Artists and Their Muses
I'm looking for those women who were real muses. Yes, I want to know more women like these. They are extremely beautiful and expressive, and they were immortalized by the greatest artists of the history. I think they're totally admirable.
Lina Franziska Fehrmann - Ernst Ludwig Kirchner's Muse
regardintemporel - tumblr
Fränzi vor geschnitztem Stuhl and Marzella, respectively
Kiki de Montparnass - Man Ray's Muse
Lee Miller - Man Ray's Muse
selfishqueen - tumblr
Lilya Brik - Rodchenko's Muse and many other. She reminds me of Theda Bara.
By Vladimir Mayakovsky
And the well known Lisa Gherardini - Da Vinci's Muse
"A Mona Lisa brasileira" (The Brazilian Mona Lisa) Street art by TARS in Sao Paulo, Brazil.
Amanda Lear - Dali's Muse
Amanda by David Bailey
Edie Sedgwick - Andy Warhol's Muse
thestrutny - tumblr
bronwynrobyn - blogspot
laurenjayxo - blogspot
Interesting thread! Artists and their muses always fascinate me in their special bond.
One that comes to mind is Pablo Picasso & Dora Maar, who was one of Pablo's mistresses.
pictured with Picasso's "The Weeping Woman" (1937)
http://s8.postimage.org/6975k71sx/Do...e_of_Pablo.jpg http://s8.postimage.org/u1ggvq3tt/kkkkkk.jpg http://s8.postimage.org/ze5b9urq9/tu...w4qo1_1280.jpg
"Dora Maar in an Armchair", "Dora Maar au chat", "Dora Maar seated"
Dora Maar encouraged Pablo to be more daring in his art, and he began experimenting with bright colors and geometric shapes.
complex.com, leblogdesovena.com, frizfreleng121.edublogs.org, aliexpress
Thanks ScarlettLover! amazing contribution. She looks so interesting and those paintings are awesome! I like Picasso, Cubism was a great art movement. The first one called "La Llorona" is one of my favorites art works ever.
And now one of my favorite muses Jane Avril, Henri de Toulouse-Lautrec's Muse.
She was a French can-can dancer, nicknamed La Mélinite.
Jane Avril by Toulouse Lautrec, 1893
Jane Avril, 1892
Camille Doncieux - Monet's Muse
She was Monet's wife and she was his model since 1865. She also modelled for Pierre-August Renoir and Édouard Manet. She died, probably of pelvic cancer. On 5 September 1879; Monet painted her on her death bed.
lisawallerrogers - wordpress
Camille on her Deathbed by Claude Monet, 1879
Camille on the Beach at Trouville by Claude Monet, 1870
Victorine Meurent - Manet's Muse
Victorine Louise Meurent (February 18, 1844 – March 17, 1927) was a French painter and a famous model for painters. Although she is now best known as the favourite model of Édouard Manet, she also was an artist in her own right, who exhibited repeatedly at the prestigious Paris Salon. She also modeled for Edgar Degas, Alfred Stevens, Norbert Goeneutte and Toulouse-Lautrec. She was nicknamed as La Crevette (The Shrimp).
Olympia by Manet, 1863
Le Déjeuner sur l'Herbe by Manet, 1862–1863
The Railway by Manet, 1872
Palm Sunday by Victorine Meurent, (is the only surviving example of her work), c. 1880s
Wally - Schiele's Muse
Valerie Neuzil best known as Wally was the muse and the lover of Austrian expressionist Egon Schiele. Egon met her in 1911 when she was 17 years old and then she was a model for a number of Schiele's most striking paintings.
Porträt von Wally, 1912
Wally in Red Blouse With Raised Knees, 1912
Woman in Black Stockings, 1913
Seated woman with bent knee, 1917
thethoughtexperiment - wordpress
Lydia Delectorskaya - Matisse’s Russian Muse
Portrait of Lydia Delectorskaya, 1947
Young Woman in a Blue Blouse, 1939
Adele Bloch-Bauer - Gustav Klimt's Muse
She was the only person to be painted twice by Klimt.
Portrait of Adele Bloch-Bauer I, 1907
Portrait of Adele Bloch-Bauer II, 1912
Charis Wilson | Edward Weston's Muse
Lella | Edward Boubat's Muse
Very much in love, Lella acted as Boubat's muse through much of his early career, marrying soon after this image was taken. The photographs of Lella were taken at the beginning of his career when he moved away from photojournalism to more humanistic photography.
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source | artnet, yama-bato.tumblr
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source | piasa.auction.fr, artnet
Georgia O'Keeffe | Alfred Stieglitz's Muse
"Stieglitz photographed me first at his gallery '291' in the spring of 1917. . . . My hands had always been admired since I was a little girl—but I never thought much about it. He wanted head and hands and arms on a pillow—in many different positions. I was asked to move my hands in many different ways—also my head—and I had to turn this way and that. . . . Stieglitz had a very sharp eye for what he wanted to say with the camera. . . . His idea of a portrait was not just one picture. His dream was to start with a child at birth and photograph that child in all of its activities as it grew to be a person and on throughout its adult life. As a portrait it would be a photographic diary."
—Georgia O'Keeffe, 1978
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source | metmuseum.org
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source | vam.ac.uk
Lisa Fonssagrives-Penn | Irving Penn's Muse
"I’m just a good clothes hanger.” Humble words, indeed, considering the speaker was model Lisa Fonssagrives, one of the most elegant women ever to wear a dress. She was at the height of her career in 1949 when Time put her on its cover. Fonssagrives was by then known to women nationwide as the face that sold them everything from hair dye to haute couture. Commanding a rate of $40 an hour when other top models topped out around $25, Fonssagrives was “a billion-dollar baby with a billion-dollar smile and a billion-dollar salesbook in her billion-dollar hand,” the magazine gushed. “She is the new goddess of plenty.”
She was also the apple of Irving Penn’s eye. “Yes, yes, YES!” Time’s reporter recorded Vogue’s star lensman murmuring excitedly during a photo shoot with Fonssagrives. “That’s so beautiful . . .” Photographer and muse had met two years before, at Penn’s memorable “12 Beauties” sitting for Vogue. It was a coup de foudre for Penn, who placed his future wife at the center of the composition, a delicate ice-carved swan. Fonssagrives—whose marriage to the dancer-photographer Fernand Fonssagrives was by then dissolving—would marry Penn in the summer of 1950, just after he photographed her in the fall collections in an old top-floor studio in Paris.
There, under the pristine north light favored by artists for its neutrality and evenness, Penn posed his models, cinched and trussed in the latest couture confections, against a mottled gray nineteenth-century theater curtain. Spread across two issues that September, the groundbreaking fashion portfolio marked a stark departure from the elaborately staged sets favored by the likes of Cecil Beaton, for whom Fonssagrives posed only once. (“I really wasn’t his type,” she said.)
But she was definitely Penn’s. The two shared a similar stripped-down sensibility: Penn didn’t go in for props or fantasy settings, instead believing that the subject itself was powerful enough to drive the shot; he focused intently on making images that “burn on the page” (as Allene Talmey, a Vogue features editor, once put it). Though often dressed to the nines, the Swedish-born Fonssagrives was a barefoot soul who liked to swim in the nude. She was comfortable enough in her well-toned, slender body—her Barbie-doll waist could be cinched to a mere seventeen inches—to bare all before the camera, daringly sunbathing naked at the edge of a cliff; or pensive and fragile behind a harp’s long strings.
From her first test shots with Horst P. Horst in 1936, Fonssagrives had studied the nuances of modeling—“Making a beautiful picture is making art, isn’t it?” she asked—with a photographer’s eye, observing the way light hit the dress she was wearing as well as its drape. Then, with a discipline and dramatic flair learned from years of dance, she would stand in front of the camera and, as she once put it, “concentrate my energy until I could sense it radiate into the lens.” She called it “still dancing.”
Fonssagrives was by 1950 a consummate professional, at the age of 39 having modeled for fourteen years for top talents like Horst and Erwin Blumenfeld, who in 1939 snapped her in a flowing Lucien Lelong dress swinging gaily from an Eiffel Tower girder for French Vogue. (A bit of a daredevil, Fonssagrives flew planes and zoomed into Manhattan for modeling jobs in her red-upholstered Studebaker convertible, collecting tickets all the way.)
“There was a gravitas about her that imposed admiration and respect,” Condé Nast’s editorial director Alexander Liberman once said. Fonssagrives turned her body into an exquisite sculpture. She wore Balenciaga’s beige wool duvetyn mantle coat, its arms laddered with giant folds, as a Queen would her cape—her eyebrows arching over expressive cat eyes and high, planed cheeks. A slight twist of her torso gave Rochas’s mermaid sheath the sinuous motion of a sea siren, as she flicked her mer-tail of rustling silk taffeta.
“I was a sculptor all my life,” said Fonssagrives-Penn, who had a successful second career in that field. “I was a form in space.”
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source | vogue, christies
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source | showstudio, artic.edu
Peggy Guggenheim - Muse of the Modern Art
Peggy by Man Ray, 1924 - 1925
Dress by Paul Poiret
miklem - tumblr
fydarkroom - tumblr
violetchicdreams - blogspot
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