Tamara Łempicka (born Tamara Rosalia Gurwik-Górska; 16 May 1898 – 18 March 1980), better known as Tamara de Lempicka, was a Polish painter who spent her working life in France and the United States. She is best known for her polished Art Deco portraits of aristocrats and the wealthy, and for her highly stylized paintings of nudes. Born in Warsaw, Lempicka briefly moved to Saint Petersburg where she married Tadeusz Łempicki, a prominent Polish lawyer, then travelled to Paris. She studied painting with Maurice Denis and André Lhote. Her style was a blend of late, refined cubism and the neoclassical style, particularly inspired by the work of Jean-Dominique Ingres. She was an active participant in the artistic and social life of Paris between the wars. In 1928 she became the mistress of Baron Raoul Kuffner, a wealthy art collector from the former Austro-Hungarian Empire. After her divorce from Łempicki in 1931 and the death of his wife in 1933, Kuffner married Lempicka in 1934, and thereafter she became known in the press as "The Baroness with a Brush". Following the outbreak of World War II in 1939, she and her husband moved to the United States and she painted celebrity portraits, as well as still lifes and, in the 1960s, some abstract paintings. Her work was out of fashion after World War II, but made a comeback in the late 1960s, with the rediscovery of Art Deco. She moved to Mexico in 1974, where she died in 1980. At her request, her ashes were scattered over the Popocatépetl volcano. BiographyTamara de Lempicka was born on 16 May 1898, in Warsaw, then part of Congress Poland of the Russian Empire. Her father was Boris Gurwik-Górski, a Russian Jewish attorney for a French trading company, and her mother was Malwina Dekler, a Polish-Jewish socialite who had lived most of her life abroad and who met her husband at one of the European spas. Tamara was raised in Warsaw by her mother and grandparents, Bernard and Klementyna Dekler, who were members of the social and cultural elite – they were friends with Ignacy Jan Paderewski and Artur Rubinstein. When Tamara was ten, her mother commissioned a pastel portrait of her by a prominent local artist. She detested posing and was dissatisfied with the finished work. She took the pastels, had her younger sister pose, and made her first portrait. In 1911 her parents sent her to a boarding school in Lausanne, Switzerland, but she was bored and she feigned illness to be permitted to leave the school. Instead, her grandmother took her on a tour of Italy, where she developed her interest in art. After her parents divorced in 1912, she chose to spend the summer with her wealthy Aunt Stefa in Saint Petersburg. There, in 1915, she met and fell in love with a prominent Polish lawyer, Tadeusz Łempicki (1888–1951). Her family offered him a large dowry, and they were married in 1916 in the chapel of the Knights of Malta in St. Petersburg. The Russian Revolution in November 1917 overturned their comfortable life. In December 1917, Tadeusz Łempicki was arrested in the middle of the night by the Cheka, the secret police. Tamara searched the prisons for him, and with the help of the Swedish consul, to whom she offered her favors, she secured his release. They traveled to Copenhagen then to London and finally to Paris, where Tamara's family had also found refuge. In Paris, the Łempickis lived for a while from the sale of family jewels. Tadeusz proved unwilling or unable to find suitable work. Their daughter, Marie-Christine de Lempicka, "Kizette", was born on 16 September 1919, adding to their financial needs. Tamara de Lempicka decided to become a painter at her sister's suggestion, and studied both at the Saint Petersburg Academy of Arts and Académie de la Grande Chaumière with Maurice Denis and then with André Lhote, who was to have a greater influence on her style. Her first paintings were stilllifes and portraits of her daughter Kizette and her neighbor. She sold her first paintings through the Galerie Colette-Weil, which allowed her to exhibit at the Salon des indépendents, the Salon d'automne, and the Salon des moins de trente ans, for promising young painters. She exhibited at the Salon d'automne for the first time in 1922. During this period, she signed her paintings "Lempitzki"—the masculine form of her name. Her breakthrough came in 1925, with the International Exhibition of Modern Decorative and Industrial Arts, which later gave its name to the style Art Deco. She exhibited her paintings in two of the major venues, the Salon des Tuileries and the Salon des femmes peintres. Her paintings were spotted by American journalists from Harper's Bazaar and other fashion magazines, and her name became known. In the same year, she had her first major exposition in Milan, Italy, organized for her by Count Emmanuele Castelbarco. For this show, Lempicka painted 28 new works in six months. During her Italian tour, she took a new lover, the Marquis Sommi Picenardi. She was also invited to meet the famous Italian poet and playwright Gabriele d'Annunzio. She visited him twice at his villa on Lake Garda, seeking to paint his portrait; he, in turn, was set on seduction. After her unsuccessful attempts to secure the commission, she went away angry, while d'Annunzio also remained unsatisfied. In 1927, Lempicka won her first major award, the first prize at the Exposition Internationale des Beaux Arts in Bordeaux, France, for her portrait of Kizette on the Balcony, which she named "Girl on a Balcony". In 1928 she was divorced from Tadeusz Łempicki. That same year, she met Raoul Kuffner, a baron of the former Austro-Hungarian Empire and an art collector. His title was not an ancient one; his family had been granted the title by the second-to-last Austro-Hungarian Emperor, Franz-Joseph I, because Kuffner's family had been the supplier of beef and beer to the imperial court. He owned properties of considerable size in eastern Europe. He commissioned her to paint his mistress, the Spanish dancer Nana de Herrera; after its completion, Lempicka and the baron began their relationship. Tamara de Lempicka bought an apartment on rue Méchain in Paris and had it decorated by the modernist architect Robert Mallet-Stevens and her own sister Adrienne de Montaut. The furniture was by René Herbst. The austere, functional interiors appeared in decoration magazines. In 1928, Tamara de Lempicka painted a portrait of her daughter Kizette at her First Communion, and it won a bronze medal at the international exposition in Poznań, Poland the next year. In 1929, Lempicka also painted one of her best-known works, Autoportrait (Tamara in a Green Bugatti), for the cover of the German fashion magazine Die Dame. This showed her at the wheel of a Bugatti racing car wearing a leather helmet and gloves and wrapped in a gray scarf, a portrait of cold beauty, independence, wealth, and inaccessibility. In fact, she did not own a Bugatti automobile; her own car was a small yellow Renault, which was stolen one night when she and her friends were celebrating at La Rotonde in Montparnasse. Again in 1929, She traveled to the United States for the first time to paint a portrait of Joan Jeffery, the fiancée of the American oilman Rufus T. Bush and to arrange a show of her work at the Carnegie Institute in Pittsburgh. The exposition was a success, but the money she earned was lost when the bank she used collapsed following the stock market crash of 1929. The portrait of Joan Jeffery, was completed but put into storage following her divorce from Rufus T. Bush in 1932. It would stay in the storage for more than 60 years until it was sold for 4.59 million by Christies in 2004, following the death of Joan Jeffery (then Mrs.Vanderpool after her second marriage). Tamara de Lempicka's career reached a peak during the 1930s. She painted portraits of King Alfonso XIII of Spain and Queen Elizabeth of Greece. Museums began to collect her works. In 1933, she traveled to Chicago where her pictures were shown alongside those of Georgia O'Keeffe, Santiago Martínez Delgado, and Willem de Kooning. Despite the Great Depression, she continued to receive commissions and showed her work at several Paris galleries. The wife of Baron Kuffner died in 1933. De Lempicka married him on 3 February 1934 in Zurich. She was alarmed by the rise of the Nazis and persuaded her husband to sell most of his properties in Hungary and to move his fortune and his belongings to Switzerland. In the winter of 1939, following the outbreak of World War II, Tamara de Lempicka and her husband moved to the United States. They settled first in Los Angeles. The Paul Reinhard Gallery organized a show of her work, and they moved to Beverly Hills, settling into the former residence of the film director King Vidor. Shows of her work were organized at the Julian Levy Gallery in New York, the Courvoisier Galleries in San Francisco, and the Milwaukee Institute of Art, but her shows did not have the success she had hoped for. In 1941 her daughter Kizette was able to escape from occupied France via Lisbon and joined them in Los Angeles. Kizette married a Texas geologist, Harold Foxhall. In 1943, Baron Kuffner and de Tamara de Lempicka relocated to New York City. In the postwar years, she continued a frenetic social life, but she had fewer commissions for society portraits. Her art deco style looked anachronistic in the period of postwar modernism and abstract expressionism. She had a show at the Ror Volmar Gallery in Paris in May and June 1961, but it did not revive her earlier success. She expanded her subject matter to include still lifes, and in 1960 she began to paint abstract works and to use a palette knife instead of her smooth earlier brushwork. She also sometimes reworked earlier pieces in her new style. For example, The crisp and direct Amethyste (1946) became the pink and fuzzy Girl with Guitar (1963). Baron Kuffner died of a heart attack in November 1961 on the ocean liner Liberté en route to New York. Following his death, Lempicka sold many of her possessions and made three around-the-world trips by ship. In 1963, Lempicka moved to Houston, Texas, to be with her daughter Kizette and her family and retired from her life as a professional artist. She continued to repaint her earlier works. She repainted her well-known Autoportrait (1929) twice between 1974 and 1979; Autoportrait II was sold, though she hung Autoportrait III in her retirement apartments, where it would remain until her death. The last work she painted was the fourth copy of her painting of St. Anthony. In 1974, Tamara de Lempicka decided to move to Cuernavaca, Mexico. A few years later in 1979, Kizette's husband Foxy died of cancer at age 58, and Kizette moved to Cuernavaca to take care of de her mother, whose health was declining. De Lempicka died in her sleep on 18 March 1980. Following her wishes, her ashes were scattered over the volcano Popocatépetl. After her death, Tamara de Lempicka's early Art Deco paintings were being shown and purchased once again. A stage play, Tamara, was inspired by her meeting with Gabriele D'Annunzio and was first staged in Toronto; it then ran in Los Angeles for eleven years (1984–1995) at the Hollywood American Legion Post, making it the longest running play in Los Angeles, and some 240 actors were employed over the years. The play was also subsequently produced at the Seventh Regiment Armory in New York City. In 2005, the actress and artist Kara Wilson performed Deco Diva, a one-woman stage play based on Lempicka's life. Her life and her relationship with one of her models is fictionalized in Ellis Avery's novel The Last Nude, which won the American Library Association Stonewall Book Awards Barbara Gittings Literature Award for 2013. In November 2019 Tamara de Lempicka's painting La Tunique rose (1927) was sold at Sotheby's for $13.4 million. In February 2020, her painting Portrait de Marjorie Ferry (1932) set a record for a work by Lempicka by fetching £16.3 million ($21.2 million) at the Impressionist and Modern Art Evening Sale at Christie's, London.
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Edward Jean Steichen (March 27, 1879 – March 25, 1973) was a Luxembourgish American photographer, painter, and curator, renowned as one of the most prolific and influential figures in the history of photography. Steichen was credited with transforming photography into an art form. His photographs appeared in Alfred Stieglitz's groundbreaking magazine Camera Work more often than anyone else during its publication run from 1903 to 1917. Stieglitz hailed him as "the greatest photographer that ever lived". As a pioneer of fashion photography, Steichen's gown images for the magazine Art et Décoration in 1911 were the first modern fashion photographs to be published. From 1923 to 1938, Steichen served as chief photographer for the Condé Nast magazines Vogue and Vanity Fair, while also working for many advertising agencies, including J. Walter Thompson. During these years, Steichen was regarded as the most popular and highest-paid photographer in the world. After the United States' entry into World War II, Steichen was invited by the United States Navy to serve as Director of the Naval Aviation Photographic Unit. In 1944, he directed the war documentary The Fighting Lady, which won the Academy Award for Best Documentary Feature at the 17th Academy Awards. From 1947 to 1961, Steichen served as Director of the Department of Photography at New York's Museum of Modern Art. While there, he curated and assembled exhibits including The Family of Man, which was seen by nine million people. In 2003, the Family of Man photographic collection was added to UNESCO's Memory of the World Register in recognition of its historical value. In February 2006, a print of Steichen's early pictorialist photograph, The Pond—Moonlight (1904), sold for US$2.9 million—at the time, the highest price ever paid for a photograph at auction. A print of another photograph of the same style, The Flatiron (1904), became the second most expensive photograph ever on November 8, 2022, when it was sold for $12,000,000, at Christie's New York - well above the original estimate of $2,000,000-$3,000,000. BiographyEdward Steichen was born Éduard Jean Steichen on March 27, 1879, in a small house in the village of Bivange, Luxembourg, the son of Jean-Pierre and Marie Kemp Steichen. His parents facing increasingly straitened circumstances and financial difficulties, decided to make a new start and emigrated to the United States when Steichen was eighteen months old. Jean-Pierre Steichen immigrated in 1880, with Marie Steichen bringing the infant Éduard along after Jean-Pierre had settled in Hancock in Michigan's Upper Peninsula copper country. According to noted Steichen biographer, Penelope Niven, the Steichens were “part of a large exodus of Luxembourgers displaced in the late nineteenth century by worsening economic conditions.” Éduard's sister and only sibling, Lilian Steichen, was born in Hancock on May 1, 1883. She would later marry poet Carl Sandburg, whom she met at the Milwaukee Social Democratic Party office in 1907. Her marriage to Sandburg the following year helped forge a life-long friendship and partnership between her brother and Sandburg. By 1889, when Éduard was 10, his parents had saved up enough money to move the family to Milwaukee. There he learned German and English at school, while continuing to speak Luxembourgish at home. In 1894, at fifteen, Steichen began attending Pio Nono College, a Catholic boys' high school, where his artistic talents were noticed. His drawings in particular were said to show promise. He quit high school to begin a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee. After hours, he would sketch and draw, and he began to teach himself painting. Having discovered a camera shop near his work, he visited frequently until he persuaded himself to buy his first camera, a secondhand Kodak box "detective" camera, in 1895. Steichen and his friends who were also interested in drawing and photography pooled their funds, rented a small room in a Milwaukee, WI office building, and began calling themselves the Milwaukee Art Students League. The group hired Richard Lorenz and Robert Schade for occasional lectures. In 1899, Steichen's photographs were exhibited in the second Philadelphia Photographic Salon. Edward Steichen became a U.S. citizen in 1900 and signed the naturalization papers as Edward J. Steichen, but he continued to use his birth name of Éduard until after the First World War. In April 1900, Steichen left Milwaukee for Paris to study art. Clarence H. White thought Steichen and Alfred Stieglitz should meet, and thus produced an introduction letter for Steichen, and Steichen met Stieglitz in New York City in early 1900. In that first meeting, Stieglitz expressed praise for Steichen's background in painting and bought three of Steichen's photographic prints. In 1902, when Stieglitz was formulating what would become Camera Work, he asked Steichen to design the logo for the magazine with a custom typeface. Steichen was the most frequently shown photographer in the journal. Steichen began experimenting with color photography in 1904 and was one of the earliest in the United States to use the Autochrome Lumière process. In 1905, Stieglitz and Steichen created the Little Galleries of the Photo-Secession, in what had been Steichen's portrait studio; it eventually became known as the 291 Gallery after its address. It presented some of the first American exhibitions of Auguste Rodin, Henri Matisse, Paul Cézanne, Pablo Picasso, and Constantin Brâncuși. According to author and art historian William A. Ewing, Steichen became one of the earliest "jet setters", constantly moving back and forth between Europe and the U.S. by steamship, in the process cross-pollinating art from Europe to the United States, helping to define photography as an art form, and at the same time widening America's understanding of European art and art in general. Fashion photography began with engravings reproduced from photographs of modishly-dressed actresses by Leopold-Emile Reutlinger, Nadar and others in the 1890s. After high-quality half-tone reproduction of photographs became possible, most credit as pioneers of the genre goes to the French Baron Adolph de Meyer and to Edward Steichen who, borrowing his friend's hand-camera in 1907, candidly photographed dazzlingly-dressed ladies at the Longchamp Racecourse Fashion then was being photographed for newspaper supplements and fashion magazines, particularly by the Frères Séeberger, as it was worn at Paris horse-race meetings by aristocracy and hired models. In 1911, Lucien Vogel, the publisher of Jardin des Modes and La Gazette du Bon Ton, challenged Steichen to promote fashion as a fine art through photography. Steichen took photos of gowns designed by couturier Paul Poiret, which were published in the April 1911 issue of the magazine Art et Décoration. Two were in colour, and appeared next to flat, stylised, yellow-and-black Georges Lepape drawings of accessories, fabrics, and girls. Steichen himself, in his 1963 autobiography, asserted that his 1911 Art et Décoration photographs "were probably the first serious fashion photographs ever made," a generalised claim since repeated by many commentators. What he (and de Meyer) did bring was an artistic approach; a soft-focus, aesthetically retouched Pictorialist style that was distinct from the mechanically sharp images made by his commercial colleagues for half-tone reproduction, and that he and the publishers and fashion designers for whom he worked appreciated as a marketable idealisation of the garment, beyond the exact description of fabrics and buttonholes. After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he gradually reverted to straight photography for his fashion photography and was hired by Condé Nast in 1923 for the extraordinary salary of $35,000 (equivalent to over $500,000 in 2019 value). At the commencement of World War II, Steichen, then in his sixties, had retired as a full-time photographer. He was developing new varieties of delphinium, which in 1936 had been the subject of his first exhibition at the Museum of Modern Art, and the only flower exhibition ever held there. When the United States joined the global conflict, Steichen, who had come out of the first World War an Army Colonel, was refused for active service because of his age. Later, invited by the Navy to serve as Director of the Naval Aviation Photographic Unit, he was commissioned a Lieutenant-Commander in January 1942. Steichen selected for his unit six officer-photographers from the industry including photographers Wayne Miller and Charles Fenno Jacobs. A collection of 172 silver gelatin photographs taken by the Unit under his leadership is held at the Harry Ransom Center at the University of Texas at Austin. Their war documentary The Fighting Lady, directed by Steichen, won the Academy Award for Best Documentary Feature at the 17th Academy Awards. In 1942, Steichen curated for the Museum of Modern Art the exhibition Road to Victory, five duplicates of which toured the world. Photographs in the exhibition were credited to enlisted members of the Navy, Coast Guard, and Marine Corps and numbers by Steichen's unit, while many were anonymous and some were made by automatic cameras in Navy planes operated while firing at the enemy. This was followed in January 1945 by Power in the Pacific: Battle Photographs of our Navy in Action on the Sea and In the Sky. Steichen was released from Active Duty (under honorable conditions) on December 13, 1945, at the rank of Captain. For his service during World War II, he was awarded the World War II Victory Medal, Asiatic-Pacific Campaign Medal (with 2 campaign stars), American Campaign Medal, and numerous other awards. In the summer of 1929, Museum of Modern Art director Alfred H. Barr, Jr. had included a department devoted to photography in a plan presented to the Trustees. Though not put in place until 1940, it became the first department of photography in a museum devoted to twentieth-century art and was headed by Beaumont Newhall. On the strength of attendances of his propaganda exhibitions Road to Victory and Power in the Pacific, and precipitating curator Newhall's resignation along with most of his staff, in 1947 Steichen was appointed Director of Photography until 1962, later assisted by Grace M. Mayer, his assistant curator. Steichen as director held a strong belief in the local product, of the "liveness of the melting pot of American photography,’’ and worked to expand and organise the collection, inspiring and recognising the 1950s generation while keeping historical shows to a minimum. Steichen also kept international developments in his scope and held shows and made important acquisitions from Europe and Latin America, occasionally visiting those countries to do so. Three books were published by the Department during his tenure, including Steichen the Photographer. Despite his solid career in photography, Steichen displayed his own work at MoMA—his retrospective, Steichen the Photographer—only after he had already announced his retirement in 1961. Among accomplishments that were to redeem initial resentment at his appointment, Steichen created The Family of Man, a world-touring Museum of Modern Art exhibition that was seen by 9 million visitors and still holds the record for most-visited photography exhibit. Now permanently housed and on continuous display in Clervaux (Luxembourgish: Klierf) Castle in northern Luxembourg, his country of birth, Steichen regarded the exhibition as the "culmination of his career.". Comprising over 500 photos that depicted life, love and death in 68 countries, the prologue for its widely purchased catalogue was written by Steichen's brother-in-law, Carl Sandburg. As had been Steichen's wish, the exhibition was donated to the Grand Duchy of Luxembourg, his country of birth. Steichen hired John Szarkowski to be his successor at the Museum of Modern Art on July 1, 1962. On December 6, 1963, Steichen was presented with the Presidential Medal of Freedom by U.S. President Lyndon B. Johnson. In 1968 the Edward Steichen Archive was established in MoMA's Department of Photography. The Museum's then-Director René d’Harnoncourt declared that its function was to "amplify and clarify the meaning of Steichen’s contribution to the art of photography, and to modern art generally.” Creator of the Archive was Grace M. Mayer, who in 1959 started her career as an assistant to the director, Edward Steichen, and who became Curator of Photography in 1962, retiring in 1968. Mayer returned after her retirement to serve in a voluntary capacity as Curator of the Edward Steichen Archive until the mid-1980s to source materials by, about, and related to Steichen. Her detailed card catalogs are housed in the Museum's Grace M. Mayer Papers. Steichen's 90th birthday was marked with a dinner gathering of photographers, editors, writers, and museum professionals at the Plaza Hotel in 1969. The event was hosted by MoMA trustee Henry Allen Moe, and U.S. Camera magazine publisher Tom Maloney. Edward Steichen married Clara E. Smith (1875–1952) in 1903. They had two daughters, Mary Rose Steichen (1904-1998) and Charlotte "Kate" Rodina Steichen (1908-1988). In 1914, Clara accused her husband of having an affair with artist Marion H. Beckett, who was staying with them in France. In 1919, Clara Steichen sued Marion Beckett for having an affair with her husband, but was unable to prove her claims. Clara and Edward Steichen eventually divorced in 1922. Steichen married Dana Desboro Glover in 1923. She died of leukemia in 1957. In 1928, Steichen bought a farm that he called Umpawaug, just outside West Redding, Connecticut. He lived there until his death. In 1960, aged 80, Steichen married 27-year-old Joanna Taub and remained married to her until his death. Edward Steichen died on March 25, 1973, two days before his 94th birthday. After his death, Steichen's farm was made into a park, known as Topstone Park. As of 2018, Topstone Park was open seasonally. His wife Joanna Steichen died on July 24, 2010, in Montauk, New York, aged 77. In 1974 Steichen was posthumously inducted into the International Photography Hall of Fame and Museum. Further interestArticles ![]() Jane Seymour OBE (born Joyce Penelope Wilhelmina Frankenberg; 15 February 1951) is an English actress. After making her screen debut as an uncredited extra in the 1969 musical comedy Oh! What a Lovely War, Seymour transitioned to leading roles in film and television, including a leading role in the television series The Onedin Line (1972–1973) and the role of psychic Bond girl Solitaire in the James Bond film Live and Let Die (1973). In 1982, Seymour won her first Golden Globe Award for Best Actress in a Miniseries or Motion Picture Made for Television for the miniseries East of Eden (1981). She received additional Golden Globe nominations in the same category for the television film The Woman He Loved (1988), in which she portrayed the American wife of King Edward VIII, Wallis Simpson, and the miniseries War and Remembrance (1988-1989), for which she was nominated twice consecutively. By this time, Seymour had won a Primetime Emmy Award for Outstanding Supporting Actress in a Miniseries or a Special for Onassis: The Richest Man in the World (1988), in which she played Maria Callas. In 1993, Seymour was cast as Dr. Michaela Quinn in the television series Dr. Quinn, Medicine Woman, a medical drama set in the Wild West which ran for 6 seasons and resulted in a further two nominations for the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series and four nominations for the Golden Globe Award for Best Actress in a Television Series – Drama (including one win), and two nominations for the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Drama Series. Seymour was given a star on the Hollywood Walk of Fame and, in 2000, was appointed an Officer of the Order of the British Empire. Seymour's other film roles include Somewhere in Time (1980), The Scarlet Pimpernel (1982), La Révolution française (1989), Wedding Crashers (2005), Love, Wedding, Marriage (2011), Little Italy (2018), The War with Grandpa (2020) and Friendsgiving (2020). In addition to her acting career, Seymour is the founder of the Open Hearts Foundation as well as an author, having (co-)written several children's books and self-help books. Under the Jane Seymour Designs label, she has created jewellery, scarves, furniture, rugs, handbags, paintings and sculptures. BiographyJoyce Penelope Wilhelmina Frankenberg was born on 15 February 1951 in Uxbridge, Middlesex (now part of Greater London), England, to Mieke van Tricht (1914–2007), a nurse, and Benjamin John Frankenberg FRCOG (1914–1990), a distinguished gynaecologist and obstetrician. Her father was Jewish who was born in England, to a family from Nowe Trzepowo, a village in Poland. Her mother was a Dutch Protestant who was a prisoner of war during World War II and had lived in the Dutch East Indies (now Indonesia). Seymour has stated she learned Dutch from her mother and her fellow survivors from the Japanese internment camp, who frequently spent holidays together in the Netherlands when she was a child. Encouraged by her parents, she learned to speak fluent French as well. Seymour was educated at Tring Park School for the Performing Arts in Hertfordshire. She chose the screen name Jane Seymour, after the English queen Jane Seymour, because it seemed more saleable. One of Seymour's notable features is heterochromia, making her right eye brown and her left eye green. In 1969, Seymour appeared uncredited in her first film, Richard Attenborough's Oh! What a Lovely War. In 1970, Seymour appeared in her first major film role in the war drama The Only Way. She played Lillian Stein, a Jewish woman seeking shelter from Nazi persecution. In 1973, she gained her first major television role as Emma Callon in the successful 1970s series The Onedin Line. That same year, Seymour achieved international fame in her role as Bond girl Solitaire in the James Bond film Live and Let Die. IGN ranked her as 10th in a Top 10 Bond Babes list. In 1980, Seymour played the role on stage of Constanze in Peter Shaffer's play Amadeus, opposite Ian McKellen as Salieri and Tim Curry as Mozart. The play premiered on Broadway in 1980, ran for 1,181 performances and was nominated for seven Tony Awards, of which it won five. That same year, Seymour was given the role of young theatre actress Elise McKenna in the period romance Somewhere in Time. Though the film was made with a markedly limited budget, the role enticed Seymour with a character she felt she knew. The effort was a decided break from her earlier work, and marked the start of her friendship with co-star Christopher Reeve. The two fell in love madly during filming but broke up by the end of filming, when Christopher Reeve was told that his ex-girlfriend Gae Exton, was pregnant with their son, Matthew. It broken Jane Seymour’s heart but she remained a close friend of Christopher Reece until his death. In 1981, she appeared in the television film East of Eden, based on the novel by John Steinbeck. Her portrayal of main antagonist Cathy Ames won her a Golden Globe. In 1982, she appeared in The Scarlet Pimpernel with Anthony Andrews and her Amadeus costar Ian McKellen. In 1987, Seymour was the subject of a pictorial in Playboy magazine, although she did not pose nude. In 1988, Seymour got the female lead in the twelve part television miniseries War and Remembrance. She played Natalie Henry, an American Jewish woman trapped in Europe during World War II. That same year, she won an Emmy Award for playing Maria Callas in the television movie Onassis: The Richest Man in the World. In 1989, on the occasion of the 200th anniversary of the French Revolution, Seymour appeared in the television film La révolution française, filmed in both French and English. Seymour appeared as the doomed French queen, Marie Antoinette; Seymour's two children, Katherine and Sean, appeared as the queen's children. In the 1990s, Seymour earned popular and critical praise for her role as Dr. Michaela "Mike" Quinn in the television series Dr. Quinn, Medicine Woman and its television sequels (1993–2001). Her work on the series earned her a second Golden Globe Award. While working on the series Dr. Quinn, Medicine Woman, she met her fourth husband, actor director James Keach. In the 2000s, Seymour continued to work primarily in television. Seymour appeared in the Hallmark Channel film Dear Prudence (2008) and Lake Effects (2012). In April 2016, she starred as Florence Lancaster in Noël Coward's play The Vortex, presented in Singapore by the British Theatre Playhouse. In 2022, Seymour became the lead character and an executive producer in the Irish Acorn TV series Harry Wild. In the 1980s, Seymour began a parallel career as a writer of self-help and inspirational books, including Jane Seymour's Guide to Romantic Living (1986), Two at a Time: Having Twins (2002), Remarkable Changes (2003) and Among Angels (2010). She also co-wrote several children's books, with her then husband James Keach, for the This One 'N That One series. In 2008, Seymour replaced Selina Scott as the new face of fashion label CC (formerly known as Country Casuals) under the Austin Reed banner of retailers. Likewise in 2008, Seymour teamed up with and designed the "Open Heart Collection" for Kay Jewelers, which promoted it with the advice, "Keep your heart open and love will always find its way in." Beginning that year, she saw to it that she would always be wearing one of the collection's necklaces whenever seen in public while not in character for any of her acting performances. In the same year, Seymour also wrote and published the books Open Hearts: If Your Heart Is Open, Love Will Always Find Its Way In and Open Hearts Family. A 2.08-carat cushion-cut fancy vivid blue diamond in an 18-karat rose-gold-plated platinum setting was named "The Jane Seymour" in her honour by World of Diamonds Group, which had mined it in Russia, cut and set it. The ring was presented to Seymour in April 2016 in Singapore while she was there to star in The Vortex. Jane Seymour has been married and divorced four times. Her first marriage, to Michael Attenborough, the son of film actor and director Richard Attenborough, was from 1971 to 1973. She was then briefly married to Attenborough's friend Geoffrey Planer from 1977 to 1978.
At the 2022 TCM Classic Film Festival, Seymour revealed that she and Christopher Reeve fell in love during production of the film Somewhere in Time in 1979, but they broke up when Reeve learned that his ex-girlfriend was expecting his child. The two remained good friends until Reeve’s death. In 1981, Seymour married David Flynn. The marriage produced two children: Katherine Flynn (born on 7 February 1982) and Sean Flynn (born on 31 July 1985). Flynn had involved her in property investment which left her "completely beyond bankrupt". They divorced in 1992. The following year, Seymour married actor James Keach. Together they had twins, John Stacy and Kristopher Steven, born 30 November 1995, and named after family friends Johnny Cash and Christopher Reeve and James's brother, actor Stacy Keach. In February 2005, Seymour became a naturalised citizen of the United States. Seymour is a celebrity ambassador for Childhelp, a national nonprofit organisation dedicated to helping victims of child abuse and neglect. In 2007, she sponsored a children's Art Pillow contest as part of the Jane Seymour Collection, with the proceeds going to Childhelp. In December 2015, Seymour divorced Keach. In February 2018, she posed for Playboy for a third time, becoming at the age of 67 the oldest woman to be photographed for the magazine. In the Playboy interview, Seymour revealed that she briefly quit acting after being sexually harassed by an unnamed film producer in the early 1970s. |
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