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| Author | : Gailyn Addis |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2000 |
| Genre | : |
| ISBN | : 9781570715570 |
From makeup to mannerisms, discover how to capture a piece of Marilyn Monroe's signature sexy style and make it a part of your daily look. This step-by-step guide is the ultimate handbook for anyone wanting to make a living impersonating Marilyn. Photos.
| Author | : Michelle Morgan |
| Publisher | : Running Press Adult |
| Total Pages | : 224 |
| Release | : 2019-07-09 |
| Genre | : Biography & Autobiography |
| ISBN | : 0762466537 |
A lifestyle guide and tribute to the style, glamour, and showmanship of Hollywood's most iconic star, with Marilyn-inspired lessons and inspiration for today's woman. While the 1950s was in many ways an era of repression for women, Marilyn Monroe broke barriers and rebelled against convention -- and charmed the world with her beauty, talent, and irresistible personality. Filled with gorgeous photos, The Little Book of Marilyn will show you how to bring a touch of that glamour into your own life through: Tutorials on recreating the star's makeup looks Style advice and tips on where to find Marilyn-like fashions Décor ideas from Marilyn's own homes Everyday inspiration from her life that will let your inner Marilyn shine, and much more!
| Author | : Gloria Steinem |
| Publisher | : M J F Books |
| Total Pages | : 0 |
| Release | : 1986 |
| Genre | : Motion picture actors and actresses |
| ISBN | : 9781567311259 |
In this sensitive, provocative portrait of Marilyn Monroe, Gloria Steinem reveals the woman behind the myth--the child Norma Jean--and the forces in America that shaped her into the fantasy and icon that has never died. 16 pages of full-color photos.
| Author | : Astrid Franse |
| Publisher | : Macmillan |
| Total Pages | : 258 |
| Release | : 2015-11-10 |
| Genre | : Biography & Autobiography |
| ISBN | : 125008590X |
"Originally published in Great Britain by The History Press"--Title page verso.
| Author | : Patricia Lee (Writer on contemporary art) |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2016 |
| Genre | : Art |
| ISBN | : 9781846381645 |
An illustrated examination of a work--a Warhol that isn''t by Warhol--that embodies a shift in attitudes about artistic authorship and originality. Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930-2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol''s own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, "I don''t know. Ask Elaine.") In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn''s author, and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.and explains that mistaken identity is part of Sturtevant''s intention for the operation of the work. She discusses the ways that Sturtevant''s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber''s shooting a bullet through a stack of Warhol''s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant''s decision to remake the work. Lee writes that Sturtevant''s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges''s "Pierre Menard, Author of the Quixote," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles. ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.," who recreates a section of Cervantes''s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.ntexts and display strategies for Sturtevant''s work as illuminating her broader artistic aims and principles.
| Author | : Michelle Morgan |
| Publisher | : Robinson |
| Total Pages | : 287 |
| Release | : 2022-02-17 |
| Genre | : Biography & Autobiography |
| ISBN | : 1472145941 |
'England? It seemed to be raining the whole time . . . Or maybe it was me' MARILYN MONROE In July 1956, Marilyn Monroe arrived in London, on honeymoon with her husband Arthur Miller, to make The Sleeping Prince (later released as The Prince and the Showgirl) with Laurence Olivier. When the couple arrived at London Airport, they were looking forward to a peaceful stay. Marilyn would work during the day at Pinewood Studios, while Arthur would write. Then, in the evening, the couple would be able to relax together in their private English country cottage. It didn't quite turn out that way. The 'cottage' was actually a mansion, which belonged to Lord Drogheda, the managing director of the Financial Times. Raised in tiny hotel rooms and apartments, Marilyn felt herself being watched. She was, by Lord Drogheda's servants, who were selling stories to the papers. When filming began, it was a disaster. Director Joshua Logan had written to Olivier, offering advice on how to handle Marilyn as an actress, but Olivier ignored him. Instead, he condescended to her in his introduction to the cast, pooh-poohed her views on acting, and dismissed her stage-fright as an inconvenience. Marilyn grew to hate Olivier with a passion; the feeling was mutual. Marilyn found herself torn between settling into married life, being a curiosity for the frequently hostile British press, and her work on The Prince and the Showgirl. She took solace in small acts of kindness from members of the public, and a new fascination with Queen Elizabeth. Marilyn made a point of adopting some of the Queen's favourite brands, buying gloves from Cornelia James, perfume from Floris, and switching from Chanel No. 5 to Yardley's Lavender. Marilyn made a point of asking the film's PR manager to add a royal meeting to her schedule, but each day Olivier would delete the request. Michelle Morgan describes Marilyn's trip to late-1950s' Britain in evocative detail, exploring the making of the film alongside the film star's troubled private life and her quest to meet the Queen.
| Author | : C. David Heymann |
| Publisher | : Simon and Schuster |
| Total Pages | : 448 |
| Release | : 2014-07 |
| Genre | : Biography & Autobiography |
| ISBN | : 1439191778 |
Traces the passionate and sometimes volatile relationship between Joe DiMaggio and Marilyn Monroe, covering their sensational 1954 elopement and the troubles that led to their divorce nine months later.
| Author | : George Barris |
| Publisher | : Citadel Press |
| Total Pages | : 188 |
| Release | : 2009-04-28 |
| Genre | : Biography & Autobiography |
| ISBN | : 9780806531236 |
The late actress's story, told in her own words as well as one hundred and fifty photographs, culled from conversations with the author in 1962.
| Author | : J. Randy Taraborrelli |
| Publisher | : Grand Central Publishing |
| Total Pages | : 550 |
| Release | : 2009-08-25 |
| Genre | : Biography & Autobiography |
| ISBN | : 0446550957 |
From New York Times bestselling author J. Randy Taraborrelli comes the definitive biography of the most enduring icon in popular American culture. When Marilyn Monroe became famous in the 1950s, the world was told that her mother was either dead or simply not a part of her life. However, that was not true. In fact, her mentally ill mother was very much present in Marilyn's world and the complex family dynamic that unfolded behind the scenes is a story that has never before been told...until now. In this groundbreaking book, Taraborrelli draws complex and sympathetic portraits of the women so influential in the actress' life, including her mother, her foster mother, and her legal guardian. He also reveals, for the first time, the shocking scope of Marilyn's own mental illness, the identity of Marilyn's father and the half-brother she never knew, and new information about her relationship with the Kennedy's-Bobby, Jack, and Pat Kennedy Lawford. Explosive, revelatory, and surprisingly moving, this is the final word on the life of one of the most fascinating and elusive icons of the 20th Century.
| Author | : Lawrence Schiller |
| Publisher | : Nan A. Talese |
| Total Pages | : 110 |
| Release | : 2012-05-29 |
| Genre | : Biography & Autobiography |
| ISBN | : 0385536682 |
An intimate memoir recalling a young photographer's relationship with Marilyn Monroe just months before her death, with extraordinary photographs, some of which have never been published. "With the precision of a surgeon, Schiller slices through the façade of Marilyn Monroe in his unflinching memoir. Revealing and readable, it’s a book I couldn’t put down." —Tina Brown When he pulled his station wagon into the 20th Century-Fox studios parking lot in Los Angeles in 1960, twenty-three-year-old Lawrence Schiller kept telling himself that this was just another assignment, just another pretty girl. But the assignment and the girl were anything but ordinary. Schiller was a photographer for Look magazine and his subject was Marilyn Monroe, America's sweetheart and sex symbol. In this intimate memoir, Schiller recalls the friendship that developed between him and Monroe while he photographed her in Hollywood in 1960 and 1962 on the sets of Let's Make Love and the unfinished feature Something's Got to Give, the last film she worked on. Schiller recalls Marilyn as tough and determined, enormously insecure as an actress but totally self-assured as a photographer’s model. Monroe knew how to use her looks and sexuality to generate publicity, and in 1962 she allowed Schiller to publish the first nude photographs of her in over ten years, which she then used as a weapon against a studio that wanted to have her fired—and ultimately succeeded. The Marilyn Schiller knew and writes about was adept at hiding deep psychological scars, but she was also warm and open, candid and disarming, a movie star who wished to be taken more seriously than she was. Accompanying the text are eighteen of the author’s own photographs, some never previously published. Many writers have tried to capture her essence on the page, but as someone who was in the room, a young man Marilyn could connect with and trust, Schiller gives us a unique look at the real woman offscreen. "In this short, splendid memoir, Lawrence Schiller offers us another cut on the scintillating diamond that is Marilyn Monroe. In clear honest straightforward prose, Schiller allows us to dwell in the heart of another time. He captures Marilyn, both in photographs and words, and in so doing he gives us intimate access into one of the great stories of the 20th century: the complicated cocktail of joy and sadness that goes along with both beauty and fame." —Colum McCann
