A sleazy dive (caboulot) at Montmartre.
Jean-Louis Forain, from Jean-Louis Forain, aquafortiste (Jean-louis Forain as etcher) vol. 2 part 1, by Marcel Guérin, Paris, 1912.
Portrait of Theresa, Countess Kinsky, 1793
Oil on canvas
54-1/8 x 39-3/8 in. (137.5 x 100.0 cm)
As a devoted Monarchist and friend of the Queen, Marie-Antoinette, Vigée-Lebrun chose exile during the French Revolution. While in Vienna in 1793, she produced this image of Theresa, Countess Kinsky. The Countess was the unfortunate victim of an arranged marriage. Her husband, a man whom she had never met, abandoned her at the church immediately after their wedding, and returned to his mistress.
Norton Simon Art Foundation
1894, Paris; the wonderful Cléopatra Diane de Mérodem (French dancer; 1875-1966)
The masses in Baudelaire.They stretch before the flâneur as a veil: they are the newest drug for the solitary. —Second, they efface all traces of the individual: they are the newest asylum for the reprobate and the postscript. —Finally, within the labyrinth of the city, the masses are the newest and most inscrutable labyrinth. Through them, previously unknown chthonic traits are imprinted on the image of the city.
—Walter Benjamin, AP, [M16,3]
Image: Lyonel Feininger ; Untitled [Street Scene, Double Exposure, Halle] 1929-1930
Souvent à la clarté rouge d’un réverbère
Dont le vent bat la flamme et tourmente le verre,
Au coeur d’un vieux faubourg, labyrinthe fangeux
Où l’humanité grouille en ferments orageux,
Sylvie (by Truus, Bob & Jan too!)
French postcard by S.I.P. Sent by mail in 1906. Photo: Reutlinger, Paris.
Illustration for Baudelaire’s Les Fleurs du Mal, Carlo Farneti.