Jean Dupas (French, 1882-1964) – Bordeaux, 1937 (Poster) – – An alluring, Art Deco, allegorical beauty representing the wonderment of all that Bordeaux has to offer is actually showing off those very same attributes in the form of ships from the city’s famous harbor, monuments and the wine for which the region is so renowned.
O’Kley was a pseudonym for Nantes-born Pierre Gilardeau, the man behind some of the most collectable Folies Bergère posters. Here, Can Can dancers in black stockings, white feathers and sparkling jewelry are dancing against a red and yellow background.
In the world according to “LAC (After Swan Lake),” a trashy reinterpretation by Jean-Christophe Maillot for Les Ballets de Monte Carlo, there are two types of women: the kind you marry and the kind you sleep with. April Ball’s primal Black Swan is a predator. Her mother, known as Her Majesty of the Night (Maude Sabourin), is even more overheated. – April Ball (Black Swan) in LAC, Les Ballets de Monte Carlo, April 2014. © Dave Morgan
Still life photography. Ez a megfestetlen csendélet ugyanolyan csendet teremt az életben, mintha festmény lenne… Benne van a csendéletek arisztokratikus higgadtsága, kiszámíthatatlansága, és egy csipetnyi lomhasággal álcázott élénk frissesség. Az elrendezett kuszaság meghozza – itt a fényképen is – a minden a helyén van érzést és ugyanúgy belerángat a csendélet intimitásába, mintha festmény lenne… Fényképezzünk több csendéletet!
Carlos Ewerbeck (German, active early 20th century) – Ophelia at the River’s Edge, c.1900 (Oil on canvas)
“There is a willow grows aslant a brook
That shows his hoar leaves in the glassy stream.
There with fantastic garlands did she come
Of crowflowers, nettles, daisies, and long purples,
That liberal shepherds give a grosser name,
But our cold maids do “dead men’s fingers” call them.”
Live for the moments you can’t put into words…
Alice Bailly (Swiss, 1872-1938) – Self-Portrait, 1917 (Oil on canvas. National Museum of Women in the Arts, Washington, DC) – The red, orange, and blue hues echo the palette of Fauve paintings. The arching lines forming her hands and arms echo Italian Futurist art. Bailly embraced the insouciance of Dada by carefully delineating her breasts, the buttons of her jacket, and her signature bob haircut while painting out the entire right side of her face. Bailly painted intuitively and additively.