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Neuware -Florenz ist um 1900 die 'Hauptstadt der Renaissance' und eine der schönsten Städte der Welt: mondänes Reiseziel, Fluchtburg und ästhetisches Utopia für Kunstsinnige aller Art. 'Führer' durch diese alteuropäische Stadt, die es mit diesem Buch neu zu entdecken gilt, ist einer jener Reisenden ' zur Schönheit' : der Hamburger Kunsthistoriker Aby Warburg. Aus seinen Briefen und Tagebüchern sowie zahlreichen anderen Quellen zeichnet Bernd Roeck das intellektuelle Portrait und das arkadische Bild des alten Florenz im Umbruch zur Moderne.Sehnsuchtsort - das ist Florenz für viele bis heute. Seelenführer durch dieses Arkadien des 19. Jahrhunderts sind Aby Warburg und seine Frau Mary, deren umfangreiche Tagebücher und wechselseitige Korrespondenz diesem Buch zugrundeliegen: beginnend mit ihrer Liebesgeschichte vor der Kulisse der Stadt sowie Warburgs Renaissance-Studien, die seinen Weltruhm begründen. Zunächst werden wir Zeugen einer Reise in die Vergangenheit - in die Welt der Medici, Leonardo da Vincis und Botticellis. Daneben erleben wir das Florenz der Jahrhundertwende: Reiseziel der amerikanischen Hochfinanz, steinreicher Russen und skurriler Engländer, inspirierender Ort für Maler und Schriftsteller von Degas bis Klee, von Oscar Wilde bis zu Rilke, Isolde Kurz oder Thomas Mann. Der Leser wird in die Läden der Florentiner Kunstsammler und Antiquare geführt, erlebt leuchtende toskanische Abende auf den Terrassen der Villen von Fiesole und Bellosguardo, Theateraufführungen mit der Duse und Isadora Duncan, erhält Zugang zu den eleganten Salons und mondänen Parties der internationalen High Society. Und er sieht eine Stadt, die von den Umbrüchen der Moderne erfaßt und grundlegend verändert wird.Für Italienliebhaber und Italienreisende entwirft dieses souverän erzählte Buch das Florenz-Portrait der letzten Romantiker und die Vorgeschichte der gegenwärtigen Stadt. 336 pp. Deutsch

352 pages. German language. 7.99x5.98x0.87 inches. In Stock.

128 S. : 88 Bl. Abb. ; 4 9783765413698 Sprache: Italienisch Gewicht in Gramm: 550

Falk - Innen mit textmarker gezeichnet - Map Plan 9G-ZQGD-S3BY Sprache: Englisch Gewicht in Gramm: 73

A look at the life and work of the legendary Broadway producer traces his life, his triumphs and failures, and his lavish productions

With Joseph and Charles Eaton As Told to J.R. Morris At age fourteen, Doris Eaton was the youngest performer in the Ziegfeld Follies, appearing with such legends as Eddie Cantor, Fanny Brice, Will Rogers, and Marilyn Miller. With two sisters and two brothers also appearing in the Follies in the years between 1918 and 1923, the Eatons became a well-known Broadway family. Beginning their careers in the Washington, D.C., and Baltimore area, the "Seven Little Eatons" became seasoned performers, working the stock-company circuit before arriving in New York City and being caught up in the golden age of Broadway. Doris and her two sisters, Pearl and Mary, became popular dancers, and throughout the twenties they were never out of work. Doris was the first Eaton to go to Hollywood, and there in 1929 she introduced the song "Singing in the Rain" in the Hollywood Music Box Review. Later, Doris left show business and went on to great success building a chain of eighteen Arthur Murray studios in Michigan, which she owned and operated for thirty years. In a refreshingly wise voice, The Days We Danced introduces readers to the successes and poignant sorrows of the Eaton family, including alcoholism, professional failures, early death, and even a tragic murder. With memories that span almost a century, Doris recalls the state of the American theater during World War I, the "roaring twenties," the Great Depression--as well as the legendary names of the rich and famous celebrities with whom the Eatons worked and played. Accompanied by scores of unique period photographs, this memoir details the life of a woman who never stopped dancing--even when the curtain fell.

With Joseph and Charles Eaton As Told to J.R. Morris At age fourteen, Doris Eaton was the youngest performer in the Ziegfeld Follies, appearing with such legends as Eddie Cantor, Fanny Brice, Will Rogers, and Marilyn Miller. With two sisters and two brothers also appearing in the Follies in the years between 1918 and 1923, the Eatons became a well-known Broadway family. Beginning their careers in the Washington, D.C., and Baltimore area, the "Seven Little Eatons" became seasoned performers, working the stock-company circuit before arriving in New York City and being caught up in the golden age of Broadway. Doris and her two sisters, Pearl and Mary, became popular dancers, and throughout the twenties they were never out of work. Doris was the first Eaton to go to Hollywood, and there in 1929 she introduced the song "Singing in the Rain" in the Hollywood Music Box Review. Later, Doris left show business and went on to great success building a chain of eighteen Arthur Murray studios in Michigan, which she owned and operated for thirty years. In a refreshingly wise voice, The Days We Danced introduces readers to the successes and poignant sorrows of the Eaton family, including alcoholism, professional failures, early death, and even a tragic murder. With memories that span almost a century, Doris recalls the state of the American theater during World War I, the "roaring twenties," the Great Depression--as well as the legendary names of the rich and famous celebrities with whom the Eatons worked and played. Accompanied by scores of unique period photographs, this memoir details the life of a woman who never stopped dancing--even when the curtain fell.

Neuware - Die Villa Poggio Imperiale zählte einst zu den prächtigsten Residenzen der Medici in Florenz. Ihre kostbare Ausstattung verdankte sie vor allem den Großherzoginnen der Toskana, unter anderem Maria Magdalena von Österreich, in deren Auftrag sich der ländliche Bau in einen eleganten Palast des Frühbarocks wandelte. Der Autorin gelingt es, die damalige Ausstattung mit kostbaren Möbeln und einer glanzvollen Kunstsammlung sowie Funktion und Zusammensetzung der Gemächer zu rekonstruieren. Grundlagen dafür sind das monumentale Freskenprogramm mit berühmten Männern und Frauen des Hauses Habsburg sowie die Heilsgeschichte und ein reicher Quellenbestand. So gewinnt der Leser einen Eindruck vom höfischen Leben zu Beginn des 17. Jahrhunderts und von den mäzenatischen und politischen Handlungen einer habsburgischen Regentin im Florenz der Medici.

377 S. überw. Ill. Oln. - OS. Schuber. Sehr guter Zustand. Sprache: deutsch.

70 Seiten Buch ist neu, aus priv. Vorbesitz, ungelesen. -----Inhalt:. Max Beckmann, 1884 in Leipzig geboren, besuchte von 1899 bis 1903 die Weimarer Akademie. Er lebte in Paris, Genf und Florenz und ab 1907 in Berlin. 1915 zog er nach Frankfurt am Main, dort lehrte er bis 1933 an der Städel-Kunstschule. 1937 emigrierte er nach Holland und übersiedelte 1947 von dort nach New York, wo er 1950 in New York starb. ISBN: 9783933807083 Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Deutsch Gewicht in Gramm: 555

David Merrick is the most astonishing showman of our time, and perhaps of all time. No other producer, not even Florenz Ziegfeld nor the combined lights of the Shubert brothers, has equalled his percentage of hits or his demonic flair for publicity. In this first-ever biography, Howard Kissel from his decade-long investigation reveals the man, the mask, and the myth of David Merrick. The charismatic and reclusive mogul emerges as a Broadway version of Howard Hughes, with his own panoply of eccentricities, genius and neuroses. Merrick's much publicized and oftentimes staged battles and feuds are re-ignited here full force with such major personalities as Barbra Streisand, Jackie Gleason, Ethel Merman, Lena Horne, Woody Allen, Peter Ustinov, Andy Griffith, Anthony Newley, Peter Brook, and Carol Channing. Over a hundred interviews with the major players in Merrick's drama – from his pre-Merrick St. Louis childhood as David Margoulies to his latest divorce – has yielded the first serious interrogation of a life that until now has been the sole creation of Merrick's own invention and press wizardry.

In the first decades of the twentieth century, Broadway teemed with showgirls, but only the Ziegfeld Girl has survived in American popular culture—as a figure of legend, nostalgia, and camp. Featured in Florenz Ziegfeld Jr.’s renowned revues, which ran on Broadway from 1907 to 1931, the Ziegfeld Girl has appeared in her trademark feather headdresses, parading and posing, occasionally singing and dancing, in numerous musicals and musical films paying direct or indirect homage to the intrepid producer and his glorious Girl. Linda Mizejewski analyzes the Ziegfeld Girl as a cultural icon and argues that during a time when American national identity was in flux, Ziegfeld Girls were both products and representations of a white, upscale, heterosexual national ideal. Mizejewski traces the Ziegfeld Girl’s connections to turn-of-the-century celebrity culture, black Broadway, the fashion industry, and the changing sexual and gender identities evident in mainstream entertainment during the Ziegfeld years. In addition, she emphasizes how crises of immigration and integration made the identity and whiteness of the American Girl an urgent issue on Broadway’s revue stages during that era. Although her focus is on the showgirl as a “type,” the analysis is intermingled with discussions of figures like Anna Held, Fanny Brice, and Bessie McCoy, the Yama Yama girl, as well as Ziegfeld himself. Finally, Mizejewski discusses the classic American films that have most vividly kept this showgirl alive in both popular and camp culture, including The Great Ziegfeld, Ziegfeld Girl, and the Busby Berkeley musicals that cloned Ziegfeld’s showgirls for decades. Ziegfeld Girl will appeal to scholars and students in American studies, popular culture, theater and performance studies, film history, gender studies, gay and lesbian studies, and social history.

Broadway actress Billie Burke was one of the most sought after young stage beauties of her time, stealing the hearts of Enrico Caruso, Mark Twain, and, most importantly, famed Broadway producer Florenz Ziegfeld, who became her husband. Following Ziegfeld's death, the threats of financial ruin and encroaching age forced Burke to recreate herself as a Hollywood character actress. This biography benefits from the cooperation of the daughter and grandchildren of Burke and Ziegfeld, as well as from anecdotes provided by actors who performed with Burke on the stage and screen. In addition to studying the character and significance of Burke's greatest screen role in Glinda the Good Witch of the North, this richly illustrated book also provides a complete history of Burke's stage, screen, and radio work.

The result of nearly two decades of collecting material on the masterpiece of musical theatre that Oscar Hammerstein II and Jerome Kern made from Edna Ferber's 1926 novel. Since Florenz Ziegfeld's production opened on Broadway in December 1927, "Show Boat" has been revived over and over, including three film versions, a recent TV adaptation, and the acclaimed 1988 recording featuring Frederica von Stade and Teresa Stratas. Kreuger tells a number of stories about the making of "Show Boat", such as Ferber's friendship with an acting couple who gave shows on their boat. He also talks about the stage production and its stars, including Paul Robeson, and how, in Broadway revivals and in films over the decades, "Show Boat" has remained one of the landmarks of the American musical stage.

The storied and turbulent career of glamour artist Alberto Vargas took him from Florenz Ziegfeld's Follies in the 1920s to Hollywood in the '30s to Esquire magazine and the emergence

Neu Neuware, auf Lager - Cavalli, am 15. November 1940 in Florenz geboren, bezeichnet sich selbst als 'Modekünstler'. Schonungslos enthüllt er auch die intimsten Aspekte seines Lebens, etwa die Tragödie, die seine Kindheit geprägt hat, erzählt u. a. von ersten zarten Flirts, von den Frauen, die er geliebt hat, von seinen Kindern, von seinen Freundschaften mit Cindy Crawford, Lenny Kravitz, Jennifer Lopez, Michael Jackson und Sharon Stone sowie von den vielen Höhen und Tiefen seines Lebens. Es ist die Geschichte eines Mannes, der glücklich darüber ist, geboren worden zu sein und auch glücklich ist, zu sterben, wenn die Zeit für ihn kommt. Er berichtet über die Modewelt in Mailand, New York, Paris und im Palazzo Pitti in Florenz mit von ihm entworfenen Kleidern für Popstars und den roten Teppich; alles in allem ein Wirbelsturm von Geschichten. Just me ist das Spiegelbild eines anarchischen, vielschichtigen und gleichzeitig authentischen Mannes, der sich aus Liebe zu dieser unwiderstehlichen Öffentlichkeit entblößt. Dieses Buch ist ein 'must-have' nicht nur für Cavalli-Fans und Modeliebhaber. Es ist ein Stück Zeitgeschichte, leidenschaftlich erzählt aus dem Blickwinkel eines Mannes, der nach all dem Erreichten einfach sagt: Just me!

The name Florenz Ziegfeld Jr. (1867–1932) is synonymous with the decadent revues that the legendary impresario produced at the turn of the twentieth century. These extravagant performances were filled with catchy tunes, high-kicking chorus girls, striking costumes, and talented stars such as Eddie Cantor, Fanny Brice, Marilyn Miller, W. C. Fields, and Will Rogers. After the success of his Follies, Ziegfeld revolutionized theater performance with the musical Show Boat (1927) and continued making Broadway hits―including Sally (1920), Rio Rita (1927), and The Three Musketeers (1928)―several of which were adapted for the silver screen.In this definitive biography, authors Cynthia Brideson and Sara Brideson offer a comprehensive look at both the life and legacy of the famous producer. Drawing on a wide range of sources―including Ziegfield's previously unpublished letters to his second wife, Billie Burke (who later played Glinda the Good Witch in The Wizard of Oz), and to his daughter Patricia―the Bridesons shed new light on this enigmatic man. They provide a lively and well-rounded account of Ziegfeld as a father, a husband, a son, a friend, a lover, and an alternately ruthless and benevolent employer. Lavishly illustrated with over seventy-five images, this meticulously researched book presents an intimate and in-depth portrait of a figure who profoundly changed American entertainment.

The name Florenz Ziegfeld Jr. (1867–1932) is synonymous with the decadent revues that the legendary impresario produced at the turn of the twentieth century. These extravagant performances were filled with catchy tunes, high-kicking chorus girls, striking costumes, and talented stars such as Eddie Cantor, Fanny Brice, Marilyn Miller, W. C. Fields, and Will Rogers. After the success of his Follies, Ziegfeld revolutionized theater performance with the musical Show Boat (1927) and continued making Broadway hits―including Sally (1920), Rio Rita (1927), and The Three Musketeers (1928)―several of which were adapted for the silver screen.In this definitive biography, authors Cynthia Brideson and Sara Brideson offer a comprehensive look at both the life and legacy of the famous producer. Drawing on a wide range of sources―including Ziegfield's previously unpublished letters to his second wife, Billie Burke (who later played Glinda the Good Witch in The Wizard of Oz), and to his daughter Patricia―the Bridesons shed new light on this enigmatic man. They provide a lively and well-rounded account of Ziegfeld as a father, a husband, a son, a friend, a lover, and an alternately ruthless and benevolent employer. Lavishly illustrated with over seventy-five images, this meticulously researched book presents an intimate and in-depth portrait of a figure who profoundly changed American entertainment.

537 Seiten. Leicht berieben und bestoßen. Ansonsten gut erhalten. 9783422064294 Sprache: Deutsch Gewicht in Gramm: 2066 (Italienische Forschungen des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut, Vierte Folge, Band IV.).