By Janos Vegh
Творчества автора и иллюстрации его лучших картин в цветном и черно-белом цвете.
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32 In addition to puppets and masks, portrait dolls emerged as a curiosity. Hélène Sardeau, the wife of artist George Biddle, enjoyed a brief vogue for her long-limbed characterizations of Broadway stars. As word spread of Sardeau’s whimsical creations, celebrities and socialites besieged her with commissions. Rudolf Valentino ordered 160 portrait dolls to display in movie theaters, and Sardeau exhibited others throughout the country. ”33 The Russian-born artist Marie Vassilieff surprised the Parisian art world in the 1920s with her caricature doll portraits and stuffed heads, inspired by cubism and African art.
5 × 13 cm). C. The artifice and exaggerated theatricality of masks made for the stage naturally attracted Crowninshield’s interests. 29 He particularly admired the masks by W. T. 30 In addition to wildly comic and monstrous faces, Benda produced, for the stage or promotional purposes, portrait masks, including likenesses of Ginger Rogers, Katherine Hepburn, Merle Oberon, and Myrna Loy (Figure 2). ”32 In addition to puppets and masks, portrait dolls emerged as a curiosity. Hélène Sardeau, the wife of artist George Biddle, enjoyed a brief vogue for her long-limbed characterizations of Broadway stars.
2 With Duchamp, many veils meaningfully obstruct our access to identity. Raising important questions regarding the role of the mask in portraiture of the twentieth century, Wendy Wicks Reaves considers its use by a broad range of experimental artists to negotiate the complex dynamics of identity during Duchamp’s lifetime. 3 Sudhalter, seeing Duchamp operate behind the mysterious Rrose Sélavy, investigates the prospect that Rrose’s raison d’être has connections with Tristan Tzara’s aborted efforts to publish Dadaglobe.