Friday Photos: True Hollywood Confessions August 26, 2016 by Robert J. Avrech 7 Comments “Say anything you like, but don’t say I love to work. That sounds like Mary Pickford, the prissy b***h. Just say I like to pinch babies and twist their legs. And get drunk.”—Mabel Normand (1892 – 1930) Painting by Vilhelm Hammershøi Jay DeFeoUntitled 1987 Acrylic, oil and graphite on paper 11 1:16 by 13 7:8 in. Orson Welles, Marlene Dietrich, Touch of Evil, 1958Screenplay by Orson WellesBased on “Badge of Evil” 1956 novel by Whit Masterson Paul Delaroche, The Execution of Lady Jane Grey, 1833. Collection of the National Gallery Tim Walker, Karlie Kloss and broken Humpty Dumpty, Rye, East Sussex, 2010 Archival pigment print on Moab slickrock metallic pearl paper 108 x 132 cm Ralston Crawford, Third Avenue El, 1949oil on canvas30-3/8 x 40-5/16 x 1-1/2 in. unframedCollection Walker Art CenterGift of the T. B. Walker Foundation, Gilbert M. Walker Fund, 1951 “Garbo didn’t have ‘an ounce of humor in her, but Lubitsch had cleverly utilized ‘all her eccentricities for comic effect. She was tremendously meticulous about her hair, makeup, lighting, jewelry, and costumes. I’d never been so impressed. She knew exactly were the lights were to be set for her.”—Melvyn Douglas Francisco Goya (Spanish artist, 1746-1828) The Parasol Édouard Boubat, France, 1978 William John Leech (Irish artist, 1881-1968) The Sunshade, 1913 Manny Farber “Check the Leader”, 1984 oil on board, 45 x 84 inchesManny Farber was one of our greatest film critics. His collection of film writings, Negative Space, is a must read. He was also a wonderful painter. Michael KennaPathway, Sceaux, France, 1998, from the book ‘France’ Paul Newman & Joanne Woodward vacationing across Israel during the filming of Exodus (1959) Photographer, Leo Fuchs Robert MotherwellUntitled, 1971Dimensions unframed 108 × 144.125 × 1.75 inchesMaterials acrylic on oil-sized cottonWalker Art Center Catherine Deneuve in Repulsion (1965, dir. Roman Polanski) “My aim was to show Carole’s hallucinations through the eye of the camera, augmenting their impact by using wide-angle lenses of progressively increasing scope. But in itself, that wasn’t sufficient for my purpose. I also wanted to alter the actual dimensions of the apartment — to expand the rooms and passages and push back the walls so that audiences could experience the full effect of Carole’s distorted vision.Accordingly we designed the walls of the set so they could be moved outward and elongated by the insertion of extra panels. When ‘stretched’ in this way, for example, the narrow passage leading to the bathroom assumed nightmarish proportions.”-Roman Polanski, (1984) Joseph CornellUntitled (Tilly Losch), c. 1935 – 38Box construction10 x 9 1/4 x 2 1/8 inches (25.4 x 23.5 x 5.4 cm)The Robert Lehrman Art Trust, Courtesy of Aimee and Robert Lehrman, Washington, DCPhotograph by Mark Gulezian/QuickSilver, Washington, DC© The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, New York Bartolomeo VenetoYoung Woman, 1510 Albrecht Dürer, Six Pillows, pen and brown ink, 1493. The Metropolitan Museum of Art. Roman Vishniac Vishniac’s Daughter Mara in Front of an Election Poster for Hindenburg and Hitler that reads “The Marshal and the Corporal: Fight with Us for Peace and Equal Rights,” Wilmersdorf, Berlin, 1933“Fight with Us for Peace and Equal Rights”This slogan perfectly fits the Democrat party whose obsession with equality is, in essence, the road to fascism. I expanded on this idea here. Above, the bell ringing scene in Black Narcissus (1947) as shot on the studio lot; below, the final scene with the addition of Walter Percer Day’s glass matte painting of the Himalayas. Paul Sample, Sand Lot Ball Game, 1938. Oil on canvas. The Arkell Museum, Canajoharie, New York. Robert J. Avrech Silent Picture, Superman, LAX, 2016. Havdalah Spice Containerby Bernard Bernstein, United States1980RosewoodAccession #: 1992.036The Mina Avrech Collection, Yeshiva University Museum, Gift of Robert & Karen Avrech. Karen and I endowed a permanent collection of fine Judaica to the Yeshiva University Museum in memory of my beloved mother. Lielle Meital wishes all our friends and relatives a lovely and inspirational Shabbat. Ed Ruscha, The Absolute End, dry pigment on paper, 1982.