Friday Photos: True Hollywood Confessions October 28, 2016 by Robert J. Avrech 6 Comments “The chancellor, the late chancellor, was only partly correct. He was obsolete, but so is the State, the entity he worshipped. Any state, any entity, any ideology that fails to recognize the worth, the dignity, the rights of man—that state is obsolete. A case to be filed under “M” for mankind—in the Twilight Zone.”—Rod Serling, “The Obsolete Man”, The Twilight Zone Gerard ter BorchA Gentleman Pressing a Lady to Drink c.1658-9 Royal Collection Trust © Her Majesty Queen Elizabeth Milton GreeneHat by Lily Dache1951 Cary Grant as Charlie Chaplin (photo by Bert Stern for LIFE Magazine, Dec. 23rd, 1963) Above: The partial set from Citizen Kane consists of a foreground doorway and the butler (Paul Stewart), while Kane (Orson Welles) stands on a distant soundstage floor.Below: The final, deep-focus image was completed with a matte painting by Chesley Bonestell. The live-action elements of the doorway in the foreground and Kane in the background were optically composited with a painted hallway, columns, and floor. The distant reflection of Kane on the floor was painted as well.Source: The Invisible Art Saul Bass designed title sequence for Grand Prix, 1966Source Marilyn Monroe and Louis Calhern on the set of “The Asphalt Jungle,” 1950. George Ault (American, 1891-1948),August Night At Russell’s Corners , 1940oil on canvas, 18 x 24 in. Anna May Wong, 1935 Moira Shearer & Robert Helpmann in The Red Shoes (1948, dir. Michael Powell & Emeric Pressburger)“I am often asked why The Red Shoes, of all our films, became such a success in every country of the world. More than a success, it became a legend. Even today, I am constantly meeting men and women who claimed that it changed their lives. This is natural enough for women who were girls at the time, and who were growing up in countries that had been wracked by war. But my friend Ron Kitaj, who was thinking of becoming an art student at the time, has told me the same thing. ‘It changed my direction,’ he said. ‘It gave art a new meaning to me.’These are personal reactions, but I think that the real reason why The Red Shoes was such a success was that we had all been told for ten years to go out and die for freedom and democracy, for this and for that, and now that the war was over, The Red Shoes told us to go out and die for art.”-excerpted from Michael Powell’s A Life in Movies Gabriel MetsuThe Cello Playeroil on canvas62.9 x 48.2 cmc.1658 Corinne Griffith costumed as an Art Deco-style Rolls Royce hood ornament in “Lilies of the Field,” 1924Art direction by Milton Menasco.Photographer: Irving Chidnoff Arthur Dove, 1880-1946 Rose and Locust Stump, 1943wax emulsion on canvas 24-x-32 inchesThe Phillips Collection Washington, D.C. Photo by Annemarieke van DrimmelenMirte Maas for Vogue Netherlands, 2012 William M. Harnett (American, born Ireland, 1848–1892),Le Figaro , 1880oil on canvas, 6 7/8 x 5 7/8 in. The Joyless Street, 1925, featuring Greta Garbo (far left) in her last European film before emigrating to the United States.Full film online here. Marsden Hartley (American, 1877-1943)Wild Roses, 1942, 1942oil on hardboard22-x-28-inchesThe Phillips Collection Washington D.C. Kenneth Noland (American, 1924-2010)April 1960Acrylic on canvas16 x 16 inches Margaret Hamilton in publicity still for The Wizard of Oz (1939, photo by Virgil Apger)“I was in a need of money at the time, and my agent called. I said, ‘Yes?’ and he said ‘Maggie, they want you to play a part on the Wizard.’ I said to myself, ‘Oh Boy, The Wizard of Oz! That has been my favorite book since I was four.’ And I asked him what part, and he said ‘The Witch’ and I said ‘The Witch?!’ and he said ‘What else?’” Jan SteenA Woman at her Toilet1663Royal Collection Trust © Her Majesty Queen Elizabeth French actress Michele Morgan, 1940Photographer, Ernest Bachrach Henri Lehmann (French, Kiel 1814–1882 Paris)Faustine Léo (1832–1865) was Lehmann’s cousin1842Oil on canvas39 3/8 x 32 in. (100 x 81.3 cm) Maayan Ariel studies Faustine at the N.Y. Met. Tiffany and Co. Smith & Wesson First Model 32 Safety Hammerless DA Revolver. Embellished Sterling Silver Tiffany Ivory Encased Grip. Manufactured in 1888. Donald Judd (American, 1928–1994),Untitled, 1982brass and blue anodized aluminum, 40 ½ x 84 x 6 ¾ in.; 102.87 x 213.36 x 17.15 cm Robert J. AvrechKaren Contemplates Blue Horizontal October, 2016 Munya UpinThese hand woven, fine sterling silver candlesticks are “connected” with the Hebrew verse “thy word is a lamp unto my feet and a light unto my path.” Ariel wishes all our friends and relatives a lovely and inspirational Shabbat.