The Swedish beauty Ingrid Bergman was one of the top stars of the 1940s (Casablanca, Gaslight, Notorious), but her career in the U.S. derailed in 1949 when she left her husband and daughter for the Italian director Roberto Rossellini. Bergman could not work in an American film for seven years, though upon her return, in 1956, she won an Oscar for Anastasia. LIFE’s Gordon Parks was a close friend, and Bergman trusted him to the extent that she invited him to the 1949 shoot for Stromboli— directed by Rossellini, at the time perceived as the villain — where Parks made this haunting portrait.
This image from a medieval romance depicts a knight battling a foe for the hand of the beautiful maiden seen kneeling in the background. A look of agony is evident on the defeated knight’s face as he realizes that he has lost the duel (not to mention his leg!). To the right, two horses engage in a battle of their own that echoes that of their masters.
#ThyCaptionBe is a celebration of modern interpretations of medieval aesthetics. You guess what the heck is going on, then we myth-bust.
This larger-than-life sculpture was Rodin’s first attempt at capturing the spontaneous movement of a model. As this well-timed photograph shows, Rodin’s flat-footed subject conveys the movement, beginning to end, of a person stepping.
Artist Dan Flavin conflated the visual language of art and religion with his ethereal “diagonals” series, works made from fluorescent tubes that range in scale from single lamps to larger site-specific installations. Don’t miss your opportunity to view one of his earliest “diagonals,” entitled “the diagonal of May 25, 1963 (to Robert Rosenblum)” (1963) on view now in Embracing the Contemporary.
The question “What is The Value of Art?” is a valid one and many people ask it. In this BBC documentary, journalist Alastair Sooke wants to find out more about this infamously secret art world and the multi millionaires who populate it.
Female kifwebe mask of the Luba or Songye peoples, Tanganyika Province, Democratic Republic of the Congo. Artist unknown; late 19th or early 20th century. Now in the Brooklyn Museum. Photo credit: Brooklyn Museum.
“Nebamun’s cat looks so much at home in the scene of the hunt in the marshes that it looks as though cats have always been part of it. ‘At home’ is a clue to its inclusion here and elsewhere. The cat was now regarded as an integral element of ‘family at home’ scenes and its presence was felt necessary even in the imaginary marsh scenes. The tomb owner was accompanied by his family and the occasion would not have been the same without the family pet.” — Jaromir Malek, The Cat in Ancient Egypt
Nick Cave, “Soundsuit”, 2010, frame of doilies squared on the back, doilies arranged in a spiral on the front, knit fabrics, sequins, pot holders, vintage doilies and knit leggings. Parma, Collezione privata Emanuela Barilla.