Emner der beskriver bøger af Catherine Barjansky

(Catherine Barjansky, Portraits with backgrounds in Infinite Variety)

Ekaterina Lvovna Konstantinovskaya dit Catherine Barjansky, Boch frères Kéramis 1934.
Sculpting Made Easy
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Designer : Ekaterina Lvovna Konstantinovskaya dit Catherine Barjansky

Sculpting Made Easy: The Barjansky Method of Figure and Portrait Sculpture by Outline

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  • TAG : Pour Alexandre et Catherine Barjansky." ..
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  • For the first three decades of the twentieth century, the fabled Marchesa Luisa Casati (1881-1957) triumphed as the brightest star in European society. Possibly the most artistically represented woman in history after the Virgin Mary and Cleopatra, the portraits, sculptures and photographs of her would fill a gallery. In a quest for immortality, she had herself painted by Giovanni Boldini, Augustus John, Kees Van Dongen, Romaine Brooks and Ignacio Zuloaga; sketched by Drian, Alberto Martini and Alastair; sculpted by Giacomo Balla, Catherine Barjansky and Jacob Epstein; and photographed by Man Ray, Cecil Beaton and Baron Adolph de Meyer. She frightened Artur Rubinstein, angered Aleister Crowley and intimidated T.E. Lawrence. As muse to the Italian futurists F. T. Marinetti, Fortunato Depero and Umberto Boccioni, she conjured up an elaborate marionette show with music by Maurice Ravel. Accompanied by her pet boa constrictor, she checked into the Ritz Hotel in Paris where it escaped. Considered the original female dandy, Léon Bakst, Paul Poiret, Mariano Fortuny (Note: Rare photo-portrait of Casati at Museo Fortuny Exhibition through December 2006) and Erté dressed her. She adorned herself with the jewels of Lalique and directly inspired the famed 'Panther' design for Cartier. Her parties and appearances at others became legendary–at one celebration in her Venetian palazzo, Nijinsky invited Isadora Duncan to dance; Picasso attended a soirée at her Roman villa; while she costumed herself as a living artwork inspired by Dali for another. Nude servants gilded in gold leaf attended her. Bizarre wax mannequins sat as guests at her dining table, some of them even rumoured to contain the ashes of past lovers. She wore live snakes as jewellery and was infamous for her evening strolls, naked beneath her furs whilst parading cheetahs on diamond-studded leashes. Everywhere she went, she set trends, inspired genius and astounded even the most jaded members of the international aristocracy. Without question, the Marchesa Casati was the most scandalous woman of her day.

    Catherine Barjansky is a sculptress in the ancient medium of wax. Her work must certainly have merit since only the most elegant, famous, exotic, the most noble man became subjects for her ""psychological portraits"". In preciously personal and lines, she tells of that portion of her life from the early 20's until today, the ny of the illustrious which included Freud, Einstein, Sinclair Lewis, Dorothy Thom the Queen of Naples, D. Her insight is her own, cultivated in her own fragrant

  • Never mind. Casati never really was a work of art, anyway. She was, rather, muse to more artists than just about any other muse in history. According to her biography, “Infinite Variety: The Life and Legend of the Marchesa Casati,” by Scot Ryersson and Michael Yaccarino, the marchesa’s personality was captured in one form or another by nearly every important artist of her day: Guiglio de Blaas, Gabriel D’Anunnzio, Giovanni Boldini, Catherine Barjansky, Kees Van Dongen, Augustus John, F.T. Marinetti, Erté Alberto Martini, Baron Adolph de Meyer, Roberto Montenegro, Joseph Paget-Fredericks, Man Ray, Hans Henning von Voigt (the famed Alastair), Cecil Beaton and Dali.

    La Reine Elisabeth de Belgique réalisa un buste en bronze de Catherine Barjansky, qui fut coulé par la Compagnie des Bronzes de Bruxelles en 1954 et un exemplaire fut retiré 1966 pour figurer au Middelheimpark d'Anvers.

    Author: Catherine Barjansky; Rae Foley
    Publisher: New York, Macmillan Co., 1947.
    Edition/Format:  Print book : Biography : EnglishView all editions and formats
    Database:WorldCat
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    Subjects
    • Artists -- Biography.
    • Artists.
    • Barjanski, Katarszyna, -- 1890-1965.
    • View all subjects
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  • Composer Bloch, Ernest
    Movements/Sections 1
    Year/Date of Composition 1916 (January - February), Geneve
    First Publication 1916
    Copyright Information Possibly public domain in parts of the EU and other 70 pma territories.
    This item, public domain in its country of origin, is possibly likewise public domain in the EU due to the EU's implementation of Rule of the Shorter Term for non-EU works. This EU ruling might be superseded by bilateral treaties still in force between some EU countries and countries outside the EU (notably the USA).
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    Dedication Alexandre and Catherine Barjansky
    Composer Time Period Early 20th century
    Piece Style Early 20th century
    Instrumentation cello and orchestra
    Solo - cello
    Orchestra
    3 flutes (3rd also piccolo), 2 oboes, English horn, 2 clarinets (B),
    bass clarinet (B), 2 bassoons, contrabassoon
    4 horns (F), 3 trumpets (C), 3 trombones, tuba
    timpani, bass drum, cymbals, snare drum, tam-tam, tambourine
    celesta, 2 harps, strings

    1916 Catherine Barjansky expose à Rome lors de l’Exposition International d'Art de la "Sécession", à Vienne en 1923, Paris en 1925, Berlin en 1927 et Bruxelles jusqu'en 1939.

Catteau and Catherine Barjansky therefore deserves these few lines

Among the more than thirty artist-autobiographers in my library are Catherine Barjansky, Cecilia Beaux, Sarah Bernhardt, Elizabeth Butler, Frances Cranmer Greenman, Nina Hamnett, Mary P. Harris, Melvina Hoffman, Anna Mary Howitt, Laura Knight, Averil MacKenzie-Grieve, Anna Lea Merrit, Grandma Moses, Vera Mukhina, Ione Robinson, Kay Sage, Consuelo de Saint-Exupéry, Janet Scudder, Clare Sheridan, Dorothea Tanning, Madge Tennent, Grace Turnbull, Marevna Voroben, Katerine Lane Weems, and Beatrice Woods.