Guadalupe "Lupe" Marín, born María Guadalupe Marín Preciado, was a Mexican model and novelist. Marín was born in Ciudad Guzmán, Mexico; when aged eight, Marín moved with her family to Guadalajara. In 1922, she became the second wife of muralist Diego Rivera, she was the mother of Rivera's two youngest daughters and Guadalupe Rivera-Marín. Marín was married to Rivera for six years, ending in 1928, she was married to the poet Jorge Cuesta on November 9, 1928. She had one son from her second marriage, Lucio Antonio Cuesta-Marín, born in 1930. Marín was the subject of portrait paintings by Frida Kahlo and Juan Soriano, she is featured in the Rivera mural Creation, for which she modeled as Strength and Woman, modeled nude as Earth for Rivera's Chapingo chapel mural while several months pregnant. She modeled for photographer Edward Weston. Of the 1924 portrait, Weston wrote "I am finishing the portrait of Lupe, it is a heroic head, the best I have done in Mexico." In 1938, Marín's semi-autobiographical novel La Única was published.
Her book La Única was banned in Mexico for many years owing to its erotic nature. In 2003, the novel and Marín were cited by author Salvador A. Oropesa in his book The Contemporáneos Group as being a feminist component of a counterculture writers' movement in post-revolutionary Mexico, she wrote Un día patrio in 1941, in which she expressed political ideas. Marín died in Mexico City on September 16, 1983 at the age of 87. A novel in Spanish about Marín and Rivera's time together, Dos Veces única by Elena Poniatowska, was published in 2016, she was portrayed by Valeria Golino in the 2002 film Frida
The Two Fridas
The Two Fridas is an oil painting by Mexican artist Frida Kahlo. The painting was the first large-scale work done by Kahlo and is considered one of her most notable paintings, it is a double self-portrait. One is wearing a white European-style Victorian dress while the other is wearing a traditional Tehuana dress; the painting was created in 1939, the same year that Kahlo divorced Diego Rivera, although they remarried a year later. Some art historians have suggested that the two figures in the painting are a representation of Frida's dual heritage, her father, Guillermo Kahlo, was German. Another interpretation is that the Tehuana Frida is the one, adored by her husband Diego Rivera, while the European Frida is the one, rejected by him. In Frida's own recollection, the image is of a memory of a childhood imaginary friend. Both Fridas hold items in their lap. Blood spills onto the European Frida's white dress from a broken blood vessel, cut by the forceps; the blood vessel connects the two Fridas.
The work alludes to Kahlo's life of constant pain and surgical procedures and the Aztec tradition of human sacrifice. Because this piece was completed by Kahlo shortly after her divorce, the European Frida is missing a piece of herself, her Diego. According to Kahlo's friend, Fernando Gamboa, the painting was inspired by two paintings that Kahlo saw earlier that year at the Louvre, Théodore Chassériau's The Two Sisters and the anonymous Gabrielle d'Estrées and One of Her Sisters; the Two Fridas is housed at the Museo de Arte Moderno in Mexico City
Hussy is a 1980 British film starring Helen Mirren, John Shea, Paul Angelis, directed by Matthew Chapman. Beaty is a prostitute working at a London cabaret where Emory is a sound/lighting technician, they begin an affair encumbered by Beaty's job as a call girl. They fall in love, but predictably he grows uncomfortable with her line of work. In addition Emory has a bit of a dark secret from his past involving the accidental death of his then-wife. To further complicate things, Beaty has shared custody of a young son. A pair of unsavory characters from each of the lovers' pasts shows up and further endangers their love. Emory's gay friend Max wants to cut Emory in on an upcoming drug deal, he is foppish and abrasive. Beaty's abusive former lover, the father of her son and her pimp is Alex, a strong-arm gorilla type fresh out of prison arrives, needing a place to stay. Alex is a brutish psychopath who threatens Beaty and Emory's future. Emory and Beaty's two past companions could not be more different, Max is sophisticated, articulate and outspoken.
Alex is a working class English thug, quiet and burning with violent rage. Beaty rebuffs Alex's desire to rekindle whatever they had and this enrages him, he does however agree to be Emory's caper. On the day of the caper, Max and Alex end up in a car together with Max continuously taunting Alex. Alex has enough and shoots Max dead in the car. Emory and Alex dispose of the body and it becomes apparent that Alex is aware of Emory's intention to take Beaty and her son away, he insists that Emory take some surplus cash found on Max's body. Emory drops Alex off with the smuggled drugs where Alex promises to'take care of' the drugs' intended recipients to keep them from bothering Alex, Emory or Beaty; when Emory and Beaty first reunite, she refuses to leave the country with him, citing a concern about her son having trouble uprooting and letting go of her past though with the proceeds from the smuggling, they will be well set up and she will never have to work at her past profession again. The end shows Emory and her child racing to catch a plane, free of their past encumbrances.
Helen Mirren - Beaty Simons John Shea - Emory Cole Paul Angelis - Alex Denham Murray Salem - Max Jenny Runacre - Vere Daniel Chasin - Billy Patti Boulaye - Cabaret Singer Marika Rivera - French Singer The poster for Hussy was produced by noted poster artist Sam Peffer. Hussy on IMDb Review of the film in Variety Review of the film in DVD Talk
Angelina Beloff was a Russian-born artist who did most of her work in Mexico. However, she is better known as Diego Rivera’s first wife, her work has been overshadowed by his and that of his wives, she studied art in Saint Petersburg and went to begin her art career in Paris in 1909. This same year she married him. In 1921, Rivera returned to Mexico, divorcing her, she never remarried. In 1932, though her contacts with various Mexican artists, she was sponsored to live in work in the country, she worked as an art teacher, a marionette show creator and had a number of exhibits of her work in the 1950s. Most of her work was done in Mexico, using Mexican imagery, but her artistic style remained European. In 1978, writer Elena Poniatowska wrote a novel based on her life. Angelina Beloff was born in Saint Petersburg, Russia during the Tzarist period, raised there by an intellectual family, she entered the St. Petersburg Academy of Arts in 1905 as the city was the center of Russian art. Beloff's professors encouraged her to move to France to continue studying, which she did after her parents died in 1909.
She lived in Paris with support of the Russian government as well as a trust fund from her family, working first in the studio of Henri Matisse and in the studio of Spanish painter Hermenegildo Anglada Camarasa. During this time, her skills developed, as she learned the printmaking techniques of engraving in both wood and metal and earned recognition for her painting and drawing, she worked as an art teacher. She went because France was at the vanguard of new painting expression, which had not yet arrived to Russia, thus Paris attracted artists from various countries. She met a number of Mexican artists in France and Belgium, meeting Diego Rivera during a trip with artist María Blanchard to Brussels. Rivera pursued her romantically and were married in Paris by the end of 1909, they had one child named Miguel Ángel, who died of lung complications when he was only fourteen months old. The couple’s life in Paris was not easy, economically during the First World War which produced shortages of basic necessities as well as artistic supplies.
She worked various jobs. She left a diary of her life with Rivera which describes their private life, their exchanges of ideas as painters and collaborative projects, as well as interaction with other painters of their time. Diego was not faithful to her. In 1921, Rivera was called back to Mexico by José Vasconcelos to paint after the Mexican Revolution. Beloff did not accompany him. Rivera never decided to reunite with Beloff, he continued to send money for her support afterwards. She became reclusive after Rivera married Guadalupe Marín; the nearly twelve-year relationship gave her link to Mexico, having friendships with David Alfaro Siqueiros, Adolfo Best Maugard, Ángel Zárraga, Roberto Montenegro and others. She was invited to come to Mexico to live by Alfonso Reyes and Germán Cueto arriving to Mexico in 1932, when she was 53. While not part of Rivera’s social and professional sphere, she had her own though that meant she was somewhat marginalized, she said that while she ran into Rivera living in Mexico City, she never reproached him, only mocked him a little.
She lived 37 years in Mexico, pursuing her art career and founding a number of public institutions devoted to the arts. She died in Mexico City on December 30, 1969 at the age of 90, she worked in oils, etchings, graphic arts, puppets and drawing creating portraits, landscapes and other illustrations, stages scenes and marionettes. Beloff produced most of her work in Mexico, painting and puppet theater; as a painter her major work was in watercolors. Her etching and engraving work was for the illustration of books in Europe, she created new techniques in etching. In Europe until 1932, she exhibited at the Tullerías, Independentes and other galleries. While in Paris she painted portraits of various famous Mexicans living there. In Mexico, she exhibited at the Sala de Arte of the Secretaría de Educación Pública, the Galería de Arte Mexicano and the Salón de la Plástica Mexicana in the 1950s. Most of her engravings and oils have gone into public and private collections including those of the Museo de Arte Moderno, the Museo Nacional de Arte and the Blaisten Collection.
However, a large number of her works drawing and engravings in metal and wood are part of the collection of the Museo Dolores Olmedo. It is the most important collection of her work as it contains an assortment of drawings, graphics and an oil that shows the extent of her talent; the collection was acquired by the museum in 1994, with the exception of the oil called Tepoztlan, all are from her early career, created in France in the 1910s and 1920s. They include thirty original woodcuts commissioned by the Arthem Fayard publishing house to illustrate the novel Ariane, June fille russe by Claude Anet. Other important works are dry point to illustrate "To Build a Fire" by Jack London, she was one of a number of foreign artists invited to Mexico to help shape the country’s cultural scene in the decades after the Mexican Revolution. She started working as a drawing and engraving teacher for schools and workshops for the Secretaría de Educación Pública in 1932 and with the Instituto Nacional de Bellas Artes.
Much of her teaching work was related to
Jon Paul Phillips
Jon Paul David Phillips is an English actor and model. Born and raised in County Durham in the north of England, he attended the prestigious rugby school Barnard Castle School, he is of English and Mexican descent and is the great-grandson of Mexican painter Diego Rivera and Russian-born Cubist painter Marie Vorobieff. His grandmother is actress Marika Rivera, he made his feature debut in a leading role as Jake in the independent film X/Y, directed by Ryan Piers Williams, portraying a flawed but loyal young man who guides his lost friend through the murky waters of his own journey toward self-discovery. Phillips' previous work includes supporting roles in the films Kilimanjaro, directed by Walter Strafford, Ass Backwards, directed by Chris Nelson. Phillips starred alongside Abigail Spencer in a television spot for Audi entitled "Suspect." The commercial aired at the 2012 Emmy Awards, an Audi-sponsored event and introduced the NFL season on NBC. Kept Boy X/Y Kilimanjaro Ass Backwards Jon Paul Phillips on IMDb Edinburgh 2014:'X/Y' review Vanity Fair's Exclusive Tribeca Film Festival Portraits Tribeca Video: Jon Paul Phillips Discusses'X/Y' Huffington Post Live: Tribeca Film Fest:'X/Y' It's Dark Times for America Ferrera in'X/Y'
Angela Isadora Duncan was an American and French dancer who performed to acclaim throughout Europe. Born in California, she lived in Western Europe and the Soviet Union from the age of 22 until her death at age 50, when her scarf became entangled in the wheels and axle of the car in which she was riding. Isadora Duncan was born in San Francisco, the youngest of the four children of Joseph Charles Duncan, a banker, mining engineer and connoisseur of the arts, Mary Isadora Gray, her brothers were Raymond Duncan. Soon after Isadora's birth, her father was exposed in illegal bank dealings, the family became poor, her parents divorced when she was an infant, her mother moved with her family to Oakland, where she worked as a seamstress and piano teacher. From ages six to ten, Isadora attended school; as her family was poor and her three siblings earned money by teaching dance to local children. In 1896, Duncan became part of Augustin Daly's theater company in New York, but she soon became disillusioned with the form and craved a different environment with less of a hierarchy.
Her father, along with his third wife and their daughter, died in 1898 when the British passenger steamer SS Mohegan ran aground off the coast of Cornwall. Duncan began her dancing career at a early age by giving lessons in her home to neighbourhood children, this continued through her teenage years, her novel approach to dance was evident in these early classes, in which she "followed fantasy and improvised, teaching any pretty thing that came into head". A desire to travel brought her to Chicago, where she auditioned for many theater companies finding a place in Augustin Daly's company; this took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies. In New York, Duncan took some classes with Marie Bonfanti but was disappointed in ballet routine. Feeling unhappy and unappreciated in America, Duncan moved to London in 1898, she performed in the drawing rooms of the wealthy, taking inspiration from the Greek vases and bas-reliefs in the British Museum.
The earnings from these engagements enabled her to rent a studio, allowing her to develop her work and create larger performances for the stage. From London, she traveled to Paris, where she was inspired by the Louvre and the Exposition Universelle of 1900. In 1902, Loie Fuller invited Duncan to tour with her; this took Duncan all over Europe as she created new works using her innovative technique, which emphasized natural movement in contrast to the rigidity of tradition ballet. She spent most of the rest of her life touring the Americas in this fashion. Despite mixed reaction from critics, Duncan became quite popular for her distinctive style and inspired many visual artists, such as Antoine Bourdelle, Auguste Rodin, Arnold Rönnebeck, Abraham Walkowitz, to create works based on her. Duncan disliked the commercial aspects of public performance, such as touring and contracts, because she felt they distracted her from her real mission, namely the creation of beauty and the education of the young.
To achieve her mission, she opened schools to teach young women her philosophy of dance. The first was established in 1904 in Germany; this institution was the birthplace of the "Isadorables", Duncan's protégées who would continue her legacy. Duncan adopted all six girls in 1919, they took her last name. After about a decade in Berlin, Duncan established a school in Paris, shortly closed because of the outbreak of World War I. In 1910, Duncan met the occultist Aleister Crowley at a party, an episode recounted by Crowley in his Confessions, he refers to Duncan as "Lavinia King", would use the same invented name for her in his novel Moonchild. Crowley wrote of Duncan that she "has this gift of gesture in a high degree. Let the reader study her dancing, if possible in private than in public, learn the superb'unconsciousness' —, magical consciousness — with which she suits the action to the melody." Crowley was, in fact, more attracted to Duncan's bohemian companion Mary Dempsey, with whom he had an affair.
Desti had come to Paris in 1901 where she soon met Duncan, the two became inseparable. Desti appeared in Moonchild, as "Lisa la Giuffria" She joined Crowley's occult order, helping him to write his magnum opus Magick under her magical name of "Soror Virakam". Desti wrote a memoir of her experiences with Duncan. In 1911, the French fashion designer Paul Poiret rented a mansion — Pavillon du Butard in La Celle-Saint-Cloud — and threw lavish parties, including one of the more famous grandes fêtes, La fête de Bacchus on June 20, 1912, re-creating the Bacchanalia hosted by Louis XIV at Versailles. Isadora Duncan, wearing a Greek evening gown designed by Poiret, danced on tables among 300 guests. Duncan, said to have posed for the photographer Eadweard Muybridge, placed an emphasis on "evolutionary" dance motion, insisting that each movement was born from the one that preceded it, that each movement gave rise to the next, so on in organic succession, her dancing defined the force of progress, change and liberation.
In France, as elsewhere, Duncan delighted her audience. In 1914, Duncan moved to the United States and transferred her school there
Frida Kahlo Museum
The Frida Kahlo Museum known as the Blue House for the structure's cobalt-blue walls, is a historic house museum and art museum dedicated to the life and work of Mexican artist Frida Kahlo. It is located in the Colonia del Carmen neighborhood of Coyoacán in Mexico City; the building was Kahlo's birthplace and is the home where she grew up, lived with her husband Diego Rivera for a number of years, and, in a room on the upper floor, would die. In 1958, Diego Rivera's will donated the home and its contents in order to turn it into a museum in Frida's honor; the museum contains a collection of artwork by Frida Kahlo, Diego Rivera, other artists along with the couple’s Mexican folk art, pre-Hispanic artifacts, memorabilia, personal items, more. The collection is displayed in the rooms of the house, it is one of the most visited in Mexico City. The house/museum is located in Colonia del Carmen area of the Coyoacán borough of Mexico City. Coyoacán the Colonia del Carmen area, has had an intellectual and vanguard reputation since the 1920s, when it was the home of Salvador Novo, Octavio Paz, Mario Moreno and Dolores del Río.
Today, the area is home of a number of the borough’s museums. The house itself is located on the corner of Londres and Allende Streets, it stands out for its cobalt-blue walls, giving it the name La Casa Azul. Like most of the other structures in the area, the house is built around a central courtyard with garden space, a tradition since colonial times; the house enclosed only three sides of this courtyard, but the fourth side was added to enclose it entirely. The house covers 800m2 and the central courtyard is another 400m2; as it was built in 1904, it had French-style decorative features but it was changed to the plainer facade seen today. The building has two floors with studio space, a large kitchen and dining room; the entrance hall was decorated by a mosaic in natural stone by Mardonio Magaña of the Escuela de Pintura al Aire Libre in Coyoacán, inspired by the murals done by Juan O’Gorman at the Ciudad Universitaria. The house was the family home of Frida Kahlo, but since 1958, it has served as museum dedicated to her life and work.
With about 25,000 visitors monthly, it is one of Mexico City’s most-visited museums, the most-visited site in Coyoacán. The museum is supported by ticket sales and donations; the museum demonstrates the lifestyle of wealthy Mexican bohemian artists and intellectuals during the first half of the 20th century. The entrance ticket to the Casa Azul allows for free entrance into the nearby Anahuacalli Museum, established by Diego Rivera. According to records and testimony, the house today looks much as it did in 1951, decorated with Mexican folk art, Kahlo’s personal art collection, a large collection of pre-Hispanic artifacts, traditional Mexican cookware, personal mementos such as photographs and letters, works by José María Velasco, Paul Klee, Diego Rivera. Much of the collection is in display cases designed for their preservation; the museum contains a café and a small gift shop. The museum consists of ten rooms. On the ground floor is a room that contains some of Kahlo’s minor works such as Frida y la cesárea, 1907–1954, Retrato de familia, 1934, Ruina, 1947, Retrato de Guillermo Kahlo, 1952, El marxismo dará salud, 1954, with a watercolor Diario de Frida in the center.
This room was the formal living room, where Frida and Diego entertained notable Mexican and international visitors and friends such as Sergei Eisenstein, Nelson Rockefeller, George Gershwin, caricaturist Miguel Covarrubias, actresses Dolores del Río and María Félix. The second and third rooms are dedicated to personal effects and mementos and to some of Rivera’s works; the second room is filled with everyday items Frida used, letters and notes. On the walls are pre-Hispanic necklaces and folk dresses the Tehuana-style ones that were Frida’s trademark. Paintings in the third room include Retrato de Carmen Portes Gil, 1921, Ofrenda del día de muertos, 1943, Mujer con cuerpo de guitarra, 1916; the fourth room contains contemporary paintings by artists such as Paul Klee, José María Velasco, Joaquín Clausel, Celia Calderón Orozco, a sculpture by Mardonio Magaña. The fifth room contains two large Judas figures, “mujeres bonitos” figures from Tlatilco, State of Mexico and figures from the Teotihuacan culture.
The large papier-mâché Judas figures and other paper mache monsters were traditionally filled with firecrackers and exploded on the Saturday before Easter. The sixth and seventh rooms are the dining room. Both are in classic Mexican style, with bright yellow tile and the floor and yellow tile counters and a long yellow table, where Frida's sister Ruth stated that Frida spent much of her time; the two rooms are filled with large earthenware pots, utensils and more which came from Metepec, Oaxaca and Guanajuato, all known for their handcrafted items. Decorative features include papier-mache Judas skeletons hanging from its ceiling, walls with tiny pots spelling the names of Frida and Diego next to a pair of doves tying a lovers’ knot. Off the dining room was Rivera’s bedroom, with his hat and work clothes still hanging from a wall rack. Next to this is a stairwell; this area contains a large number of folk art items and includes about 2,000 votive paintings from the colonial period to the 20th century, other colonial era work, more Judas figures.