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Posts tagged #Styka

@smutnehistorie.bsky.social
3 months ago
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trening. #satyra #weekendowazofka #kot #zofia #trening #stretching #styka

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Michael
Michael
@mdstamper.bsky.social
9 months ago
Pola Negri was a brilliant Polish star of silent movies and among the first successful Europeans in Hollywood. Born in 1897 in Lipno, Poland, she debuted in 1914 in "Slave of Desires" and quickly becoming the most popular actress in Warsaw. In 1917, she left for the heart of European cinema, Berlin, where she appeared in 23 films. By the early 1920s, Negri arrived in New York and the most important stage of her career began. Her greatest success was a role in "Forbidden Paradise" by director Ernst Lubitsch. In the U.S., she not only was a silent movie star but also as a worshiped sex symbol. Both the legendary Charlie Chaplin and the screen heart-throb, Rudolf Valentino, could not resist her charm -- as their relationships dominating tabloids throughout the era. Negri appeared in 63 films, with the last being "The Moon-Spinners" in 1964. She passed away in San Antonio, Texas in 1987 at the age of 90. In her 1970 memoirs, Negri wrote: "Tadeusz Styka, a famous painter of women's portraits at the time, had his studio near Paris. So when he expressed a desire to paint my portraits, I gladly agreed." She explained, "Styka's genius lay not only in capturing likeness, but also in conveying the era and individuality of the portrayed person." Styka depicts the beautiful femme fatale at about age 25, well after her marriage to a Polish count, but before her marriage to Georgian prince Serge Mdivani or steamy relationships with Chaplin or Valentino ... or her close two-decade-long live-in relationship with Texan oil heiress, vaudeville performer, and radio hostess Margaret West. Negri glances at us over her bare left shoulder with sparkling big eyes and a flirtatious smile through thin red lips. She is wrapped only in a fur coat, revealing her shoulders and back. She isn't indecent, but she stimulates the imagination as a "movie vamp" emphasized by a fashionable string of pearls thrown over her back and a large ring on her right hand.

Pola Negri was a brilliant Polish star of silent movies and among the first successful Europeans in Hollywood. Born in 1897 in Lipno, Poland, she debuted in 1914 in "Slave of Desires" and quickly becoming the most popular actress in Warsaw. In 1917, she left for the heart of European cinema, Berlin, where she appeared in 23 films. By the early 1920s, Negri arrived in New York and the most important stage of her career began. Her greatest success was a role in "Forbidden Paradise" by director Ernst Lubitsch. In the U.S., she not only was a silent movie star but also as a worshiped sex symbol. Both the legendary Charlie Chaplin and the screen heart-throb, Rudolf Valentino, could not resist her charm -- as their relationships dominating tabloids throughout the era. Negri appeared in 63 films, with the last being "The Moon-Spinners" in 1964. She passed away in San Antonio, Texas in 1987 at the age of 90. In her 1970 memoirs, Negri wrote: "Tadeusz Styka, a famous painter of women's portraits at the time, had his studio near Paris. So when he expressed a desire to paint my portraits, I gladly agreed." She explained, "Styka's genius lay not only in capturing likeness, but also in conveying the era and individuality of the portrayed person." Styka depicts the beautiful femme fatale at about age 25, well after her marriage to a Polish count, but before her marriage to Georgian prince Serge Mdivani or steamy relationships with Chaplin or Valentino ... or her close two-decade-long live-in relationship with Texan oil heiress, vaudeville performer, and radio hostess Margaret West. Negri glances at us over her bare left shoulder with sparkling big eyes and a flirtatious smile through thin red lips. She is wrapped only in a fur coat, revealing her shoulders and back. She isn't indecent, but she stimulates the imagination as a "movie vamp" emphasized by a fashionable string of pearls thrown over her back and a large ring on her right hand.

"Portret Pola Negri" by Tadeusz "Tadé" Styka (Polish) - Oil on cardboard / c. 1922 - Muzeum Narodowe w Warszawie (Poland) #WomenInArt #art #Portraitofawoman #ArtText #womensart #styka #PolaNegri #vamp #TadeuszStyka #TadeStyka #TadéStyka #PolishArtist #MuzeumNarodowewWarszawie #NationalMuseumInWarsaw

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Michael
Michael
@mdstamper.bsky.social
9 months ago
American Broadway actress Jayne Manners was born Jane Oppermann in 1908. In 1925, she moved from her native Georgia to New York. She probably met Polish-born, French-raised Tadeusz Styka (commonly called Tadé Styka) around 1929, when the artist lived in the heart of Manhattan. Their close relationship is known by the numerous portraits Styka painted of the famous performer. This striking portrait depicts Manners as a beautiful, young femme fatale with extremely long and slender fingers. She is dressed only in a long sleek black robe, which accentuates the alabaster color of her skin. A very deep neckline gently emphasizes her smooth chest as her thin hands extend from the rich black fur cuffs of the sleeves. Manners’ lips are highlighted with stunningly bright red lipstick while her tightly-combed, orangish-red hair gives the model an almost predatory feel. As befits a film temptress, Styka paid special attention not only to her alluring pose, but draws our focus towards Manners classic glam “half-open” or “sleepy” eyes, which enhances her Old Hollywood aura and stimulates our imagination. The artist, in his characteristic way, perfectly captured the image of a young woman who likely enjoys her newly gained independence and fame. The painting was restored in the United States after to two long cuts had been slashed through the model's face. The arrangement and position of the damage suggested it was a deliberate action. Were the cuts made in great anger, out of jealousy, or disappointment of the heart? Unfortunately, we don't know this, but we can speculate. This portrait was exhibited in Warsaw's Zachęta museum in 1936 at an exhibition presenting the work of the Styka family - Jan, Tadeusz, and Adam. At that time, a reviewer in Illustrated Weekly (Vol. 12, Issue 22, 1936, p. 217) praised Tadé for his female portraits as a master of “hair painting” and his ability to “bring out the important grace of his alluring models.”

American Broadway actress Jayne Manners was born Jane Oppermann in 1908. In 1925, she moved from her native Georgia to New York. She probably met Polish-born, French-raised Tadeusz Styka (commonly called Tadé Styka) around 1929, when the artist lived in the heart of Manhattan. Their close relationship is known by the numerous portraits Styka painted of the famous performer. This striking portrait depicts Manners as a beautiful, young femme fatale with extremely long and slender fingers. She is dressed only in a long sleek black robe, which accentuates the alabaster color of her skin. A very deep neckline gently emphasizes her smooth chest as her thin hands extend from the rich black fur cuffs of the sleeves. Manners’ lips are highlighted with stunningly bright red lipstick while her tightly-combed, orangish-red hair gives the model an almost predatory feel. As befits a film temptress, Styka paid special attention not only to her alluring pose, but draws our focus towards Manners classic glam “half-open” or “sleepy” eyes, which enhances her Old Hollywood aura and stimulates our imagination. The artist, in his characteristic way, perfectly captured the image of a young woman who likely enjoys her newly gained independence and fame. The painting was restored in the United States after to two long cuts had been slashed through the model's face. The arrangement and position of the damage suggested it was a deliberate action. Were the cuts made in great anger, out of jealousy, or disappointment of the heart? Unfortunately, we don't know this, but we can speculate. This portrait was exhibited in Warsaw's Zachęta museum in 1936 at an exhibition presenting the work of the Styka family - Jan, Tadeusz, and Adam. At that time, a reviewer in Illustrated Weekly (Vol. 12, Issue 22, 1936, p. 217) praised Tadé for his female portraits as a master of “hair painting” and his ability to “bring out the important grace of his alluring models.”

Portrait of Jayne Manners by Tadeusz “Tadé” Styka (Polish) - Oil on canvas / c. 1930 #WomenInArt #Art #ArtText #PortraitofaWoman #womensart #TadéStyka #TadeuszStyka #Styka #TadeStyka #JayneManners #beauty #hollywood #oldhollywood #oilpainting #fashion #manners #style #1930s #PolishArtist #fineart

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Michael
Michael
@mdstamper.bsky.social
10 months ago
Polish-born, French-trained, and American-resident Tadeusz Styka’s (Tadé Styka) oil on canvas portrait depicts Sara Delano Roosevelt from the waist up, seated, with head and body turned partially to her proper right. She is wearing a black dress with a silver metal closure at the bust, and a reddish-brown fur stole wrapped around her body and draped over her right shoulder. Around her neck is a five-strand pearl necklace, and she is wearing pearl stud earrings in her ears. U.S. president Franklin D. Roosevelt was Sara Delano Roosevelt’s only child. The bond between mother and son was very strong and grew even stronger after FDR’s father died in 1900. Sara lived until 1941. After her death, Margaret Suckley, FDR’s distant cousin and close companion, observed that “she gave him that personal affection which his friends and secretaries cannot do, in the same way — He was always ‘my boy’ and he seemed to me often . . . hungry for just that kind of thing.” In 1934, Sara commissioned this painting by artist Styka as a Mother’s Day gift to her son. Styka was a portrait painter in New York who was known for his depictions of society and stage figures. FDR placed the portrait in a prominent location above a doorway in the White House Oval Study. Mrs. Roosevelt’s painting lacks some of the flair usually associated with Styka’s popular portraits. Her painting, after all, could hardly “shriek with vitality,” but his touch is deft. She peers from the canvas with loving eyes, the warmth emanating from her delicately painted face focused squarely on her son. She emerges from a rich, brown background draped in Styka’s signature sables, his technique with fur as fine on Mrs. Roosevelt as it was with a crown princess of Italy. The rather curious notion of a mother giving a portrait of herself to her son on Mother’s Day came true Sunday, May 6, 1934, when Mother Roosevelt surprised her son at the White House with the painting presented to the president by Styka himself.

Polish-born, French-trained, and American-resident Tadeusz Styka’s (Tadé Styka) oil on canvas portrait depicts Sara Delano Roosevelt from the waist up, seated, with head and body turned partially to her proper right. She is wearing a black dress with a silver metal closure at the bust, and a reddish-brown fur stole wrapped around her body and draped over her right shoulder. Around her neck is a five-strand pearl necklace, and she is wearing pearl stud earrings in her ears. U.S. president Franklin D. Roosevelt was Sara Delano Roosevelt’s only child. The bond between mother and son was very strong and grew even stronger after FDR’s father died in 1900. Sara lived until 1941. After her death, Margaret Suckley, FDR’s distant cousin and close companion, observed that “she gave him that personal affection which his friends and secretaries cannot do, in the same way — He was always ‘my boy’ and he seemed to me often . . . hungry for just that kind of thing.” In 1934, Sara commissioned this painting by artist Styka as a Mother’s Day gift to her son. Styka was a portrait painter in New York who was known for his depictions of society and stage figures. FDR placed the portrait in a prominent location above a doorway in the White House Oval Study. Mrs. Roosevelt’s painting lacks some of the flair usually associated with Styka’s popular portraits. Her painting, after all, could hardly “shriek with vitality,” but his touch is deft. She peers from the canvas with loving eyes, the warmth emanating from her delicately painted face focused squarely on her son. She emerges from a rich, brown background draped in Styka’s signature sables, his technique with fur as fine on Mrs. Roosevelt as it was with a crown princess of Italy. The rather curious notion of a mother giving a portrait of herself to her son on Mother’s Day came true Sunday, May 6, 1934, when Mother Roosevelt surprised her son at the White House with the painting presented to the president by Styka himself.

Portrait Painting of Sara Delano Roosevelt by Tadé Styka (Polish) - Oil on canvas / 1934 - Franklin D. Roosevelt Presidential Library and Museum (Hyde Park, New York) #womeninart #art #artwork #TadéStyka #Styka #portraitofawoman #oilpainting #womensart #FDR #mother #ArtText #PresidentialLibrary

52 5 1 0
Michael
Michael
@mdstamper.bsky.social
1 year ago
In this oil painting, Styka portrays the Parisian socialite Madame Eugénie Meurlot-Chollet as Sappho—the celebrated classical Greek poetess from the island of Lesbos whose writings center on human love. Clothed in an ancient crimson long robe, Eugenie stares seductively at the with dark eyes that match her short wavy black hair for intensity. She sits in profile outdoors with head turn towards the artist with her arms extending together to relax on her knees while a cloudy sky, like the shades of crimson in her robe, hints at inner passion. The Egyptian-style bracelet and multiple elaborate rings add exotic yet likely biographical touches as Madame Meurlot-Chollet was well known for modeling the latest creations of the famous Art Nouveau jeweler René Lalique whose jewelry was popular at French salons and the 1900 Exposition Universelle. Jan Styka plays a major role as an intermediary between the artistic styles of Paris and Poland. Like other Symbolist painters, Styka rejected Impressionism and its focus on capturing the fleeting views of daily life, in favor of a representational language that emphasizes the expression of an idea over the realistic description of the natural world. Both his sons Tadeusz "Tade" Styka and Adam Styka were critically acclaimed painters, too.

In this oil painting, Styka portrays the Parisian socialite Madame Eugénie Meurlot-Chollet as Sappho—the celebrated classical Greek poetess from the island of Lesbos whose writings center on human love. Clothed in an ancient crimson long robe, Eugenie stares seductively at the with dark eyes that match her short wavy black hair for intensity. She sits in profile outdoors with head turn towards the artist with her arms extending together to relax on her knees while a cloudy sky, like the shades of crimson in her robe, hints at inner passion. The Egyptian-style bracelet and multiple elaborate rings add exotic yet likely biographical touches as Madame Meurlot-Chollet was well known for modeling the latest creations of the famous Art Nouveau jeweler René Lalique whose jewelry was popular at French salons and the 1900 Exposition Universelle. Jan Styka plays a major role as an intermediary between the artistic styles of Paris and Poland. Like other Symbolist painters, Styka rejected Impressionism and its focus on capturing the fleeting views of daily life, in favor of a representational language that emphasizes the expression of an idea over the realistic description of the natural world. Both his sons Tadeusz "Tade" Styka and Adam Styka were critically acclaimed painters, too.

Sappho (Portrait of Eugénie Meurlot-Chollet) by
Jan Styka (Polish) - Oil on paperboard / c. 1900-10 - Smart Museum of Art (Chicago, Illinois) #womeninart #janstyka #art #portrait #sappho #artwork #smartmuseumofart #fineart #oilpainting #universityofchicago #womensart #socialite #polishartist #styka

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