#la casati

[lamarchesacasati]

Gustav Adolf Mossa, Pastel of Marchesa Luisa Casati. 1915

Luisa was on holiday in Nice when she chanced accorss the work of Gustav Adolf Mossa. This French symbolist dedicated his craft to rendering fantastical creatures of myth – many of them in ghoulish feminine forms with bloodied lips and nightmarish eyes. His unsettling pastel vision of Luisa reduces her to a shrieking, nonhuman elemental force. At least in part, Mossa perhaps meant the almost perceptible scream from his siren-like subject to echo the horror and indignation expressed by so many at the recent start of the First World War. (x)

[phalangelala]

La Marchesa Luisa Casati, a woman I would die to be haunted by.

Augustus John, The Marchesa Casati, 1919

[z12may12m]

[gacougnol]

MAN RAY (Emmanuel RADNITZKY, dit)

La Marquise Casati (1935)

[topcat77]

La Marquise de Casati, 1950)

Kees van Dongen

Color lithograph

[coulisses-onirisme]

Luisa 1881 - 1957, palazzo Venier Dei Leoni, luxe, fastes et bals masqués, excentricité et sciences occultes... Etc. Marino et Henriette Fortuny, Poivret, Ballets russes

La Marchesa Casati - Augustus Edwin John

[hard--headed--woman]

Hi ladies! For this 3rd post I am again going to talk about a woman I mentionned yesterday (in the post about Natalie Clifford Barney) ;

Romaine Brooks !

Her birth name is Beatrice Romaine Goddard, but we know her as Romaine Brooks. Successful italian american painter, she was born in 1874 in Roma and died in 1970 in Nice (in France) at 96 years old. Her works were successful in the early years of her career, before declining considerably during the 1930s and regaining popularity in the 1960s.

Both her parents were American and had two other children. Shortly after Romaine's birth, they decided to return to the United States, then broke up.

It was here that life took a difficult turn for young Beatrice: her mother took very little care of her, and abused her, accusing her of being possessed by the devil and of bringing bad luck. When she was seven, her mother abandoned her, leaving her to a poor family in New York. This same family informed the child's grandfather, who then decided to take charge of his granddaughter and her education. He placed her in various religious institutions, and for years she saw very little of her mother.

She began drawing and painting at the age of 16.

In 1893, she moved to Europe, became a cabaret singer in Paris and studied painting in Roma. She returned to live with her mother in 1901, after her brother's death, but her mother died in 1902, leaving Romaine to inherit her grandfather's fortune.

From then on, Romaine began to live a very unconventional life. In 1903, she, an open lesbian, and her homosexual friend John Ellington Brooks decided to marry. It's obviously not a love marriage, but an agreement, an arrangement between the two friends: this marriage will give the impression that they respect social norms and will therefore spare them the comments and pressure of society, and they will be free to love whoever they want, sheltered behind their appearance as a married couple.

Romaine and John never lived together, but to thank him for helping her, Romaine paid her friend a monthly allowance.

Romaine has had many lovers in her life : Dolly Wilde, (yeah this is Oscar Wilde's niece, and an interesting person!), the dancer Ida Rubistein, the marquise Luisa Casati, the pianist Renata Borgatti... but the love of her life was Natalie Clifford Barney. As you know it if you've read my post about Natalie, the two women stayed together for about 50 years, from 1914/1915 (unclear) until Romaine's death in 1970.

In 1904, she began using shades of gray in her work, and these would remain the dominant tones in her later paintings.

One of her best-known paintings is "La France Croisée" (Crossed France), which she painted in reaction to the first Battle of Ypres, at the beginning of the first world war.

The "patriotism" that transpires from this allegorical painting and inspired her mobilization for France and the Croix-Rouge française earned her the Légion d'Honneur in 1920.

She was a very successful painter. Her paintings were exhibited all over the world, from Paris to London to New York. Her career peaked in 1925, followed by a decline in the '30s. At this point, she gave up painting and concentrated on drawing, creating works inspired by her unhappy childhood. In the 60s, however, the art world started to take a renewed interest in her paintings.

She died at 96 in Nice, in December 1970, and since then, several prestigious exhibitions in her honor have been organized, rekindling public interest in Romaine Brooks and her work.

Here are some of her paintings :

(This is Natalie Clifford Barney!)

(This is Ida Rubistein)

(The Charwoman)

(This is Renata Borgatti)

(Chasseresse)

There is way much more to say about her and you should really check her life and her art! She was an interesting person with interesting works and I personally am glad I found her paintings.

See you tomorrow!

[estrella-sin-color]

Voy a empezar a irme de apoco, tal vez así, no nos duela, me iré un poco hoy y otro poco mañana, es probable regrese el martes, pero el jueves habré avanzado otro tanto hacía tu olvido, y conforme pasen los días, irás borrando mi risa de tu agenda, mis te amo empezarán a empolvarse y a quedarse arrumbado junto a la alacena. Los besos interminables que soñamos eternos empezarán a perder su frescura y al calor de mis abrazos le llegara el invierno de golpe.

— Julio Casati.

[crazy-so-na-sega]

la logica del gusto

Lui: [entra trafelato in pasticceria; si alliscia i favoriti] Vorrei un cannolo ripieno. Che gusti ha?

Commesso: Crema o caffè.

Lui: Allora crema, grazie.

Commesso: Aspetti, c'è anche il ripieno alla cioccolata.

Lui: Ah, davvero? In tal caso cambio idea.

Commesso: Comandi. Eccole il cannolo alla cioccolata.

Lui: Cioccolata? Che cosa le fa pensare che mi interessi?

Commesso [perplesso]: Ma come, ha appena detto che ha cambiato idea...

Lui: Infatti non voglio più il cannolo alla crema: me ne dia uno al caffè.

Ficcanaso [fingeva di interessarsi al banco delle meringhe; in realtà ascoltava con attenzione] MI scusi, ma il suo comportamento è irrazionale.

Lui: Come si permette?

Ficcanaso: Tra crema e caffè aveva scelto la crema. Le offrono una terza possibilità, la cioccolata, e lei ci vuole far credere che adesso preferisce il caffè? La cioccolata è irrilevante per la sua scelta tra crema e caffè.

Commesso [titubante] Guardi, ho appena sfornato anche dei cannoli alla ricotta.

Lui: davvero? Allora mi dia quello alla cioccolata. La ricotta non mi interessa affatto. Siete contenti adesso? Se proprio ci tenevate, eccovi serviti: prendo la cioccolata.

Ficcanaso: Lei mi sembra un caso disperato.

Lui: Ma che c'è di male? Capita a tutti di cambiare idea, no?

Ficcanaso: Si, però di solito si cambia idea per una ragione. Come la comparsa della cioccolata non è una buona ragione per cambiare da crema e caffè, così la comparsa della ricotta non è una buona ragione per cambiare da caffè a cioccolata.

Lui: Non è una buona ragione? Lo dice lei. Se non avessi saputo che c'era la ricotta, mai e poi mai avrei deciso di passare alla cioccolata!

Commesso: [sottovoce] Lo lasci parlare. Mi sembra molto strano.

Ficcanaso: [neanche tanto sottovoce] Strano, si. Di solito si pensa che la razionalità sia una faccenda di logica. Se uno dice "Piove, ma non piove affatto" abbiamo motivo di preoccuparci: asserire con convinzione una contraddizione è sragionare. Ma la logica non è tutto. Ci sono forme di razionalità che riguardano il modo in cui organizziamo le nostre preferenze. Il signore qui presente ci sembra poco ragionevole proprio perché non riesce a ordinare le sue preferenze usando in modo pertinente le informazioni che riceve. E potrebbe essere irrazionale in molti altri modi che non hanno a che fare direttamente con la logica. Per esempio, le sue preferenze potrebbero non essere transitive.

Lui: [ha finito il cannolo alla cioccolata e sta divorando quello alla crema] Devo dire che questo con la crema è decisamente più buono di quello alla cioccolata. Mi farebbe provare anche quello al caffè, a questo punto? [lo assaggia] Ah, fantastico. Molto meglio di quello alla crema. Però direi anche che è nettamente inferiore al cannolo alla cioccolata.

Ficcanaso: [facendosi schermo con la mano] Che le avevo detto? Le preferenze del signore non sono transitive. Preferisce crema a cioccolata e caffè a crema. E poi ci dice che il caffè è "nettamente inferiore" alla cioccolata.

Lui: Ma quanto la fa difficile! MI creda, questo cannolo alla crema è davvero migliore di quello alla cioccolata. E le dirò di più: è assolutamente chiaro che quello alla cioccolata è ancora meglio. Ecco, li assaggi!

Ficcanaso: Ci manca solo che mi dica che quello alla crema è più buono di se stesso.

Lui: Quello alla crema è molto più buono di se stesso. E' talmente più buono di se stesso che è persino più buono di quello al caffè!

R. Casati A. Varzi ( 100 nuove storie filosofiche semplicemente diaboliche)

[recherchestetique]

THE MARCHESA CASATI

Marchesa Luisa Casati: An inspiringly decadent true tale of a bizarre Italian aristocrat. Pet cheetahs, séances and dresses made from lightbulbs, the heiress, socialite and artist's muse Marchesa Luisa Casati led a life every bit as unusual as her outfits.

Luisa, Marchesa Casati Stampa di Soncino (born Luisa Adele Rosa Maria Amman; 23 January 1881 – 1 June 1957), was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe.

Casati was known for her eccentricities that delighted European society for nearly three decades. The beautiful and extravagant hostess to the Ballets Russes was something of a legend among her contemporaries. She astonished society by parading with a pair of leashed cheetahs and wearing live snakes as jewellery.

She captivated artists and literary figures such as Robert de Montesquiou, Romain de Tirtoff (Erté), Jean Cocteau, and Cecil Beaton.[citation needed] She had a long-term affair with the author Gabriele d'Annunzio, who is said to have based on her the character of Isabella Inghirami in Forse che si forse che no (Maybe yes, maybe no) (1910).[citation needed] The character of La Casinelle, who appeared in two novels by Michel Georges-Michel, Dans la fete de Venise (1922) and Nouvelle Riviera (1924), was also inspired by her.

In 1910, Casati took up residence at the Palazzo Venier dei Leoni, on Grand Canal in Venice, owning it until circa 1924. In 1949, Peggy Guggenheim purchased the Palazzo from the heirs of Viscountess Castlerosse and made it her home for the following thirty years. Today it is the Peggy Guggenheim Collection, a modern art museum on the Grand Canal in the Dorsoduro sestiere of Venice, Italy.

Casati's soirées there would become legendary. Casati collected a menagerie of exotic animals, and patronized fashion designers such as Fortuny and Poiret. From 1919 to 1920 she lived at Villa San Michele in Capri, the tenant of the unwilling Axel Munthe. Her time on the Italian island, tolerant home to a wide collection of artists, gay men, and lesbians in exile, was described by British author Compton Mackenzie in his diaries.

Numerous portraits were painted and sculpted by artists as various as Giovanni Boldini, Paolo Troubetzkoy, Adolph de Meyer, Romaine Brooks (with whom she had an affair), Kees van Dongen, and Man Ray; many of them she paid for, as a wish to "commission her own immortality".[citation needed][citation needed] She was muse to Italian Futurists such as F. T. Marinetti (who regarded her as a Futurist) Fortunato Depero, Giacomo Balla (who created the portrait-sculpture Marchesa Casati with Moving Eyes), and Umberto Boccioni. Augustus John's portrait of her is one of the most popular paintings at the Art Gallery of Ontario; Jack Kerouac wrote poems about it and Robert Fulford was impressed by it as a schoolboy.

[lamarchesacasati]

Marchesa Luisa Casati, 1923. Found in the collection of Espacio Cultural Ignacio Zuloaga (Ignacio Zuloaga y Zabaleta (Spanish, 1870-1945),

[battyaboutbooksreviews]

🗞️📖 Bookish News 📖🗞️

🦇 Extra, extra. Read all about it! 📖 Good evening, bookish bats! A lot happened in the publishing industry last month, but here are a few highlights you may have missed!

Adaptations Jennifer Lopez's production company and Netflix - Emily Henry's Happy Place Laika (Travis Knight directing) - Susanna Clarke's Piranesi Universal (Taika Waititi directing?) - Percival Everett's James We Were Liars adds Rahul Kohli to the cast Patrick Dempsey and Sarah Michelle Gellar have joined the cast of the Dexter prequel, Original Sin Chris McKay to direct Brynne Weaver’s Butcher and Blackbird Ayvan Williams, Jessica Belkin & Savannah Lee Smith casted for Becky Albertalli's The Upside of Unrequited First looks for Heartstopper S3 are out Apple TV - Laura Lippman's The Lady in the Lake Adult Swim - Anthony Bourdain’s graphic novel series, Get Jiro! UCP - Chris Witaker's All the Colors of the Dark The Best Christmas Pageant Ever - Barbara Robinson A24 - Jennifer Lawrence starring - Paul Rainey's Why Don't You Love Me? Netflix - Richard E. Grant and Tom Ellis casted for The Thursday Murder Club Sony - Michael Crichton and James Patterson's Eruption Renee Zellweger starring in 12 Months to Live Awesomeness - Melissa De La Cruz's Blue Bloods The Uglies adaptation has a release date after 18 years (September 13) The trailer for Elin Hilderbrand's The Perfect Couple is up Ursula K. Le Guin’s A Wizard of Earthsea is being adapted into a graphic novel Prime - Colin Firth joins the cast of Young Sherlock Universal - Omid Scobie's Royal Spin Netflix - Bridgerton Season 4 lead announced Amazon - Fourth Wing series adaptation is a go Apple TV - The trailer for Pachinko! Season 2 is up An adaptation of Colson Whitehead’s Nickel Boys will open the 62nd New York Film Festival Patton Oswalt’s comic book Minor Threats is being adapted into a live-action series HBO - Dune: Prophecy releases in November

Cover Reveals Babylonia - Costanza Casati The Get Off - Christa Faust The Ragpicker King - Cassandra Clare What Does It Feel Like - Sophie Kinsella Wake Up and Open Your Eyes - Clay McLeod Chapman Ageless - Renee Schaeffer The Thirteenth Child - Erin A. Craig Song So Wild and Blue: A Life With Joni Mitchell - Paul Lisicky The Meadowbrook Murders - Jessica Goodman On Her Terms - Amy Spalding Onyx Storm - Rebecca Yarros The River Has Roots - Amal El-Mohtar The Wind Weaver - Julie Johnson In Gad We Trust - Josh Gad The Life of Herod the Great - Zora Neale Hurston (posthumous) The Other People - CB Everett How My Neighbor Stole Christmas - Meghan Quinn

Upcoming Releases I Saw the TV Glow director Jane Schoenbrun has a debut novel coming out, Public Access Afterworld Carol Moseley Braun is writing a memoir, Trailblazer: Perseverance in Life and Politics New memoir by Hilary Rodham Clinton The Road is Good - Uzo Aduba Leo Martino Steals Back His Heart - Eric Geron Viola Davis is co-writing with James Patterson

News Macmillan is launching a "new adult fiction" imprint. The 2024 Locus Award winners were announced The 2024 Boston Globe-Horn Book Awards were announced Nebula Award winners were announced Random House is buying Boom! Studios

[the-cricket-chirps]

Man Ray, La Marquise Casati, 1935

Man Ray, Die italienische Marquise Luisa Casati vor den Pferden "Flick und Flock" während des Balls, den der Graf von Beaumont in Paris gab, Juli 1935

[fashionbooksmilano]

Style File The World's most elegant dressed

Iké Udé aRUDE Magazine

Foreword by Valerie Steele Introduction by Harold Koda

Collins, New York 2008, 224 pages,26x33,5cm, ISBN 9780061464201

euro 100,00

email if you want to buy booksinprogressmilano@yahoo.it

Iké Udé's Style File is a remarkable volume that profiles more than 55 of the most influential arbiters of style in the world today. With a foreword by Valerie Steele, director of the Museum at F.I.T., and an introduction by Harold Koda, curator-in-charge of the Costume Institute at the Metropolitan Museum of Art, this beautifully designed book provides an intimate perspective on these unique and influential men and women, offering frank insight to their views on fashion and life through evocative interviews and lush photography. Included among the many notable designers, artists, and public figures are John Galliano, Oscar de la Renta, Carolina Herrera, Isabel and Ruben Toledo, Victoire de Castellane, André Leon Talley, Dita Von Teese, Francesco Clemente, Christian Louboutin, Diane von Furstenberg, Lapo Elkann, Frédéric Malle, Hamish Bowles, Scott Schuman, Romeo Gigli and Lara Aragno, Seidou Keïta, Iris Apfel and many others.

Style File also features numerous editorial features that deepen the book's exploration of enduring style. Annotated photo albums examine the work of premier style-making photographers such as Scavullo, Timothy Greenfield-Sanders, Coreen Simpson, Seydou Keïta, and Maripol. Illustrated essays including those by journalist and professor Nicholas Boston on the popular blog The Sartorialist and by George Pitts, associate chair of photography at the Parsons School of Design, on the Motown Look explore a range of fashion eras, influences, and influencers, from the Belle Epoque to the late visionary stylist Isabella Blow. Evocative archival and portrait photography of fashion legends from Marchesa Casati to Diana Vreeland, select aRude fashion editorials that point to recurring themes in the intertwined cultural-political-style landscape, and style-related aphorisms are featured throughout. This comprehensive, gorgeous book is a rich exploration of personal style that belongs in every well-dressed library.

03/05/24

[vecchiorovere]

Giovanni Boldini. Il pittore che amava le donne. Ritratto di Mademoiselle Lantelme. 1907. Galleria Nazionale d'Arte Moderna e Contemporanea, Roma (Italia).Geneviève "Ginette" Lanthelme (1887 - 1911), pseudonimo di Mathilde Fossey, fu un'attrice e cantante lirica celebre nella Francia degli inizi del Novecento. Spesso al centro delle cronache mondane, fu amante di Alfred Edwards, proprietario del giornale "Le matin", del "Petit sou" e del Théatre de Paris: fece parlare di sé anche a seguito della sua prematura morte, avvenuta per annegamento durante una crociera sull'imbarcazione "Aimée" di Alfred Edwards (cfr. Cecchi, 1962, pp. 214-15).Giovanni Boldini ritrasse l'attrice nel 1907. Un disegno della testa della Lanthelme compare nel catalogo dello "Studio di Giovanni Boldini" (cfr Cardona, 1937, op. cit.).Nel ritratto, l'attrice, vestita con un elegante abito della Maison Doucet, fa sfoggio della sua sfrontata bellezza messa in risalto dalla posa frontale, ripresa dal basso verso l'alto, e dalle dimensioni della tela che rendono la figura monumentale. L'opera è strettamente connessa al "Ritratto della Marchesa Casati con un levriero", di poco successivo (1908, collezione Andrew Lloyd Webber. Ripr. in Dini, 2002, vol. III, tomo II, n. 967): in entrambi i ritratti prevale il nero degli abiti, da cui emergono i toni rosati dei volti delle effigiate e degli elementi floreali all'altezza dei fianchi.Il dipinto, oltre ad avere tutte le caratteristiche del ritratto "à la mode" boldiniano, sembra ispirarsi alla ritrattistica dell'aristocrazia inglese del Settecento, in particolare quella di Gainsborough e Reynolds (cfr. A. Villari in Boldini, 2005, p. 240): d'altronde il pittore ferrarese, nei primi anni '70 dell'Ottocento, si era già cimentato in soggetti settecenteschi in linea col gusto di mercato allora imperante (cfr. R. Campana in Boldini, 2005, p. 117).Il dipinto fu acquistato dalla Galleria Nazionale d'Arte Moderna nel 1914 grazie all'intervento di Ugo Ojetti: l'opera si trovava in vendita al prezzo di dodicimila lire presso tale "Signor Manzi" della Galleria Manzi Joyant di Parigi, il quale, però, l'aveva acquistata per venticinquemila lire. La svendita dipendeva dalla tragica morte dell'effigiata (cfr. lettera al Ministero della Pubblica Istruzione, 1913, Firenze, Fondo Ojetti 250, BNC)

[shaddad]

la marquise casati por man ray (1890-1976)