Seraphic Secret

Robert J. Avrech: Emmy Award winning screenwriter. Movie fanatic. Helplessly and hopelessly in love with my wife since age nine.

Friday Photos: True Hollywood Confessions, Spitting Image

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“One of the most idolized beauties of the century, Brigitte Bardot was famous for a lot of things. But besides her full lips, winged eye liner and curvy body we adored her for her voluminous blonde hair and the mod way she styled it. We’ve always wondered what was the secret behind her texturedfront pieces, so when our favorite Oribe hairstylist Adam Livermore dished on an industry secret we couldn’t wait to tell you! Apparently, Oribe himself had been doing a lot of research on the famous starlet when he uncovered a disturbing yet witty detail about her hair regime – she used spit. Yes, that is right. This French beauty used her own saliva to style her hair on the reg. She apparently applied spit to the longer pieces of hair that frame her head. She would then twirl them and pull them back tight behind her ear where she would then let them dry and pull them out to reveal the unmistakable signature curl. Clever? Perhaps, but we still recommend a styling cream to achieve almost the same effect.” —Amanda Elser
“One of the most idolized beauties of the century, Brigitte Bardot was famous for a lot of things. But besides her full lips, winged eye liner and curvy body we adored her for her voluminous blonde hair and the mod way she styled it. We’ve always wondered what was the secret behind her texturedfront pieces, so when our favorite Oribe hairstylist Adam Livermore dished on an industry secret we couldn’t wait to tell you!
Apparently, Oribe himself had been doing a lot of research on the famous starlet when he uncovered a disturbing yet witty detail about her hair regime – she used spit. Yes, that is right. This French beauty used her own saliva to style her hair on the reg. She apparently applied spit to the longer pieces of hair that frame her head. She would then twirl them and pull them back tight behind her ear where she would then let them dry and pull them out to reveal the unmistakable signature curl.
Clever? Perhaps, but we still recommend a styling cream to achieve almost the same effect.” —Amanda Elser

Girl Making a Garland by Hans Süss von Kulmbach, 1508. The banner reads “I bind with forget-me-nots.
Girl Making a Garland by Hans Süss von Kulmbach, 1508. The banner reads “I bind with forget-me-nots.”

 

Tom Sandberg, Untitled, 2003. Courtesy- Tom Sandberg Estate.
Tom Sandberg, (Norwegian, 1953 – 2014) Untitled, 2003. Courtesy- Tom Sandberg Estate

 

Polish poster for Akira Kurosawa's Throne of Blood, 1957.
Polish poster for Akira Kurosawa’s Throne of Blood, 1957

 

Alfred Eisenstadt, Soldier's Farewell, 1943
Alfred Eisenstadt, Soldier’s Farewell, 1943

 

Robert Moskowitz, Hardball 1993 Oil On Canvas 108 x 58 in. Detroit Institute of Arts
Robert Moskowitz,
Hardball
1993
Oil On Canvas
108 x 58 in.
Detroit Institute of Arts

 

…After her first appearance on screen in Algiers, drugstores experienced a run on hair dyes, and soon everybody, including starlets and established luminaries like Crawford or Joan Bennett, had changed their locks from blonde or brown to jet black. The Lamarr hairdo with the part in the middle and the tall Lamarr look became the new standard of glamour.” - Margaret J. Bailey
“…After her first appearance on screen in Algiers, drugstores experienced a run on hair dyes, and soon everybody, including starlets and established luminaries like Crawford or Joan Bennett, had changed their locks from blonde or brown to jet black. The Lamarr hairdo with the part in the middle became the new standard of glamour.” – Margaret J. Bailey

 

Caravaggio, David and Goliath, 1599 Oil on canvas 43 in × 36 in Prado Museum
Caravaggio, David and Goliath, 1599
Oil on canvas
43 in × 36 in
Prado Museum

 

Tom Sandberg, Untitled, 2007. Courtesy- Lillehammer Kunstmuseum.
Tom Sandberg, Untitled, 2007. Courtesy- Lillehammer Kunstmuseum

 

Bruce Cohen Interior with Pansies and Sunset Sky, 2016 Oil on canvas 43 3.4 x 43 1.4 inches
Bruce Cohen, Interior with Pansies and Sunset Sky, 2016 Oil on canvas 43 3.4 x 43 1.4 inches

 

Richard Avedon, Dovima in Balenciaga
Richard Avedon, Dovima in Balenciaga, 1950

 

Vivian Maier, Self Portrait
Vivian Maier, Self Portrait

 

Robert Moskowitz, Skyscraper Pastel on paper 25 1/2 x 19 1/2 inches
Robert Moskowitz,
Skyscraper
Pastel on paper, 1995
25 1/2 x 19 1/2 inches

 

“I know a lot of men fantasize about me; that’s how Hollywood gossip becomes Hollywood history. Someday someone is going to say, ‘All the lies ever told about Ava Gardner are true,’ and the truth about me, just like the truth about poor, maligned Marilyn Monroe will disappear like names on old tombstones. I know I’m not defending a spotless reputation….I’d just like to keep the books straight…” - Ava Gardner to her biographer Peter Evans (after Marlon Brando listed her as one of his lovers in his autobio which was untrue)
“I know a lot of men fantasize about me; that’s how Hollywood gossip becomes Hollywood history. Someday someone is going to say, ‘All the lies ever told about Ava Gardner are true,’ and the truth about me, just like the truth about poor, maligned Marilyn Monroe will disappear like names on old tombstones. I know I’m not defending a spotless reputation….I’d just like to keep the books straight…”
– Ava Gardner to her biographer Peter Evans (after Marlon Brando listed her as one of his lovers in his autobiography, which was untrue) See this link for the story of Peter Evans’ book.

 

contemporaries for his psychological insight into the drama of the encounters he depicted, capturing with exceptional sensitivity the inner life of his subjects. This landmark exhibition included approximately fifty paintings selected by Guest Curator Arthur K. Wheelock Jr., Curator of Northern Baroque Paintings at the National Gallery of Art. Gerard ter Borch was the first exhibition of Ter Borch’s work in this country and gave a broad overview of his oeuvre. It was accompanied by the first major English-language publication on Ter Borch, with contributions by the guest curator; Alison M. Kettering, the William R. Kenan, Jr. Professor of Art History at Carleton College; Arie Wallert, Curator of Paintings at the Rijksmuseum, Amsterdam; and Marjorie Wieseman, Curator of European Painting and Sculpture at the Cincinnati Art Museum. Exhibition Itinerary: The National Gallery of Art (November 7, 2004–January 30, 2005) and the Detroit Institute of Arts (February 27–May 22, 2005). The exhibition was organized by the American Federation of Arts, New York, and the National Gallery of Art, Washington. This exhibition was supported by an indemnity from the Federal Council on the Arts and the Humanities. The catalogue for this exhibition was made possible, in part, by grants from the Samuel H. Kress Foundation and Furthermore: a program of J. M. Kaplan Fund. Gerard ter Borch: A Resource for Educators was supported, in part, by The Netherland-America Foundation. Additional support was provided by the National Patrons of the AFA. Gerard ter Borch - Horse and Rider Gerard ter Borch Horse and Rider, ca. 1633–34 Oil on canvas 20 1/4 x 16 1/8 inches On loan from a private collection; courtesy the Ashmolean Museum, Oxford
Gerard ter Borch
Horse and Rider, ca. 1633–34
Oil on canvas
20 1/4 x 16 1/8 inches

 

Tom Sandberg, Untitled, 2005. Courtesy the artist/Galleri Riis, Oslo.
Tom Sandberg, Untitled, 2005. Courtesy the artist/Galleri Riis, Oslo.

 

Robert Moskowitz, Diver, pastel on paper, 2002, 39 1/4 x 27 1/2
Robert Moskowitz, Diver, pastel on paper, 2002, 39 1/4 x 27 1/2 inches

 

Jewish girl from Tafilalet, south east Morocco, 1890.
Jewish girl from Tafilalet, south east Morocco, 1890.

 

Robert J. Avrech, Silent Picture, Los Angeles, 2005
Robert J. Avrech, Silent Picture, Los Angeles, 2005

 

Lielle Meital wishes all our friends and relatives a lovely and inspirational Shabbat. Photo by: Steve Cohn www.stevecohnphotography.com © 2016
Lielle Meital wishes all our friends and relatives a lovely and inspirational Shabbat.
Photo by: Steve Cohn
www.stevecohnphotography.com
© 2016

 

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Reader Interactions

Comments

  2. It has always amazed me that so-called glamour shots have the beauty smoking a cigarette. Holding a cigarette would be acceptable away from the face. I feel this picture of Ava Gardner would have been better without the accoutrement.

  6. I think the story of how that book on Ava became to be made is as interesting as the book itself. And did Sinatra pay her to not publish it?

    Bridgette and spit – sometimes the imagination is best left alone 🙂

    I like the Sandberg photos for some reason.

    Did Life Magazine make Alfred Eisenstadt?

    I miss that magazine.

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