100 portraits: portrait 29

 portrait 29

100 portraits: portrait 28

Knowledge of the Rodin affair agitated Claudel’s family, especially her mother, who never completely agreed with Claudel’s involvement in the arts.

100 Portraits: portrait 27

Around 1884, Camille Claudel started working in Rodin’s workshop. Claudel became a source of inspiration, his model, his confidante and lover. She never lived with Rodin, who was reluctant to end his 20-year relationship with Rose Beuret.

100 Portraits: portrait 26

Frida Kahlo suffered lifelong health problems, many of which derived from a traffic accident she experienced as a teenager. These issues are represented in her works, many of which are self-portraits of one sort or another.

100 Portraits: portrait 25

100 Portraits: portrait 24

100 Portraits: portrait 23

100 Portraits: portrait 22

100 Portraits: portrait 21

Her music hall performances in black hose and garters included crowd-pleasing risqué songs, which were uninhibited, yet inoffensive.

100 Portraits: portrait 20

Adopting a single name, "Kiki", Kiki's companion for most of the 1920s was Man Ray, who made hundreds of portraits of her.

100 Portraits: portrait 19

A painter in her own right, in 1927 Prin had a sold-out exhibition of her paintings at the Galerie au Sacre du Printemps in Paris. 

100 Portraits: portrait 18

Kiki’s companion for most of the 1920s was Man Ray, who made hundreds of portraits of her.

100 Portraits: portrait 17

A fixture in the Montparnasse social scene, Kiki was a  very popular artist model, posing for dozens of artists.

100 Portraits: portrait 16

In 1882, Claudel rented a workshop with other young women, mostly English, including Jessie Lipscomb. Alfred Boucher became her mentor and provided inspiration and encouragement to the next generation of sculptors such as Laure Coutan and Claudel. 

100 Portraits: Portrait 15

Frida Kahlo de Rivera (July 6, 1907 – July 13, 1954; born Magdalena Carmen Frieda Kahlo y Calderón) was a Mexican painter, born in Coyoacán, and is perhaps best known for her self-portraits.

100 Portraits: Portrait 14

Camille Claudel: After 1905 Claudel appeared to be mentally ill. She destroyed many of her statues, disappeared for long periods of time, and exhibited signs of paranoia and was diagnosed as having schizophrenia.

100 portraits: portrait 13

Alice Prin an illegitimate child, was raised in abject poverty by her grandmother. At age twelve, she was sent to live with her mother in Paris in order to find work. She first worked in shops and bakeries, but by the age of fourteen, she was posing nude for sculptors, which created discord with her mother.

100 portraits: portrait 12

Alice Ernestine Prin (2 October 1901 – 29 April 1953), nicknamed Queen of Montparnasse, and often known as Kiki de Montparnasse, was a French artist model, nightclub singer, actress, memoirist, and painter. She flourished in, and helped define, the liberated culture of Paris in the early 1920s.

100 portraits: number 11

Camille Claudel (8 December 1864 – 19 October 1943) was a French sculptor and graphic artist. Around 1884, she started working in Rodin's workshop. Claudel became a source of inspiration, his model, his confidante and lover.

100 portraits in 100 days

Today is April 10th and I'm supposed to have 10 portraits up.So here are 5 to 10 so I can play catch-up. These characters are working of the figures from Fellini's 8½

(5) Claudia | Claudia Cardinale

(6) 

(7) 

(8) 

(9) 

(10) 

100 portraits in 100 days

Portrait (4) This portrait is of one of guides servers in the harem scene. For the moment my bet is on it being Marissa Colomber identified as the nanny in black.

100 Portraits in 100 days

My first three portraits are from: Fellini's 8½ film. Here are portraits 1, 2, and 3.

(1) Sandra Milo as Carla

(2) One of Guido's Harem as yet not identified

(3) Simply identified as a beautiful woman this could be Caterina Boratto.

8½ is a 1963 Italian comedy-drama film directed by Federico Fellini.
Guido Anselmi (Marcello Mastroianni), a famous Italian film director, is suffering from "director's block". Stalled on his new science fiction film that includes veiled autobiographical references, he has lost interest amid artistic and marital difficulties. As Guido struggles half-heartedly to work on the film, a series of flashbacks and dreams delve into his memories and fantasies; they are frequently interwoven with reality.