ProfileFawzia Fuad of Egypt (5 November 1921 – 2 July 2013), also known as Muluk Fawzia of Iran and Fawzia Chirine, was an Egyptian princess who became Queen of Iran as the first wife of Mohammad Reza Pahlavi, Shah of Iran. Fawzia was the daughter of Fuad I, seventh son of Ismail the Magnificent. Her marriage to the Iranian Crown Prince Mohammad Reza Pahlavi in 1939 was a political deal: it would consolidate Egyptian power and influence in the Middle East, while bringing respectability to the new Iranian regime by association with the much more prestigious Egyptian royal house. It was never a love-match, and Fawzia obtained an Egyptian divorce in 1945 (not recognised in Iran until 1948), under which their one daughter Princess Shahnaz would be brought up in Iran. In 1949, Fawzia remarried Colonel Ismail Chirine, an Egyptian diplomat, with whom she would have a son and a daughter. BiographyPrincess Fawzia was born Her Sultanic Highness Princess Fawzia bint Fuad at Ras el-Tin Palace, Alexandria, the eldest daughter of Sultan Fuad I of Egypt and Sudan (later King Fuad I), and his second wife, Nazli Sabri on 5 November 1921. Princess Fawzia Fuad was of Albanian, Turkish, French and Circassian descent.Her mother's maternal grandfather was Major General Mohamed Sherif Pasha, prime minister and minister of foreign affairs. In addition to her sisters, Faiza, Faika and Fathia, and her brother, Farouk, Princess Fawzia had two half-siblings from her father's previous marriage to Princess Shwikar Khanum Effendi. Princess Fawzia was educated in Switzerland and was fluent in English and French in addition to her native Arabic. Her beauty was often compared to that of film stars Hedy Lamarr and Vivien Leigh. The marriage of Princess Fawzia to Iran's Crown Prince Mohammad Reza Pahlavi was planned by the Prince's father, Rezā Shāh. A declassified CIA report in May 1972 described the union as a political move. The marriage was also significant in that it united a Sunni royal, the Princess, and a Shia royal, the Crown Prince. The Pahlavis were a parvenu house as Reza Khan, the son of a peasant who entered the Iranian Army as a private, rising up to become a general, had seized power in a 1921 coup, and he was most anxious to have the House of Pahlavi married to the House of Ali, who had reigned over Egypt since 1805. King Farouk was not initially interested in marrying off his sister to the Crown Prince of Iran, but Aly Maher Pasha, the king's favorite political adviser, persuaded him that a marriage alliance with Iran would improve Egypt's position within the Islamic world and against Britain.To prepare for life in Iran, Fawzia was assigned a tutor to teach her Persian. Princess Fawzia of Egypt and Mohammad Reza Pahlavi were engaged in May 1938. However, they saw each other only once before their wedding. They married at the Abdeen Palace in Cairo on 15 March 1939. The contrast between the Crown Prince Mohammad Reza, dressed in a simple uniform of an Iranian officer vs. the lavish opulence of the Egyptian court, with the famously free-spending Farouk who wore expensive suits was much remarked upon at the time. After the wedding, King Farouk had a twenty course meal to celebrate the wedding at the Abdeen Palace. Afterwards, Fawzia departed for Iran together with her mother, Queen Nazli. When they returned to Iran the wedding ceremony was repeated at Marble Palace, Tehran, which was also their future residence. As prince Mohammad Reza spoke no Turkish (one of the languages of the Egyptian elite, the other being French) and princess Fawzia was described as being only "competent" in Persian, the two talked to each other in French, in which both were fluent. Fawzia disliked Reza Khan, whom she described as a violent and thuggish man prone to attacking people with either his whip or riding crop. In contrast to the French food she had grown up with in Egypt, Princess Fawzia found the food at the Iranian court sub-par. In the same way, Fawzia found that the palaces of Iran could not compared to the palaces that she had grown up in Egypt. The marriage was a failure. Fawzia was deeply unhappy in Iran, and often missed her homeland of Egypt. Fawzia's relations with her mother-in-law and her sisters-in-law were notably tempestuous as the Queen Mother and her daughters saw her as a rival for Mohammad Reza shah's affections, and the women constantly feuded with each other. Soon after her husband's ascent to the throne, Queen Fawzia appeared on the cover of the 21 September 1942, issue of Life magazine, photographed by Cecil Beaton, who described her as an "Asian Venus" with "a perfect heart-shaped face and strangely pale but piercing blue eyes." The womanizing Mohammad Reza shah was frequently unfaithful to Fawzia, and was often seen driving around with other women in Tehran from 1940 onward. From 1944 onward, Fawzia was treated for depression by an American psychiatrist, as she stated her marriage was a loveless one and she desperately wanted to go back to Egypt. Queen Fawzia (the title of empress was not yet used in Iran at that time) moved to Cairo in May 1945 and obtained an Egyptian divorce. Despite numerous attempts on the part of the Shah to persuade her to return, she remained put in Cairo. This divorce was first not recognized for several years by Iran, but eventually an official divorce was obtained in Iran, on 17 November 1948, with Queen Fawzia successfully reclaiming her previous distinction of Princess of Egypt as well. A major condition of the divorce was that her daughter be left behind to be raised in Iran. After her divorce Princess Fawzia headed the Egyptian court. On 28 March 1949, at the Koubba Palace in Cairo, Princess Fawzia married Colonel Ismail Chirine (or Shirin) (1919–1994), who was the eldest son of Hussein Chirine Bey and his wife, HH Princess Amina Bihruz Khanum Effendi. He was a graduate of Trinity College, Cambridge and a one-time Egyptian minister of war and the navy. Following the wedding they lived in an estate owned by the Princess in Maadi, Cairo. They also resided in a villa in Smouha, Alexandria. Unlike her first marriage, this time Fawzia married for love and she was described as far happier being married to Colonel Chirine than she ever had been to the Shah of Iran. They had two children, one daughter and one son: Nadia Chirine (19 December 1950, Cairo – October 2009) and Hussein Chirine (1955 – 2016) Fawzia lived in Egypt after the 1952 Revolution that toppled King Farouk. Princess Fawzia's death was mistakenly reported in January 2005. Journalists had confused her with her niece, Princess Fawzia Farouk (1940–2005), one of the three daughters of King Farouk. In her later life, Princess Fawzia lived in Alexandria, Egypt, where she died on 2 July 2013 at the age of 91. Her funeral ceremony was held after noon prayers at Sayeda Nafisa Mosque in Cairo on 3 July. At her death, she was the oldest member of the deposed Muhammad Ali Dynasty residing in Egypt. Further interestArticles
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name: François Boucher birth place: Paris France birth date: 30 September 1703 zodiac sign: Libra death place: Paris France death date: 30 May 1770 François Boucher, né le 29 septembre 1703 à Paris où il est mort le 30 mai 1770, est un peintre français, représentatif du style rococo. Maître particulièrement prolifique, Boucher a abordé tous les genres : peinture religieuse, sujets mythologiques, scènes rustiques, paysages, animaux, décorations de monuments et de maisons particulières, modèles de tapisserie. C’est peut-être le plus célèbre peintre et artiste décoratif du xviiie siècle, dont on a pu dire qu’il était l’un des génies les plus purs. Il estimait lui-même, un an avant sa mort, avoir produit plus de dix mille dessins, mais trouvait encore le temps de travailler dix heures par jour à des représentations idylliques et voluptueuses de thèmes classiques, mythologiques et érotiques, d’allégories décoratives et de scènes pastorales. Nombre de ces toiles, réalisées pour la décoration intérieure, constituent des paires ou des séries. Il était peintre de la cour de Louis XV et le favori de la marquise de Pompadour, dont il a peint plusieurs portraits. BiographieFils unique d’Élisabeth Lemesle et de Nicolas Boucher, maître peintre et dessinateur de l’Académie de Saint-Luc, il reçoit les premières leçons de son père, mais il montrait de telles dispositions que celui-ci décida de le faire travailler sous une direction plus qualifiée que la sienne. Vers 1720, il entre, âgé de 17 ans, dans l’atelier de Lemoyne, qui l’initia aux secrets de la peinture décorative et des grandes scènes mythologiques, dans lesquelles il était spécialisé. Il ne resta que fort peu de temps dans cet atelier de Lemoyne, quelques mois à peine. Pour se procurer les ressources nécessaires pour vivre, il dut accepter des travaux de dessin et de gravure du graveur et éditeur Jean-François Cars. Ses premiers essais décidèrent le collectionneur Jean de Jullienne à lui passer commandes de gravures d'après Watteau. Cette période de son apprentissage fut des plus profitables à Boucher qui trouva dans les œuvres de Watteau, qui venait de mourir, en 1722, tous les éléments de sa propre inspiration. Très épris de son art, il voulait entrer à I‘Académie et s’efforçait de perfectionner sa technique, travaillant à la fois le dessin, la gravure et la peinture. Il se forma également auprès de Sebastiano Ricci et Giovanni Antonio Pellegrini, actifs à Paris dans les années 17208. En 1723, il concourut au prix de l’Académie de peinture, en attendant qu’une pension pût lui être attribuée pour l’Académie de France à Rome, il continua à graver pour Jullienne. En 1725, il exposait pour la première fois, quelques tableaux à l’Exposition de la jeunesse de la place Dauphine. Deux ans plus tard, en 1727, ayant réuni quelque argent, il partit pour Rome, comme élève libre. À peine arrivé, Boucher se mit au travail. Après un séjour de près de quatre années en Italie, il rentra à Paris. Agréé dès son retour à l’Académie royale de peinture et de sculpture, le 24 novembre 1731, il devint immédiatement le peintre mondain, le portraitiste semi-officiel des femmes à la mode, épouses ou maîtresses des financiers, gagnant une fortune rapide et un renom considérable. Les commandes commencent à affluer, et c’est de 1732 que date la réalisation de Renaud et Armide, inspiré de la Jérusalem délivrée du Tasse, où le modèle de la blonde Armide est Marie-Jeanne Buseau, la jeune fille de 17 ans qu’il épousera le 21 avril 1733. Au dire de ses contemporains, Marie-Jeanne était remarquablement jolie, et Boucher semble s’en être souvent inspiré dans ses créations de jeunes beautés radieuses et triomphantes. Elle posa également pour d'autres peintres de leur entourage comme La Tour, Lundberg ou le peintre suédois Roslin. Marie-Jeanne Boucher travailla avec son mari, grava quelques-uns de ses dessins, et reproduisit en miniature plusieurs de ses tableaux. Le 30 janvier 1734, il est reçu comme peintre d'histoire, à l’Académie royale sur présentation de son tableau de 1732, Renaud et Armide, aujourd’hui conservé au Louvre, et Oudry. Le 2 juillet 1735, il est nommé, avec Carle Van Loo et Natoire, adjoint à professeur de l'Académie. Même s'il a été marqué par le style du peintre Lemoyne, Boucher trouve vers 1736 son style propre en devenant, en peinture, le maître incontesté du style rocaille. Principal peintre du rococo français, il devient le peintre à la mode. Il obtient la faveur de Madame de Pompadour dont il fera à plusieurs reprises, le portrait et composera pour elle ses œuvres les plus raffinées dans les années 1650, ainsi que des décors pour son château de Bellevue et pour son boudoir de Crécy. Il travaille également pour de hauts personnages de la cour, comme le duc de Penthièvren ou pour des souverains étrangers (Le Triomphe de Vénus en 1740 pour le roi de Suède). Il est un grand ami du général Montmorency. En 1765, il succède à Carle Van Loo comme Premier peintre de Louis XV. Travaillant avec une extrême facilité, il se vante d'avoir gagné jusqu'à 50 000 francs par an. Il participe à la décoration des châteaux de Versailles et de Fontainebleau, à celle du cabinet des Médailles de la Bibliothèque nationale (1741-1746). Il invente des décors pour le théâtre et l'opéra et donne aussi de nombreux modèles à la manufacture de Vincennes de 1750 à 1755 puis à la manufacture royale de Sèvres, essentiellement entre 1757 et 1767. Ses figures d'enfants, dits Enfants Boucher sont traduites sous forme de motifs peints ou de biscuits et également de petites pièces de tapisseries destinées à l'ameublement. Associé avec le marchand d'art Edme-François Gersaint, François Boucher est l'introducteur du goût pour les chinoiseries, des objets et des artéfacts venant de Chine, du Japon ou du royaume de Siam. Certains de ses objets apparaissent en second plan dans ses tableaux " La toilette, 1742" ( Museo Nacional Thyssen-Bornemisza, Madrid,) ou " Femme allongée au divan" (Frick Collection, New York). Son style passe de mode avec l'arrivée du néoclassicisme vers 1760. Jusqu'à sa mort, en 1770, Boucher garde son style et expose ses œuvres au Salon, excepté lors de l'édition 1767. Boucher est un de ces hommes qui signifient le goût d'un siècle, qui l'expriment, le personnifient et l'incarnent […]Il est simplement un peintre original et grandement doué, à qui il a manqué une qualité supérieure, le signe de race des grands peintres : la distinction. Il a une manière et n'a pas de style. […] La vulgarité élégante, voilà la signature de Boucher. ProfileFrançois Boucher (29 September 1703 – 30 May 1770) was a French painter, draughtsman and etcher, who worked in the Rococo style. Boucher is known for his idyllic and voluptuous paintings on classical themes, decorative allegories, and pastoral scenes. He was perhaps the most celebrated painter and decorative artist of the 18th century. BiographyA native of Paris, Boucher was the son of a lesser known painter Nicolas Boucher, who gave him his first artistic training. At the age of seventeen, a painting by Boucher was admired by the painter François Lemoyne who later appointed Boucher as his apprentice, but after only three months, he went to work for the engraver Jean-François Cars. In 1720, he won the elite Grand Prix de Rome for painting, but did not take up the consequential opportunity to study in Italy until five years later, due to financial problems at the Académie royale de peinture et de sculpture. On his return from studying in Italy for about 4 years, Boucher was admitted to the refounded Académie de peinture et de sculpture on 24 November 1731. Boucher married Marie-Jeanne Buzeau, whom he used as his model for his painting Rinaldo and Armida of 1734 Boucher became a faculty member in 1734 and his career accelerated from this point as he was promoted Professor then Rector of the Academy, becoming inspector at the Royal Gobelins Manufactory and finally Premier Peintre du Roi (First Painter of the King) in 1765. Boucher died on 30 May 1770 in his native Paris. His name, along with that of his patron Madame de Pompadour, had become synonymous with the French Rococo style, leading the Goncourt brothers to write: "Boucher is one of those men who represent the taste of a century, who express, personify and embody it." La nature est trop verte et mal éclairée" ProfileFiona Frances Elaine Campbell-Walter, formerly Baroness Thyssen-Bornemisza de Kászon et Impérfalva, (born 25 June 1932) is a New Zealand-born British model. She had a successful career in the 1950s, and one of the three greatest British models of their time together with Barbara Goalen and Anne Gunningn. Named the most beautiful model of Vogue, Fiona Campbell was photographed by Henry Clarke, Cecil Beaton, Norman Parkinson, Henry Paisley, George’s Dambier, etc. Fiona Campbell-Walter became the third Baroness Thyssen after marrying Baron Hans Heinrich Thyssen-Bornemisza de Kászon et Impérfalva. Biography1932 Fiona Campbell-Walter (born Fiona Frances Elaine Campbell-Walter) was born on 25 June 1932 in Auckland, New Zealand. 1950s In the 1950s, Fiona was one of the most famous and photographed models, as the favorite muse of Cecil Beaton, she was also the protagonist under the camera of other famed photographers like Henry Clarke, John French, David Bailey, Norman Parkingson etc. As one of the top models of her day, she did not just appear in the major women's magazines like Vogue, but also the salons of the top Couturiers like Christian Dior, and Jacques Fath and Elsa Schiaparelli. 1956: Baroness von Thyssen On 17 September 1956, in a small Italian village of Castagnola, Fiona was married to Baron Hans Henrik Agost Gabor Tasso Friherr Thyssen-Bornemisza de Kaszon et Imperfalva, mostly known as Heini von Thyssen, who was heir to a fortune made from steel and arms, and a major art collector whose collection was said to be second only to Queen Elizabeth II. After her marriage, she lived with her husband in Villa Favorita beside Lake of Lugano, a life of elegance, culture and power. She had two children with Heini von Thyssen, one daughter named Francesca in 1958, and a son Lorne in 1963, and not long afterwards, she divorced her husband and moved to London with her two children. Since 1969, Fiona was involved romantically with Alexandre Onassis, the son of Aristote Onassis. who tried to stop the love affair because Fiona was 16b years older than his son Alexandre, but after the death of Alexandre in January 1973, he realized the two never really parted. Named the most beautiful model of Vogue, Fiona Campbell-Walter had a relative short career, mostly in the 1950s before her marriage, and occassionlly in the 1960s after her divorce, but she remained one of the greatest British models in that epoque, together with Barbara Goalen and Anne Gunning. And during her short career, Fiona von Thyssen, she has worked with most of the greatest photographers of her time: Henry Clarke, Cecil Beaton, Norman Parkinson, Henry Paisley, Georges Dambier, John Deakin, Frances McLaughlin-Gilln, John French, Milton Greene, and David Bailey. Further interestArticles:
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