Winifred Jacqueline Fraser Bisset LdH (born 13 September 1944) is an English actress, and she speaks English, French, and Italian. She began her film career in 1965 and first came to prominence in 1968 with roles in The Detective, Bullitt, and The Sweet Ride, for which she received a Golden Globe nomination as Most Promising Newcomer. In the 1970s, she starred in Day for Night (1973), which won the Academy Award for Best Foreign Language Film, and Who Is Killing the Great Chefs of Europe? (1978), which earned her a Golden Globe nomination as Best Actress – Motion Picture Comedy or Musical. In 2010, she received France's highest honour, the Legion of Honour. In 2013, she won a Golden Globe Award for Best Supporting Actress - Series, Miniseries or Television Film for her performance in BBC miniseries Dancing on the Edge (2013). BiographyJacqueline Bisset was born Winifred Jacqueline Fraser Bisset in the London suburb of Weybridge, Surrey, England, the daughter of George Maxwell Fraser Bisset (1911–1982), a general practitioner, and Arlette Alexander (1914–1999), a lawyer-turned-housewife. Her mother was of French and English descent and her father was of Scottish descent; Bisset's mother cycled from Paris and boarded a British troop transport to escape the Germans during World War II. Bisset grew up in Tilehurst, near Reading, Berkshire, in a 17th-century country cottage, where she now lives part of the year. She has a brother, Max (b. 1942). Her mother taught her to speak French fluently, and she was educated at the Lycée Français Charles de Gaulle in London. She took ballet lessons as a child and began taking acting lessons while working as a fashion model to pay for them. When Bisset was a teenager, her mother was diagnosed with multiple sclerosis. Bisset's parents divorced in 1968, after 28 years of marriage. Bisset first appeared uncredited as a prospective model in The Knack ...and How to Get It (1965), directed by Richard Lester. She made her official debut the following year in Roman Polanski's Cul-de-sac (1966). In 1967, Bisset had her first noticeable part in the Albert Finney/Audrey Hepburn vehicle Two for the Road, as a woman in whom Finney's character is romantically interested. It was made by 20th Century Fox, which put her under contract. She then had a more sizeable role in the James Bond satire Casino Royale, as Miss Goodthighs. Fox cast Bisset in her first lead part in The Cape Town Affair, opposite a then-unknown James Brolin, filmed in South Africa on a low budget. She gained mainstream recognition in 1968, when she replaced Mia Farrow in The Detective opposite Frank Sinatra. The same year, she co-starred with Michael Sarrazin in Fox's The Sweet Ride, which brought her a Golden Globe nomination for Most Promising Newcomer. In 1969, Bisset was top billed in The First Time and Secret World, appearing as a blonde in the latter. In 1970, Bisset was one of the many stars in the disaster film Airport; her role was that of a pregnant stewardess carrying Dean Martin's love child. It was a huge hit. In the film The Life and Times of Judge Roy Bean (1972), she played the daughter of Paul Newman's title character. She played the female lead in The Thief Who Came to Dinner (1973) with Ryan O'Neal, stepping in for a pregnant Charlotte Rampling. Bisset went to France to appear in François Truffaut's Day for Night (1973), earning the respect of European critics and moviegoers as a serious actress. She stayed in France to make Le Magnifique (1973) with Jean-Paul Belmondo, a hit in France but little seen in English-speaking countries. She was one of many stars in Murder on the Orient Express (1974), an enormous success. Bisset went to Germany for End of the Game (1975), co-starring Jon Voight. In Italy, she played opposite Marcello Mastroianni in Luigi Comencini's The Sunday Woman (1975). In 1977, Bisset gained wide publicity in America with The Deep. A marketing strategy based around Bisset appearing in some scenes underwater wearing only a white T-shirt for a top helped make the film a box-office success. At the time, Newsweek declared her "the most beautiful film actress of all time." Shortly thereafter, a UK production, Secrets, that Bisset had made in 1971 was re-released in the United States. That movie featured the only extensive nude scenes of Bisset's career and the producers cashed in on her fame. By 1978, Bisset was a household name. She earned a Golden Globe nomination that year as Best Actress – Motion Picture Comedy for her performance opposite George Segal in Who Is Killing the Great Chefs of Europe?, and starred with Anthony Quinn in The Greek Tycoon, playing a role based on Jackie Onassis. In the early 80s, Bisset appeared in some all-star films such as When Time Ran Out (1980), starring alongside Paul Newman and William Holden, and Inchon (1981), with Laurence Olivier., although Both films were big flops. Her fee around this time was $1 million a movie. In her film Rich and Famous (1981) directed by George Cukor, Bisset also served as co-producer. Bisset received her third Golden Globe nomination for John Huston's Under the Volcano (1984) in the Best Supporting Actress category. In the 80s Bisset also played for television, such as the title role in Anna Karenina (1985), opposite Christopher Reeve, and she portrayed Joséphine de Beauharnais in the miniseries Napoleon and Josephine: A Love Story (1987) with Armand Assante. She also had the lead in some comedies, such as High Season (1987) and Scenes from the Class Struggle in Beverly Hills (1989), taking over for Faye Dunaway due to scheduling conflicts. During the early 1990s, Bisset shot projects on multiple continents, co-starring in Mario Monicelli's Rossini! Rossini! (1991), a biopic of Italian composer Gioachino Rossini; with Martin Sheen for a Paris-based TV movie called The Maid (1991); with Elliott Gould in the Dutch miniseries Hoffman's honger (1993); with Jean-Hugues Anglade in the French language film Les marmottes (1993); and with one of Japan's top stars, Masaya Kato in the Australian TV movie Crimebroker (1993). She returned to North American screens with the TV movie Leave of Absence (1994), opposite Brian Dennehy. In 1995, Bisset was nominated for a César Award for her role in the French film La Cérémonie, directed by Claude Chabrol. She did a couple of period pieces, such as a retired courtesan in 16th-century Venice in Dangerous Beauty (1998) with Catherine McCormack. In 1999, Bisset appeared in two high-caliber television projects, playing the Virgin Mary in Jesus and Isabelle d'Arc in Joan of Arc, earning a Primetime Emmy Award nomination as Best Supporting Actress for the latter performance. Bisset starred in the lead role of Boaz Yakin's Death in Love, which premiered at the 2008 Sundance Film Festival. Her performance as a volatile Holocaust survivor earned her the Best Actress award at the Boston Film Festival. Later that year, she starred in An Old Fashioned Thanksgiving for the Hallmark Channel, and was nominated for a Satellite Award as Best Actress. In 2010, Bisset was awarded the Legion of Honour insignia, with French President Nicolas Sarkozy calling her "a movie icon". Later that year she reprised her role in the sequel to An Old Fashioned Thanksgiving, An Old Fashioned Christmas. In 2012, Bisset returned to the UK to film Stephen Poliakoff's 1930s jazz drama series Dancing on the Edge. For her work, she won the Golden Globe Award for Best Supporting Actress – Series, Miniseries or Television Film. In 2020, Bisset joined the cast of Birds of Paradise from Amazon Studios, shot in Budapest. She plays a title character in Loren & Rose (2021). Bisset has never married, but had long-term romances with French-Canadian actor Michael Sarrazin, Moroccan real estate magnate Victor Drai, Russian dancer/actor Alexander Godunov, Swiss actor Vincent Perez and Turkish martial arts instructor Emin Boztepe.
Bisset is godmother to Angelina Jolie.
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Albert Joseph Moore (4 September 1841 – 25 September 1893) was an English painter, known for his depictions of languorous female figures set against the luxury and decadence of the classical world. BiographyAlbert Joseph Moore was born at York on 4 September 1841, the thirteenth son and fourteenth child of well known portrait-painter William Moore and his second wife, Sarah Collingham. Several of his numerous brothers were educated as artists, including John Collingham Moore and Henry Moore, R.A., the well-known sea painter. Albert Moore was educated at Archbishop Holgate's School, and also at St. Peter's School at York, receiving at the same time instruction in drawing and painting from his father. He made such progress that he gained a medal from the Department of Science and Art at Kensington in May 1853, before completing his twelfth year. After his father's death in 1851, Moore owed much to the care and tuition of his brother, John Collingham. In 1855, he came to London and attended the Kensington grammar school till 1858, when he became a student in the art school of the Royal Academy. He had already exhibited there in 1857, when he sent A Goldfinch and A Woodcock. His early works shows the influence of John Ruskin. In 1861, he made a new venture with two sacred subjects, The Mother of Sisera looked out of a Window (Tullie House Museum and Art Gallery, Carlisle) and Elijah running to Jezreel before Ahab's Chariot (Private collection, Canada). Meanwhile, Moore had given signs of the remarkable skill which he afterwards displayed as a decorative artist. The 1860s saw Moore designing tiles, wallpaper and stained glass for Morris, Marshall, Faulkner and Co. founded by William Morris and his partners, and working as an ecclesiastic and domestic mural painter. During this period his works began to take on a markedly neo-classical character, Moore making an extensive study of antique sculpture, particularly the Elgin marbles in the British Museum. His concern for decorative, color harmonies became apparent in his paintings of the mid 1860s onwards. His works, typically single female figures with formalized proportions, neo-classical drapery and floral accessories, established a major strand of the Aesthetic Movement. In 1864, he exhibited at the Royal Academy a group in fresco, entitled The Seasons, which attracted notice from the graceful pose of the limbs in the figures, and the delicate folds of the draperies. In 1865, Moore exhibited at the Royal Academy The Marble Seat, the first of a long series of purely decorative pictures, with which his name will always be associated. Henceforth he devoted himself entirely to this class of painting, and every picture was the result of a carefully thought out and elaborated harmony in pose and colour, having as its basis the human form, studied in the true Hellenic spirit. From the mid-1860s onwards, Moore increasingly began to paint works of female figures in differing states of consciousness, often sleep. This can be seen in works ranging from Lilies (1866) to Dreamers (1879–82) to Midsummer (1887). These paintings relate sensory, bodily experience with consciousness itself, in ways aligned with the ideas of contemporary physiological psychologists like George Henry Lewes. Such depictions suggest Moore’s interest in the contemporary science of mind and experience, and he pursued related themes until his death. The chief charm of Moore's pictures lay in the delicate low tones of the diaphanous, tissue-like garments in which the figures were draped. The names attached to the pictures were generally suggested by the completed work, and rarely represented any preconceived idea in the artist's mind. Among them were such titles as A Painter's Tribute to Music, Shells, The Reader, Battledore, Shuttlecock, Azaleas. In so limited a sphere of art, Moore found his admirers among the few true connoisseurs of art rather than among the general public. His pictures were frequently sold off the easel before completion, but it was not till late in his life that he obtained what may be called direct patronage. He executed other important decorative works, like The Last Supper and some paintings for a church at Rochdale, the hall at Claremont, the proscenium of the Queen's Theatre, Long Acre, and a frieze of peacocks for Mr. Lehmann. Moore was of an independent disposition, and relied solely on his own judgment in matters both social and artistic. His somewhat outspoken views proved a bar to his admission into the ranks of the Royal Academy, for which he was many years a candidate, and where his works were long a chief source of attraction. Though suffering from a painful and incurable illness, Moore worked up to the last, completing by sheer courage and determination an important picture just before his death, which occurred on 25 September 1893, at 2 Spenser Street, Victoria Street, Westminster. He was buried on the eastern side of Highgate Cemetery with his brother Henry Moore. The adjacent plot contains John Collingham Moore and his family. His last picture, The Loves of the Seasons and the Winds, is one of his most elaborate and painstaking works ; it was painted for Mr. McCulloch, and Moore wrote three stanzas of verse to explain the title. An exhibition of Albert Joseph Moore's works was held at the Grafton Galleries, London, in 1894.
And his works are represented in public collections throughout the United Kingdom, such as those of The British Museum and Victoria and Albert Museum, London, as well as museums in Birmingham, Liverpool, Manchester, and elsewhere. Alexander Semeonovitch Liberman (September 4, 1912 – November 19, 1999) was a Ukrainian-American magazine editor, publisher, painter, photographer, and sculptor. He held senior artistic positions during his 32 years at Condé Nast Publications. BiographyAlexander Liberman was born into a Jewish family in Kyiv. When his father took a post advising the Soviet government, the family moved to Moscow. Life there became difficult, and his father secured permission from Lenin and the Politburo to take his son to London in 1921. Young Liberman was educated in Ukraine, England, and France, where he took up life as a "White émigré" in Paris. Liberman started his career as a part-time design assistant to graphic artist A. M. Cassandre in Paris for approximately three months in 1930. Liberman began his publishing career in Paris in 1933–1936 with the early pictorial magazine Vu, where he worked under Lucien Vogel as art director, then managing editor, working with photographers such as Brassaï, André Kertész, and Robert Capa. He was married briefly to Hildegarde Sturm (August 25, 1936), a model and competitive skier. His second wife (since 1942), Tatiana Yacovleff du Plessix Liberman (1906–1991), a childhood playmate and baby sitter, had operated a hat salon in Paris. In 1941, Alexander and Tatiana escaped together from occupied France, via Lisbon, to New York. After emigrating to New York, Tatiana designed hats for Henri Bendel in Manhattan, then continued in millinery at Saks Fifth Avenue where she was billed as "Tatania du Plessix" or "Tatania of Saks", until the mid-1950s. Shortly after their emigration, Alexander Liberman began working for Condé Nast Publications in 1941, where he worked at Vogue magazine for the next 58 years. He was hired by Condé Nast as an assistant to Vogue art director Mehemed Fehmy Agha against Agha's wishes and took over the position a year later. From 1941 to 1962, Liberman succeeded Agha as the magazine's art editor. As part of his work as Vogue art director from 1944 to 1961, he published Lee Miller's photographs of the Buchenwald gas chambers. Liberman was also a photographer. Beginning in 1948, he spent his summers visiting and photographing a generation of modern European artists working in their studios including Georges Braque, Henri Matisse, Maurice Utrillo, Marc Chagall, Marcel Duchamp, Constantin Brancusi, and Pablo Picasso. In the 1950s did Liberman take up painting and, later, metal sculpture. His highly recognizable sculptures are assembled from industrial objects (segments of steel I-beams, pipes, drums, and such), often painted in uniform bright colors. His massive work The Way, a 65 feet (20 m) x 102 feet (31 m) x 100 feet (30 m) structure, is made of eighteen salvaged steel oil tanks, and became a signature piece of Laumeier Sculpture Park, and a major landmark of St. Louis, Missouri. In 1962, Alexander Liberman was promoted to editorial director of all Condé Nast publications, United States and Europe, and as deputy chairman (editorial) from 1994 to 1999. Throughout his life, Liberman held numerous exhibitions of paintings and sculptures. In 1959 the Museum of Modern Art in New York City exhibited Liberman's photographs of artists and their studios. A year later the images were collected in Liberman's first book, The Artist in his Studio published by Viking Press (Kazanjian and Tomkins, 1993). In 1992, Alexander Liberman married Melinda Pechangco, a nurse who had cared for Tatiana during an early illness. His stepdaughter, Francine du Plessix Gray, was a noted author. Further interest |
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