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.
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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 interestProfileAimée de Heeren, born Aimée Soto-Maior de Sá or Aimée de Sotomayor (3 August 1903 – 13 September 2006) was a Brazilian socialite and secret service agent keeping Getulio Vargas away from a WW2 alliance with Germany. She was named to the International Best Dressed List Hall of Fame in 1996. She was the sister of Vera de Sá Sottomaior, who had been married to John Felix Charles "Ivor" Bryce, Randal Plunkett, 19th Baron of Dunsany and Sir Walter Frederic Pretyman. Through her sister, she is the aunt of the 20th Lord Dunsany. BiographyAimée de Heeren was born in Castro, Paraná. She was the daughter of Genésio de Sá Soutomayor, a school teacher and Julieta Sampaio Quentel. In the late 1920s, she met American inventor Thomas Edison. In the 1930s, she moved to Rio de Janeiro, where she married Luís Simões Lopes, chief of staff of President Getúlio Vargas. According to rumours, de Heeren was the mistress of the officially married President, and lived at the Catete Palace, the seat of the President of Brazil. De Heeren never admitted to nor denied being his mistress. Decades after the Vargas' death in 1954, his secret diary was published with multiple references to his "bem-amada" (English: "beloved"). Some historians believe that the "bem-amada" was Aimée de Heeren. In 1938, she was sent to France to find information for President Getulio Vargas who was invited to join the Axis powers. Dissimulated as a "fashionista" Aimée met many people from society with French, British and also German background. Among them the German lawyer and resistance fighter Helmuth James Graf von Moltke who gave her confidential information about Germany. With these information she influenced President Vargas to get away from an alliance with Axis. There was also the fashion designer Coco Chanel, with whom she was seen at many receptions, including the two Circus Bal events given by Elsie de Wolfe. Chanel and Aimée de Heeren remained close friends, particularly towards the end of Chanel's life. According to the US Vogue editor Bettina Ballard, Aimée de Heeren, at the time called Aimée Lopez or Aimée Lopez de Sotto Major, made a huge impact on French society. I particularly remember the season when Aimee was lionized in Paris. She was so pretty, so genuinely nice, carried gaiety with her like a fan, and she was almost eaten alive. Hung with diamonds, she was pushed from fittings to balls, never allowed a moment for private conquest because every hostess needed her for her party to prove that she could draw the lioness of the season. Aimee just wanted to dance and flirt and have fun. That wasn't what Paris expected of her." Due to the Nazi occupation of France, she was forced to emigrate to the U.S., where she met with Joseph P. Kennedy Jr, the oldest of the Kennedy brothers, who she had fallen in love with while in Europe. Her friendship with the Kennedy family lasted until her death. She later married the Spanish-American Rodman Arturo Heeren, grandson of Antonio Heeren, 1st Count of Heeren, and great-grandson of John Wanamaker, the founder of the Wanamaker Department Stores. They had homes in Paris, New York City, Palm Beach, Florida and Biarritz, but never stayed in one location very long. The couple had one daughter: Cristina Heeren y Sá de Sotomayor, 5th Countess of Heeren. Several times, de Heeren was in the list of best dressed women in the world, and a 1941 edition of Time magazine included her in a list of "Ten Best Dressed Woman in the World". Over the decades de Heeren was invited to many high-profile weddings and events of royalty and the political and Hollywood elite, including:
She was also invited to various state receptions in the Élysée Palace by Vincent Auriol, Charles de Gaulle, Claude Pompidou, François Mitterrand and Jacques Chirac, and numerous galas in Paris and Versailles by Baron Alexis de Redé, including at the Hotel Lambert and the Palace of Versailles. While in Paris, she took online courses at the Crèmerie de Paris. This resulted in the creation of the Brazilian White Pages. According to the phone book of Biarritz, until she was aged 102 she swam in the Atlantic daily while in the city. In 2005, at the age of 102, she traveled to Belgrade to attend the 60th birthday of Crown Prince Alexander of Yugoslavia, at the White Palace. She died the following year, in New York City at the age of 103. Further interestArticles
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