Paris Was A Woman

surprendlejour:

Misia Natanson, aussi connu sous le nom de Misia Sert, épouse de Thadée Natanson.

Photographie de Vuillard.

contra-band:

Lee Miller by Edward Steinchen, 1928.

(via labelleotero)

myarmisnotalilactree:

Front row: Man Ray, Mina Loy, Tristan Tzara, Jean Cocteau - Middle row: Kiki, Margaret Anderson, Jane Heap, unidentified, Ezra Pound - Top row: Bill Bird on the left, Hilaire Hiler and Curtiss Moffit on the right

(via surprisingwhereyoufindgod)

books0977:

Quelques Portraits-Sonnets de Femmes (1900). Natalie Clifford Barney. Library Paul Ollendorf. Print (Chapbook). First edition. Poetry.

Natalie Clifford Barney was the daughter of Alice Pike Barney, American painter, who did the watercolor illustrations for the poetry chapbook.

Published in an edition of 500, the poems were dedicated to various women, by initials. The poems were criticized for being conventional. However, the radical subject matter of lesbianism caused a scandal. Natalie’s father Alfred Barney, a wealthy American industrialist, bought up the remaining copies and plates and had them destroyed.

(via labelleotero)

bloomsburyist:

It should come as no surprise that when Annemarie fell for Erika, she did so with near-baroque levels of devotion, several years’ worth of pining, and an unparalleled page count. Although their official relationship lasted for a negligibly short amount of time, their assorted feuds and reconciliations would limp onwards from 1930 to Annemarie’s death in 1942.

To call Erika Annemarie’s type would be an understatement— frankly, to call Erika anybody’s type seems a little redundant: witty; charismatic; roguishly attractive— and stable enough to play the role of protector.   Most importantly, both Erika and Klaus were only too happy to name Annemarie their adopted sibling, providing her with an escape from her own abusive, staunchly homophobic family. In her innumerable letters, Annemarie addresses Erika as “older brother” and “mother”, often signing off as “your child, Miro.”  In these letters, their mutual passion for car maintenance was a dependable feature, as was Annemarie’s mournful request that Erika come visit her in Paris or, if nothing else, send her a conciliatory photograph.  Annemarie’s damaging loyalty to the Schwarzenbach clan was another frequent and fraught topic of discussion: “You know,” wrote Annemarie, “they are absolutely convinced that there is something ‘funny’ about me, that I’m not normal, not responsible for my actions, and—to top it all off— that I must have a heart of stone for behaving in this way.”  You can well imagine Erika’s impatience upon reading, a few days later: “Curiously, I feel quite close to my parents just now… they’re marvelous people— you absolutely must meet them!”

Long after the breakup, they continued to share a possessive, histrionic connection.  When Annemarie announced her lavender marriage to diplomat Claude Clarac, Erika shot off a furious telegram to Klaus, declaring the friendship to be over.  When Annemarie heard about an affair between Erika and the Peppermill’s (male) financier, she threw such a public tantrum that both women spent the next eight months pretending to have never heard of one another.  Even through the stretches of relative calm, their relationship was strained at best. Annemarie died before official apologies could be exchanged, and Erika spent the rest of her life keeping pointedly mum about her once-friend.  Not until the recent discovery of Annemarie’s will (ignored by her family) was it revealed that she had intended to name Erika executor of her literary estate, leaving her the sum of ten thousand Swiss francs.  Reads the will’s conclusion: “Thank you once more to all those who have supported me throughout my life, especially my parents.”

miroirbeaumiroir:

Curtis Moffat - Portrait de Nancy Cunard, 1925.

(via fooloption)

deviatesinc:

Violet Trefusis

surprisingwhereyoufindgod:

Anita Berber by Otto Dix, Berlin, 1920s

surprisingwhereyoufindgod:

Kiki de Montparnasse

deviatesinc:

Marie Laurencin, 1923

photo by Man Ray

Anna, Comtesse Mathieu de Noailles (15 November 1876 – 30 April 1933), was a Romanian-French writer.

In 1897 she married Mathieu Fernand Frédéric Pascal, de Noailles (1873–1942), the fourth son of the 7th Duke de Noailles. The couple soon became the toast of Parisian high society. They had one child, a son, Count Anne-Jules de Noailles (1900–1979).

Anna de Noailles wrote three novels, an autobiography, and many collections of poetry. She had friendly relations with the intellectual, literary and artistic elite of the day including Marcel Proust, Francis Jammes, Colette, André Gide, Frédéric Mistral, Robert de Montesquiou-Fezensac, Paul Valéry, Jean Cocteau, Pierre Loti, Paul Hervieu, and Max Jacob.

So popular was Anna de Noailles that various notable artists of the day painted her portrait, including Antonio de la Gandara, Kees van Dongen, Jacques Émile Blanche, and the British portrait painter Philip de Laszlo. In 1906 her image was sculpted by Auguste Rodin; the clay model can be seen today in the Musée Rodin in Paris, and the finished marble bust is on display in New York’s Metropolitan Museum.

Anna de Noailles was the first woman to become a Commander of the Legion of Honor, the first woman to be received in the Royal Belgian Academy of French Language and Literature, and she was honored with the “Grand Prix” of the Académie Française in 1921.

caecelia:

Erika Mann performing at her own cabaret, Die Pfeffermühle (the pepper grinder), which focused on the threats of fascism, while in exile from 1933-1937. (source)

(via deviatesinc)