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THE WHITE BLACKBIRD

Name: THE WHITE BLACKBIRD
Author: Honor Moore
ISBN: 0-670-85063-7

A LIFE OF THE PAINTER MARGARETT SARGENT BY HER GRANDDAUGHTER

by Honor Moore ‧ RELEASE DATE: March 12, 1996

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A compelling biography of a troubled socialite and talented but minor artist. Rich, charming, and a drop-dead beauty, Margarett Sargent (18921978) was also a footnote in the history of art. An independent spirit from the start, Sargent challenged her conservative and wealthy Bostonian family by pursuing a career, first as a sculptor of portrait busts and later as a painter. She studied with, among others, Gutzon Borglum (of Mount Rushmore fame) at his art camp in Turn of River, Conn., and George Luks, who became Sargent's most important mentor and friend. She exhibited fairly regularly in solo and group shows between 1916 and 1936. Critic Henry McBride wrote in 1930: ``If she is ever able to forget, or conceal, her somewhat noticeable admiration for Matisse she will prove an artist that has to be taken very much into account.'' But in 1936, Sargent felt that creating art had gotten ``too intense,'' and she turned instead to gardening. Sargent's artistic career is only part of this story, however. Like a character out of an F. Scott Fitzgerald story, she partied, flirted, and drank to excess. Alcoholism, along with severe mental illness, undermined her career, her marriage, and, ultimately, her life. Her last decades were pathetic and lonely ones, spent in and out of various mental institutions. In this carefully researched biography, Moore, the artist's granddaughter and a playwright and poet, has gone through her family's attic, culling information from letters, journals, and interviews to introduce us to Sargent's handsome society husband, many lovers, suffering children, and loyal friends. Most painfully, she has confronted the legacy of a family haunted by mental illness. Striking just the right balance between personal and professional, Moore places Sargent's life and career in a broader cultural context. In Moore's skilled hands, this portrait of narcissism, illness, and social privilege becomes completely captivating. (color and b&w photos, line drawings, not seen)

Pub Date: March 12, 1996

ISBN: 0-670-85063-7

Page Count: 384

Publisher: Viking

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 1995

Categories:

GENERAL NONFICTION

- BOOK REVIEW
OUR REVOLUTION
by Honor Moore

- BOOK REVIEW
THE BISHOP’S DAUGHTER
by Honor Moore

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.