Word: seligmann
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...untreated disease. In fact, some people taking AZT have developed anemia and suffered bone-marrow degeneration. "AZT may be a genie that we are letting out of the bottle," says Dr. Itzhak Brook, chairman of the FDA advisory committee and the only dissenter in the vote. Dr. Maxime Seligmann, a French immunologist who has experimented with AZT at the Hopital St.-Louis in Paris, agrees: "There simply isn't enough knowledge about the benefits of the drug compared to the toxic effects and long-term risks...
...scholar who helped win recognition in the U.S. for painters of his native France; in New York. After serving with distinction in the French, Greek and American armies of World War I, Seligman immigrated to the U.S. in 1921 and inherited his father's art business, Jacques Seligmann & Co. Germain championed Picasso, Seurat and Toulouse-Lautrec as well as earlier French artists whose work had escaped critical acclaim...
...Fourth Dimension. Swiss by birth, Kurt Seligmann grew up in Basel, studied art in Geneva, and in 1929 joined the Abstraction-Creation group in Paris. There he worked with Jean Arp in surrealist exploration of a limbo of landscape of imaginary objects utterly divorced from reality. Like Arp, he drew "biomorphs," or lifelike forms-egg shapes, darning sticks, blobs crisply drawn over tempera grounds. To shock the stuffy, he dutifully garlanded a guitar with ivy and epaulets, fitted a stool with four female legs clad in silk stockings. But if he seemed to be trying only to be fashionable...
...married Arlette Paraf, a niece of the great art dealer Georges Wildenstein, and no longer had to run with the pack. Just before World War II, Seligmann, a gentle, elegant, bookish man, emigrated to the U.S., where he and his wife lived on a roomy farm near Sugar Loaf, N.Y. He designed ballet costumes and scenery occasionally, painted steadily, and grew increasingly interested in black magic. He acquired a 300-volume library of occult literature. He even wrote an extensive survey of wizardry, Mirror of Magic, and admitted that his paintings were often a reflection of it. "I have interpreted...
Flattened Seligmannikins. Even when he masked human anatomy, Seligmann evoked its posture in a love for man's image. As he developed, his Seligmannikins flattened more and more onto the surface of his canvases. Yet they retained the energy of existence, as if held up by ballooning lungs filled with air. Man's presence in the paintings was as ephemeral as life itself. The figures might exhale abruptly, and in a trice all would collapse like empty clothes falling to a closet floor...