Carole Lombard dancing with ex-husband William Powell at Ciro’s nightclub, 1940
(Source: janiewyman, via bill-powell)
(Source: marcantoinefortin, via oksi-artapriori)
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(Source: flashbackdandies, via popova-art)
Vaslav Nijinsky
L’Après-Midi d’un faune (animation de Chrisitan Comte)
Chorégraphie de Nijinsky
Musique de Debussy
D’après le poème de Mallarmé
” Non, mais l’âme
De paroles vacante et ce corps alourdi
Tard succombent au fier silence de midi :
Sans plus il faut dormir en l’oubli du blasphème,
Sur le sable altéré gisant et comme j’aime
Ouvrir ma bouche à l’astre efficace des vins !”
Mallarmé
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Charlie on the set of his film “Easy Street” with one of the great male ballet dancers of the 20th Century - Vaslav Nijinsky…
was a Russian danseur and choreographer of Polish descent, cited as the greatest male dancer of the early 20th century, one of his greatest ballet was L’après-midi d’un faune (1912) also known as the “Dance of the Faune, Charlie actually paid homage to Nijinsky in his “Sunnyside” film where he dances with the Wood Nymphs.
Robert Downey Jr. has a perfect “Chaplin” accent.
“NO I DIDN’T UPLOAD THIS”
“YES, THEY ARE MENTIONING VASLAV NIJINSKY”
(Source: paul-mccartney-is-not-amused)
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Interview with Amanda Mackenzie Stuart, author the new biography on Diana Vreeland.
(Source: facebook.com, via popova-art)
6Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century
oda, Harold, and Andrew Bolton, with an introduction by Mimi Hellman (2006)
Download the book here
During the reigns of Louis XV (1723–74) and Louis XVI (1774–92) fashion and furniture merged ideals of beauty and pleasure through their forms and embellishments. With their fragile surfaces and delicate proportions, tables, chairs, and other pieces of furniture enhanced the elite’s indulgence in leisurely pursuits, fostering highly complex standards of etiquette and performance. Men and women restated the splendor of the Rococo and Neoclassical interiors of the period in their opulent costumes. For the eighteenth-century libertine and femme du monde, a refined elegance and delicate voluptuousness infused their world with a mood of amorous delight.
Dangerous Liaisons takes its theme from this era, when trifling in love propelled the energies of elite men and women, providing almost daily stimulating encounters, and when, as has been written, “morality lost but society gained.” In Choderlos de Laclos’s novel of the same name, Cécile, a young girl, is praised by her tutor in the worldly arts: “She is really delightful! She has neither character nor principles … everything about her indicates the keenest sensations.” Valmont, her seducer, notes the following morning, “Nothing could have been more amusing.” Valmont has won a game in the contest of lovemaking.
The beautifully photographed and handsomely reproduced images on the following pages bring these amorous adventures to life. The vignettes, staged for the widely praised exhibition “Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century,” held at The Metropolitan Museum of Art in 2004, feature eighteenth-century costumes in the Museum’s spectacular French period rooms, The Wrightsman Galleries. The artfully composed scenes include: a woman sitting for her portrait while her husband flirts with her friend; a man being granted an audience with a woman in a peignoir who is having her hair dressed; a vendor embracing the wife of an old man, his back turned, examining a table for sale; a girl receiving more than a harp lesson from her teacher, while her oblivious chaperone reads an erotic novel; a woman giving up her garter as a memento of a very private dinner. The entertaining and knowledgeable texts set the scenes perfectly.
