy Parisian salon continued a tradition started by another Harvard graduate on Beacon Hill 150 years earlier. The Great, the Undiscovered and the Unkown gathered in the "Beacon Manse" of John Hancock, Class of 1754, during the years of colonial revolt...
...Parisian society, each hostess had a set reception day; Misia held open house every day in the week. She threw everything away except jewels. Drawings made by Lautrec at the dinner table were cleared away with the rest of the leavings. Her motto was, "I don't respect art; Move it." Gold and Fizdale print a lengthy honor role of sources for Misia, but their task would have been easier and clearer if she had not discarded thousands of letters. Or it may be that being forced at times to speculate and use the memoirs of others has enhanced...