Georges de Feure (real name Georges Joseph van Sluÿters, 6 September 1868 – 26 November 1943) was a French painter, theatrical designer, and industrial art designer in the symbolism and Art Nouveau styles.
De Feure was born in Paris. His father was an affluent Dutch architect, and his mother was Belgian.
In the 70s, the family had to move to the Netherlands due to the Franco-Prussian war, and they were back to Paris in the 80s.
In 1886, de Feure was one of the eleven students admitted at the Rijkscademievoor Beeldende Kunsten(Royal Academy of Arts) in Amsterdam, but he left for Paris in 1889 since he felt that formal academic training had nothing to offer him. Being of very independent nature, de Feure never again took up formal artistic studies, and forged his own independent path.
Georges de Feure lived in Montmarte, and became part of the bohemian community. Later he would become friend of Claude Debussy, Erik Satie and Maurice Ravel.
His main subject was woman, not any woman in particular, but woman as an ideal, as an existence, beautiful yet anxious, sometimes he even put them in menacing environment to show their anxiety.
In 1890, Georges was recognised by French painter Puvis de Chavannes as one of the most important painters of French Symbolism movement.
Between 1890 to 1900, Georges de Feure was not only painter, but also poster designer and illustrator. He was influenced by Jules Chéret in his posters for the café concert but most likely was never his pupil.
« un des ensembles décoratifs les plus exquis et parfaits que notre époque ait créés »
From 1900, the career of the artist took a different direction. Samuel Bing (1838-1905), founder of the House of Art Nouveau, asked him to design the facade of the Pavilion of Art Nouveau at l'Exposition Universelle de 1900 and later also some part of the interiors as well as some furniture. This is the beginning of a fruitful collaboration, Georges de Feure would design not only furniture but also vases and jewellery.
Afterwards, Georges de Feure also worked for newspapers, created theatre designs for Le Chat Noir cabaret and posters.
In August 1901, de Feure was nominated Chevalier de la Légion d'honneur for his contribution to the decorative arts.
In 1903, there held a retrospective exhibition in Paris of Georges de Feure, and after that he went to Hambourg and La Haye.
During the first 10 years of 20th century, he continued his decorative design, and his style slowly evolved from Art Nouveau to that of Art Deco.
During the First World War, he moved to London where he designed costumes and set for the theatres.
In the 1920s, he was artistic adviser for the shops of French haute couturiere Madeleine Vionnet.
In 1943, Georges de Feure died in poverty at the age of 75 years in the occupied Paris.
name: Gianlorenzo Bernini
original name: Cavaliere Bernini
birth place: Naples
birth date: 7 December 1598
zodiac sign: Sagittarius
death place: Rome
death date: 28 November 1680
Biography of Gian Lorenzo Bernini
Gian Lorenzo Bernini, is an Italian artist, painter, sculptor, architector, inventor, he is credited to have created the Baroque style of sculpture.
While a major figure in the world of architecture, he was, also and even more prominently, the leading sculptor of his age, credited with creating the Baroque style of sculpture.
As one scholar has commented, "What Shakespeare is to drama, Bernini may be to sculpture: the first pan-European sculptor whose name is instantaneously identifiable with a particular manner and vision, and whose influence was inordinately powerful...."In addition, he was a painter (mostly small canvases in oil) and a man of the theater: he wrote, directed and acted in plays (mostly Carnival satires), for which he designed stage sets and theatrical machinery. He produced designs as well for a wide variety of decorative art objects including lamps, tables, mirrors, and even coaches.
As architect and city planner, he designed secular buildings, churches, chapels, and public squares, as well as massive works combining both architecture and sculpture, especially elaborate public fountains and funerary monuments and a whole series of temporary structures (in stucco and wood) for funerals and festivals. His broad technical versatility, boundless compositional inventiveness and sheer skill in manipulating marble ensured that he would be considered a worthy successor of Michelangelo, far outshining other sculptors of his generation. His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual whole has been termed by the late art historian Irving Lavin the "unity of the visual arts".
1620s: David and Apollo
Gianlorenzo Bernini sculpted this life-sized sculpture of David for Pope Paul V’s nephew during the Counter-Reformation, when the Catholic religion was being challenged by Protestantism.
Portrayed at the moment of battle, David infringes forcefully on the viewer’s space. The sculpture captures David as he launches the stone at the giant Goliath. There is a lot of movement in this sculpture with David bending at the waist and his arms twisted to one side. David’s clothing twists dramatically around his body accentuating the power David is putting behind the stone. At his feet lays his discarded armor. His face is full of emotion and he seems more human-like, more relatable. David shows intense determination with his clenched jaw and furrowed brow. The energy and tension of David’s body activates the space around him implying the existence of an opponent.
The sculpture of Apollo and Daphne is the last of Bernini's work commissioned by the Borghese family, and remains one of his most popular sculptures. The influence of antique sculptures (Apollo of Belvedere) and of contemporary paintings (such as those by Guido Reni) are clearly seen in this masterpiece.
1647-1652: Ecstasy of Saint Teresa
« Le Bernin, ah ! le délicieux Bernin [...]. Il est puissant et exquis, une verve toujours prête, une ingéniosité sans cesse en éveil, une fécondité pleine de grâce et de magnificence ! ... »
1648-1651: Fontana dei Quatro Fiumi (Fountain of Four Rivers)
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons.
The circumstances of how Bernini won the commission of this public moment are described as follows in Filippo Baldinucci's The life of Cavaliere Bernini (1682):
1665: King Louis XIV
According to French diarist, a steward at the court of Louis XIV Paul Fréart de Chantelou's diary, the process of selecting suitable marble block took several days to accomplish, and the bust took just over three months to carve.
While searching for a block of marble there was some discussion with members of the court about whether or not Bernini would make a full body statue or a bust. Bernini began drawing after the marble block had been selected.
However, it seems that once he had done this initial work, Bernini chose to work only during sittings with the king. His pupil, Giulio Cartari, began work on carving down the chosen block of marble (and would later do much of the drapery work), and then Bernini took over, taking forty days to complete the work. He had hoped to have twenty sittings with the king during the final carving process, but in fact there were thirteen of around one hour each.
The bust is modelled heavily after an earlier bust that Bernini made almost a decade ago of Francesco d'Este, the duke of Modena, and other than the fact that Louis' cloak was slightly longer horizontally a person would not be able to tell that one was of higher nobility.
Bernini's son and biographer, Domenico Bernini, noted the artistic arguments of his father as to why the King agreed to sit for such a length of time, explaining that the artist preferred to work from Truth rather than rely on the unnecessary imaginative extras that would creep into working from sketches. Equally, Bernini wanted to see the king, as he did many of this other sitters, not remaining immobile, but sitting and talking in such ways that Bernini could capture all his characteristics.
Such an approach, with Bernini wishing to capture the figure in physical and psychological motion, was a common element of Bernini’s work: “mere resemblance is inadequate. One must express what goes on in the heads of heroes,” Bernini is recorded as saying. Bernini also observed the king in other locations - playing tennis, resting after lunch, or simply walking around court.
Art historian and biographer of artists Filippo Baldinucci records numerous events that advertise Bernini’s supposed influence on French culture, including one incident where Bernini rearranged the King’s hair to give greater exposure to the King’s brow - the new stye was apparently followed by all at the French court, and became known as the Bernini modification. Contemporary art historians are sceptical of this however; Jeanne Zarucchi claims that the alteration was deliberate, altering the shape of the King's head in an unflattering manner.
But King Louis XIV's hairstyle apart, what if Gianlorenzo had tried harder to please the Sun King? What if the Great Bernini had designed Louvre?
Profile of Georg Philipp Telemann
Georg Philipp Telemann (24 March 1681 – 25 June 1767) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches.
Telemann is one of the most prolific composers in history and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. As part of his duties, he wrote a considerable amount of music for educating organists under his direction. This includes 48 chorale preludes and 20 small fugues (modal fugues) to accompany his chorale harmonizations for 500 hymns. His music incorporates French, Italian, and German national styles, and he was at times even influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music stands as an important link between the late Baroque and early Classical styles. The Telemann Museum in Hamburg is dedicated to him.
Biography of Georg Philipp Telemann
Telemann was born in Magdeburg, then the capital of the Duchy of Magdeburg, Brandenburg-Prussia. His father Heinrich, deacon at the Church of the Holy Spirit (Heilige-Geist-Kirche), died when Telemann was four. The future composer received his first music lessons at 10, from a local organist, and became immensely interested in music in general, and composition in particular. Despite opposition from his mother and relatives, who forbade any musical activities, Telemann found it possible to study and compose in secret, even creating an opera at age 12.
In 1697, Telemann was sent to the famous Gymnasium Andreanum at Hildesheim, where his musical talent flourished, supported by school authorities, including the rector himself. Telemann was becoming equally adept both at composing and performing, teaching himself flute, oboe, violin, viola da gamba, recorder, double bass, and other instruments.
In 1701 he graduated from the Gymnasium and went to Leipzig to become a student at the Leipzig University, where he intended to study law. He ended up becoming a professional musician, regularly composing works for Nikolaikirche and even St. Thomas (Thomaskirche). In 1702 he became director of the municipal opera house Opernhaus auf dem Brühl, and later music director at the Neukirche. Prodigiously productive, Telemann supplied a wealth of new music for Leipzig, including several operas, one of which was his first major opera, Germanicus.
Telemann left Leipzig in 1705 at the age of 24, after receiving an invitation to become Kapellmeister for the court of Count Erdmann II of Promnitz at Sorau (now Żary, in Poland). His career there was cut short in early 1706 by the hostilities of the Great Northern War, and after a short period of travels he entered the service of Duke Johann Wilhelm in Eisenach where Johann Sebastian Bach was born. He became Konzertmeister on 24 December 1708 and Secretary and Kapellmeister in August 1709. During his tenure at Eisenach, Telemann wrote a great deal of music: at least four annual cycles of church cantatas, dozens of sonatas and concertos, and other works. In 1709, he married Amalie Louise Juliane Eberlin, lady-in-waiting to the Countess of Promnitz and daughter of the musician Daniel Eberlin. Their daughter was born in January 1711. The mother died soon afterwards, leaving Telemann depressed and distraught.
On 18 March 1712 Tellemann moved to Frankfurt at the age of 31 to become city music director and Kapellmeister at the Barfüßerkirche and St. Catherine's Church. In Frankfurt, he fully gained his mature personal style. Here, as in Leipzig, he was a powerful force in the city's musical life, creating music for two major churches, civic ceremonies, and various ensembles and musicians. By 1720 he had adopted the use of the da capo aria, which had been adopted by composers such as Domenico Scarlatti.
On 28 August 1714, three years after his first wife had died, Telemann married his second wife, Maria Catharina Textor, daughter of a Frankfurt council clerk. They eventually had nine children together. This was a source of much personal happiness, and helped him produce compositions. Telemann continued to be extraordinarily productive and successful, even augmenting his income by working for Eisenach employers as a Kapellmeister von Haus aus, that is, regularly sending new music while not actually living in Eisenach. Telemann's first published works also appeared during the Frankfurt period. His output increased rapidly, for he fervently composed overture-suites and chamber music, most of which is unappreciated. In the latter half of the Frankfurt period, he composed an innovative work, his Viola Concerto in G major, which is twice the length of his violin concertos. Also, here he composed his first choral masterpiece, his Brockes Passion, in 1716.
In 1721 The ambitious composer accepted the invitation to work in Hamburg as Kantor of the Johanneum Lateinschule, and music director of the five largest churches. Soon after arrival, Telemann encountered some opposition from church officials who found his secular music and activities to be too much of a distraction for both Telemann himself and the townsfolk. The next year in 1722, the city of Leipzig was looking for a new Thomaskantor which Telemann applied for and got the post, but Hamburg authorities agreed to give him a suitable raise. That post finnly went to Johann Sebastian Bach.
Between 1737 and 1738 Teleman traveled to Paris and stayed there for eight months. He was impressed by the opera Castor et Pollux, written by French composer Jean-Philippe Rameau. From then on, he incorporated the French operatic style into his vocal works. Before then, his influence was primarily Italian and German. Apart from that, Telemann remained in Hamburg for the rest of his life. A vocal masterpiece of this period is his St Luke Passion from 1728, which is a prime example of his fully matured vocal style.
His first years in Hamburg were plagued by marital troubles: his wife's infidelity, and her gambling debts, which amounted to a sum larger than Telemann's annual income. The composer was saved from bankruptcy by the efforts of his friends, and by the numerous successful music and poetry publications Telemann made during the years 1725 to 1740. By 1736 husband and wife were no longer living together because of their financial disagreements.
In the 1740s, Telemann became less productive although still active and fulfilling the many duties of his job. He took up theoretical studies, as well as hobbies such as gardening and cultivating exotic plants, something of a fad in Hamburg at that time, and a hobby shared by Handel. Most of the music of the 1750s appears to have been parodied from earlier works. Troubled by health problems and failing eyesight in his last years, Telemann was still composing into the 1760s.
He died on the evening of 25 June 1767 from what was recorded at the time as a "chest ailment." He was succeeded at his Hamburg post by his godson, Johann Sebastian Bach's second son Carl Philipp Emmanuel Bach.
Telemann was one of the most prolific major composers of all time:his all-encompassing oeuvre comprises more than 3,000 compositions, half of which have been lost, and most of which have not been performed since the 18th century. From 1708 to 1750, Telemann composed 1,043 sacred cantatas and 600 overture-suites, and types of concertos for combinations of instruments that no other composer of the time employed.
During his lifetime and the latter half of the 18th century, Telemann was very highly regarded by colleagues and critics alike. Major composers such as J. S. Bach and Handel bought and studied his published works. He was immensely popular not only in Germany but also in the rest of Europe. It was only in the early 19th century that his popularity came to a sudden halt. Most lexicographers started dismissing him as a "polygraph" who composed too many works, a Vielschreiber for whom quantity came before quality.
It was not until the 20th century that Tellemann's music started being performed again. The revival of interest in Telemann began in the first decades of the 20th century and culminated in the Bärenreiter critical edition of the 1950s. Today each of Telemann's works is usually given a TWV number, which stands for Telemann-Werke-Verzeichnis (Telemann Works Catalogue).
Telemann's music was one of the driving forces behind the late Baroque and the early Classical styles. Starting in the 1710s he became one of the creators and foremost exponents of the so-called German mixed style, an amalgam of German, French, Italian and Polish styles. Over the years, his music gradually changed and started incorporating more and more elements of the galant style, but he never completely adopted the ideals of the nascent Classical era: Telemann's style remained contrapuntally and harmonically complex.
Equally important for the history of music were Telemann's publishing activities. By pursuing exclusive publication rights for his works, he set one of the most important early precedents for regarding music as the intellectual property of the composer.
Name: Gleb Derujinsky
Birth place: New York, U.S.
Birth date: 19 March 1925
Death place: Durango, Colorado, U.S.
Death Date: 9 June 2011
Languages: Russian, French, English
Gleb Derujinsky (19 March 1925 – 9 June 2011) was an American fashion photographer. He worked for Esquire, Look, Life, Glamour, Town and Country and The New York Times Magazine, before shooting extensively for Harper’s Bazaar. Eileen Ford, founder of Ford Models agency, described him as an “early visionary on a path that others were to follow”.
Gleb Derujinsky was born in New York City in 1925, and named after his father Gleb W. Derujinsky, an immigrant of Russian nobility who became a successful sculptor. The Derujinsky family served the Russian tsars as far back as Peter the Great, and relatives include the composer Nikolai Rimsky-Korsakov and the painter Mikhail Vrubel.
Derujinsky’s mother, the classical pianist Alexandra Micholoff Derujinsky, died in the late 1950s.
Derujinsky’s first languages were Russian and French, and he went on to learn English while enrolled at the Trinity School in New York.
In 1942, Derujinsky became a corporal in the army and stayed until after the end of World War II. His language abilities and negotiation skills contributed to his being promoted to Staff Sergeant halfway through his tours, and learned Morse Code in just 30 days
Upon his return to New York City, he opened his first photography studio with his veteran loan. By February 1948, he landed his first cover with Collier’s magazine. Shortly thereafter, he began working for Harper’s Bazaar Jr., an offshoot of Harper’s Bazaar aimed towards college-age women that became a supplement of Harper’s Bazaar. Derujinsky was retained as a freelance photographer, working alongside Richard Avedon, Lillian Bassman, and Louise Dahl-Wolfe for editors Carmel Snow and Diana Vreeland and art director Alexey Brodovitch.
Citing the great photographer Horst P. Horst as a key influence, Derujinsky photographed the Paris Spring collections from 1953-1963 and was known for his outlandish ideas and travel images taken in remote locations all over the world at time when travel, especially by air, was far from common.
“Gleb Derujinsky is an original, the Indiana Jones of the fashion photographers. He flew his own private plane to exotic places—models and edi- tors in tow. Wow, the stories that came back! His Paris collection photos nailed the vibe of people in everyday life, juxtaposed with elegance, a metaphor for his notion of Paris at the time.”
Derujinsky also freelanced for Look Magazine, Town and Country, The New York Times Magazine, Ladies’ Home Journal, Esquire, Glamour, Seventeen, Life, and Good Housekeeping.
Working extensively with Carmen Dell’Orefice and his then-wife Ruth Neumann-Derujinsky, his work also featured many of the era’s top models, from Jean Patchett and Jean Shrimpton, to Nena Von Schlebrügge and Iris Bianchi.
“It’s a tribute to Gleb Derujinsky that his best photographs for Harper’s Bazaar could be mistaken for Avedons. He spun narratives of Parisian chic and New York joie de vivre that have lost not a bit of their charm.”
Gleb Derujinsky, l'œil de la mode
Glenda Bailey, rédactrice en chef, Harper’s Bazaar.
«Je n’ai jamais confondu ses photos avec celles d’ Avedon ou qui que ce soit d’autre. Le style de Gleb était indubitablement personnel. […]
Il n’avait besoin de copier personne. Il avait sa propre vision et connaissait son équipement. Il avait sa manière à lui de voir la lumière et l’environnement.
Avec lui, j’avais le sentiment de faire partie d’une vision sortie de son esprit et qu’il réalisait dans une photographie.»
Carmen Dell’Orefice, mannequin.
Biography of Galina Sergeyevna Ulanova
Galina Sergeyevna Ulanova (8 January 1919 – 21 March 1998) was a Russian ballet dancer. She is frequently cited as being one of the greatest ballerinas of the 20th century.
Ulanova was born in Saint Petersburg, Russia, where she studied under Agrippina Vaganova and her own mother, a ballerina of the Imperial Russian Ballet. When she joined the Mariinsky Theatre in 1928, the press found in her "much of Semyonova's style, grace, the same exceptional plasticity and a sort of captivating modesty in her gestures". They say that Konstantin Stanislavsky, fascinated with her acting style, implored her to take part in his stage productions.
In 1944, when her fame reached Joseph Stalin, he had her transferred to the Bolshoi Theatre, where she would be the prima ballerina assoluta for 16 years. The following year, she danced the title role in the world premiere of Sergei Prokofiev's Cinderella.
In 1954, she published her autobiography: L'École d'une ballerine, translated from Russian into French by Jean Champenois.
Ulanova was a great actress as well as a dancer. In 1965, when she was finally allowed to tour abroad at the age of 46, enraptured British papers wrote that "Galina Ulanova in London knew the greatest triumph of any individual dancer since Anna Pavlova". Having retired from the stage at the age of 50, she coached many generations of the Russian dancers.
Ulanova was one of the few dancers to be awarded Hero of Socialist Labour and the only one to receive this honour twice. She was also awarded the highest exclusively artistic national title, People's Artist of the USSR. And she was awarded the Stalin Prize in 1941, 1946, 1947, 1950, and the Lenin Prize in 1957. She was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1960.
She died in 1998 in Moscow, aged 88, and is buried in the cemetery of the Novodevichy Convent.
Ulanova's apartment in one of Moscow's Seven Sisters, the Kotelnicheskaya Embankment Building, is preserved now as a memorial museum. Monuments to Ulanova were erected in Saint Petersburg and Stockholm.
Biography of Gloria Vanderbilt
1925: A 5 million dollar baby
Gloria Vanderbilt (with full name Gloria Laura Madeleine Sophie Vanderbilt) was born in New York on 20 February 1924, into the wealthiest family in America, whose Patriarch Cornelius Vanderbilt (1794-1877), her great-great grandfather made his enormous fortune from steamship and railroad and left behind about 200 million dollars.
Her father, Reginald Claypoole Vanderbilt (1880–1925), unfortunately, was a gambler and an alcoholic, who died of liver disease when Gloria was not yet 2 years old, and left her with 5 million dollar in trust fund (67 million dollar in today's value).
1925-1933: A movable feast in Europe
Her mother, Gloria Mogan(1904-1965), the twin sister of Thelma Furness(who was ex-lover of Edward VIII when he was Prince of Wales), took Little Gloria to Paris to live. And from then on, they(or rather her mother Gloria Mogan) live like wealthy Gypsies, in a permanent movable feast, from Paris to London to Cannes and back to Paris again, and Little Gloria stayed with her loyal nanny Emma Sullivan Kieslich more than with her own mother.
1934: Trial of Century
The idyllic life as an European exile came to a halt for Gloria Mogan, when her mother was upset about the social life of her daughter and concerned about the future of her granddaughter little Gloria, and decided to enlist the help of the latter's aunt, Gertrude Vanderbilt Whitney, thus triggering the most scandalous war of custody of the 20 century.
The testimony would become so off colour that the judge had to close the door of the courtroom to the public, but the damage has been done. Gloria Vanderbilt would be forever called "The poor little rich girl".
When it finally ended, Gloria Mogan lost the custody of her daughter who would be living with her aunt Gertrude for the next seven years in the latter's Long Island Estate.
1941: From Long Island to Hollywood
It seems that deep in her heart, Gloria Vanderbilt was her mother's daughter, aspiring for life and freedom, and her aunt Gertrude's way of raising her up was perhaps too much for her.
At age of 17, she decided to leave her aunt to go to Hollywood. There, she met the very handsome and very rich Howard Hughes. she wanted to marry him.
But instead she married his press secretary, Pasquale DiCicco, and her aunt Gertrude was so angry about the news that she disinherited Gloria.
And the marriage was not a happy one, full of physical abuses and violence from her husband. So four years later, Gloria divorced him, walking out of the marriage not only happier, but richer, as she came into her $5 million trust fund.
And she was in love.
The new man in her life was Leopold Stokowski, a man of music, a British conductor of Polish origin. Although more than 40 years older than her, he was also a man of passion, and they got married just a few weeks after Gloria's divorce.
And it was thanks to him, Gloria Vanderbilt discovered her love in art and decided to nurture her talent by painting, writing poetry and studying at The Art Students League of New York, then embarked on a short career in acting, on Broadway as well as in television dramas, she also became mother of two sons: Stan Stokowski and Christopher Stokowski.
After 10 year of marriage with Leopold Stokowski, Gloria decided to divorce him after a short affair with Frank Sinatra.
And she did not stay divorced for long.
1956: third time in a row
In 1956, Gloria Vanderbilt Married Sidney Lumet, a television then film director. Their marriage lasted for 7 years but they remained friends all their life.
1963: love of her life
Then Gloria met screenwriter Wyatt Cooper.
They married in 1963, and Gloria would stay in this marriage until death took her husband away.
To Gloria Vanderbilt, Wyatt Cooper was the love of her life, her soul mate.
And the father of her children.
Gloria had longed to become mother again, and Cooper made her dream come true by giving her two beautiful sons: Carter Cooper and Anderson Cooper. It also made Gloria Vanderbilt discover another wonderful side of Cooper:
“We had the family life that I’d always wanted,” Vanderbilt said. “He made me understand what it would have been like to have had a father – he was a most amazing father. I’d never experienced anything like it.”
The marriage was also very inspiring for Gloria's sense of creativity. She got the idea of designing her own brand of jeans, by making the high-end Italian jeans she herself wore more affordable and fit better. It was huge success, so successful that she became "the duchess of denim" or "queen of jean", and later would branch out into other areas including scarves, shoes, table and bed linen and even china.
While life gave her glory, it was also waiting to bring her tragedy. After 15 year of happy marriage, in 1978 Gloria lost her husband Wyatt Cooper to heart attach on operating table.
She never married again.
Ten years later, in 1988, she would have to live through another devastating tragedy: her first son with Wyatt Cooper, Carter Cooper would jump out of her apartment, killing himself.
She survived again, and wrote a book to deal with her pain years later.
2000s: warrior of society
After living so much and seeing it all, Gloria Vanderbilt continued to live more fully: she dined and danced and designed, she painted and exhibited her works, and she wrote, and wrote, and wrote. Nothing seemed taboo for her, not even erotica. In 2009, she wrote an erotic novel Obsession, and she was not shamed about it, either.
“I don’t think age has anything to do with what you write about. The only thing that would embarrass me is bad writing, and the only thing that really concerned me was my children. You know how children can be about their parents. But mine are very intelligent and supportive."
2016: The rainbow comes and goes
Anderson Cooper, Gloria Vanderbilt's younger son she had with her last husband Wyatt Cooper, had always had close relationship with her mother. But as a prominent journalist and news anchor for CNN who had extremely busy schedule and a public figure who was private about his personal life, there are things mother and son either do not have time to talk or choose not to talk.
Until one day, Anderson Cooper decided that he wanted to ask his mother things he did not ask before, tell her thing he did not tell her before. They sat down, talked, and it opened the door to his mother's memory. They made the conversations into written word, to record, to remember, to love.
Gloria Vanderbilt died at her home in Manhattan on June 17, 2019 of stomach cancer earlier in the month. She would be buried next to her son Carter Cooper and last husband Wyatt Cooper.