This picture of MM is made entirely of candy. The hair is made of licorice, the face of gummy bears and the background from other candy. Pretty sweet!
When I was a kid, I started collecting pictures of Marilyn Monroe in a scrapbook. A folder of six or so was sold at the quick-stop type gas station in Sweetwater, Texas for less than a dollar. Eventually, I had two scrapbooks full of pictures and articles about Marilyn. I was too young to understand sex appeal, but I liked her in comic roles. She seemed innocent, sweet, and funny. When our family moved to Baton Rouge, Louisiana, in 1957, my scrapbooks disappeared. The movers must have stolen them. Today, they would probably be worth several dollars on eBay.
Fifty years have elapsed since Marilyn's death, and she is a "hot property" again in the media world. If you see two large scrapbooks of MM pictures for sale, please inform me ASAP!
LOS ANGELES (AP).- There is a career after death, at least if while alive
you wielded star power like Marilyn Monroe.
The bombshell actress
continues to be a successful celebrity brand even 50 years after she died on
Aug. 5, 1962, with a new digital emphasis to complement the wealth of photos,
fashion, films and other cultural touchstones she left behind.
ranked third last year in Forbes' annual list of top deceased celebrity earners,
generating $27 million and coming in behind Michael Jackson and Elvis Presley.
It was a comeback for the actress, who had fallen off the list the previous two
When the list is updated in the fall, it will likely show it has
been another lucrative year for the actress' estate, which was purchased in 2010
by Authentic Brands Group and its partner, NECA. The company is in the midst of
upgrading Monroe offerings from trinkets to cosmetic lines, spas, salons and
From beyond the grave, Monroe tweets at nearly 54,000 followers
from (at)marilynmonroe and has a website and official Facebook page with more
than 3.3 million fans. The messages often focus on fashion, body image and other
musings recorded while she was alive, as well as interacting with current
celebrities who express adoration for Monroe.
The digital efforts expose
a new generation to not only the actress' fashion and trivia about her life, but
also promote sales of Monroe's memorabilia and the NBC drama "Smash," which
follows fictional efforts to create a Broadway show based on Monroe's life.
"In some ways, she's more popular and well-known today than she was even
then," said Lawrence Schiller, a photographer who knew Monroe in the final
months of her life and photographed her last on-set photo shoot and author of
the memoir "Marilyn & Me."
Authentic Brands CEO Jamie Salter said
his company is making Monroe products more in line with the elegance of a star
who famously sang, "Diamonds Are a Girl's best Friend."
"Our aim has
been to clean up the brand," Salter said, with a shift away from "souvenir-type
stuff" and toward what he calls the mid-tier luxury business. Current partners
include Dior, Dolce & Gabbana, MAC Cosmetics and Marilyn Monroe Cafes, a
group of high-end coffee shops.
The estate also draws upon a wealth of
Monroe photographs, which continue to attract admirers and customers.
"It's women that have kept Marilyn alive, not men," Schiller said.
Schiller said that whenever a gallery exhibit of Monroe photos opens,
it's often teenage girls who come in the greatest numbers. They continue to be
fascinated with Monroe, but he said he's seen an evolution in the images that
people are interested in.
"In the '70s the pictures that were selling
were the ones that were very, very sexy," Schiller said. Since the early 2000s,
he said the top sellers haven't been Monroe's nudes but rather images that
accentuated her humanity.
"I think people want to see her now as a real
person," Schiller said. "They want to see her in a simpler way."
if he sees the fascination with Monroe enduring for another 50 years, Schiller
said a lot depends on whether communications remain a visual medium much as it
has in recent decades. "Our interests may change drastically," he said.
"It isn't that she's going to be replaced," he said. "No Lindsay Lohan
or Madonna or Lady Gaga is going to replace her."
National Writer Jocelyn Noveck contributed to this report.
This photo of MM is from the cute movie, "Seven Year Itch," one of my favorites. BL
On June 18, 2006, the art market confirmed the established judgment of Austrian painter Gustav Klimt as one of the most important artists of modern times, and overnight transformed him into the most newsworthy. That day, his "Portrait of Adele Bloch-Bauer I" (1907)—for which three tantalizing sketches are now on view in Los Angeles—was sold to the Neue Galerie in New York for $135 million, then the highest price ever paid for a painting.
The Magic of Line
The Getty Center
Through Sept. 23
The Magic of Line
The Getty Center
Through Sept. 23
Although most of the 111 drawings at the Getty (there were 170 at the Albertina) were preliminary sketches for paintings, many of the more impressive existed for their own sake. Of his unidentified, autonomous early-chalk portraits, the finest are two realistic, delicately drawn, melancholy-looking women of 1897-98, one of them belonging to the Getty. The best of his early, traditionally shaded preliminary drawings for wall and ceiling paintings are of the heads of two actors portraying the dead Romeo and Juliet and four audience members gazing at them, drawn for his depiction of a 16th-century production for the Globe Theater in London. The painting was one of 10 commissioned from the 24-year-old Klimt and two partners for the ceilings of the new Vienna Burgtheater in 1886.
By his next three big mural commissions, Klimt had rejected traditional painting and drawing, and embraced the sinuous, symbolist, often irrational and erotic styles of the European fin-de-siècle.
The first commission was a trio of epic, symbolic and bewildering 14-by-20-foot paintings ("Philosophy," "Medicine" and "Jurisprudence") commissioned in 1894 (completed 1901, altered 1907) for the ceiling of the Great Hall of the University of Vienna. All three suffered the double indignity of being rejected by the university, then burned by retreating Nazis in 1945. The second commission is a 97-by-7-foot processional frieze set high on three walls of one gallery for a 1902 exhibition honoring the 75th anniversary of Beethoven's death at the Vienna Secession building, where it returned in 1975. It has been marvelously reproduced at the Getty by Olson Visual, where it fills three comparable walls. The third is a 6-by-50-foot mosaic wall, made of white marble plaques inset with gold and stones in 1911, which still stands in the banqueting hall of the Palais Stoclet, a famous (but inaccessible) Art Nouveau mansion in Brussels.
The 29-by-22-inch oil sketch for "Medicine" (from the rejected University series) tells us almost all we need to know about this vanished work. Most of the pencil sketches here for this painting refer either to the collaged pile-up of bodies on the right (old and young, well and ill, living and dead), and one female nude floating in space apart from the rest. The drawings for the Beethoven Frieze show characters from episodes of the Ninth Symphony (as interpreted by Wagner), concluding with a nude couple embracing and conveying (in Schiller's and Beethoven's words) "the kiss to the whole world," amid a symmetrical choir of upright angels. This is the first of several drawings here leading towards Klimt's most famous painting, "The Kiss" of 1907-08.
After 1900, Klimt became the preferred portrait painter for the wives and daughters of Vienna's wealthy bankers and industrialists, many of them Jewish. Margarethe Wittgenstein and her powerhouse family never liked Klimt's finished painting of her. But the black chalk drawing for it here—the dark eyes looking at us, the perfect curve of her shoulders wrapped in a figured flowing shawl, the soft parallel chalk lines that define the fall of her skirt—may well lead one to prefer the drawing to the painting.
Of the 19 drawings of 11 identified models at the Getty, at least three are more interesting than their corresponding oils and two are their equals, even with the loss of the rich millefiori color of backgrounds and gowns. What you lose in the paintings are strikingly black eyes and lips; the quick, instinctively drawn curves of perfect profiles; the dozens of parallel, writhing lines by which Klimt creates a gown; the sense of a figure floating in space or growing out of the curve of a chair.
Thirty-two of the Klimt drawings at the Getty are of female nudes, not including male-female couples. After 1902—more explicitly after 1910—most of Klimt's drawings of female nudes were erotic, in some cases pornographic. The Albertina catalog includes at least a dozen female nudes that—however exquisite as drawings—I can only call pornographic. Five of them are at the Getty. There are no doubt hundreds more. In conversation and in the catalog, Ms. Bizanz-Prakken defends all this as part of Klimt's fascination with the "cycle of life." But in an essay she wrote for the Neue Galerie's 2008 Klimt catalog (to celebrate its new acquisition) she wrote more openly about his sexual mania (he is supposed to have fathered at least 14 children, mostly by his models), and his probable dependence on the tidal wave of pornographic photographs for sale to respectable Viennese gentlemen of the time.
Is the "Portrait of Adele Bloch-Bauer I" worth $135 million? I have no idea. But after looking at three of his preliminary, independent drawings for the work at the Getty (and, earlier, those surrounding golden Adele in her handsome new home on Fifth Avenue), one is easily persuaded that Gustav Klimt (however unconventional his personal life) could, on occasion, be one of the most instinctively wise and deft draftsmen of the 20th century.
Mr. Littlejohn writes about West Coast cultural events for the Journal.
Klimt's style drew from an eclectic range of sources: classical Greek, Byzantine, Egyptian, and Minoan art; late-medieval painting and the woodcuts of Albrect Durer; photography and symbolist painting, and more. In symbolizing these diverse inspirations, Klimt's art achieved both individuality and extreme elegance. BBLoyd