Stael

Grande Composition Bleue, 1950-51, Nicolas de Stael (1914-55), oil on Masonite, 200 x 150cm.

Fuller's admiration for de Stael was well known, as were the similarities between their biographies, to the point that Fuller's contemporaries had dubbed her the "Yankee Corinna." (7) That Fuller had been particularly fascinated by, and to some extent had identified with, the charisma and performative abilities of de Stael's best-known heroine, is suggested by her characterization of her own alter-ego Mariana, in Summer on the Lakes, as an " improvisatrice" (60).

Dow's piece, for she has given us not only an excellent outline of the legacy of Jane Austen and her French counterpart Germaine de Stael but also a modernization of that poem, composed by Gillian and her sister.

After ThedaAEs death, her sister gave Joan family documents which included letters of Madame de Stael and Lord Byron.

Lucas de Stael launched a beautiful capsule collection called Vivarium covering four shapes which mix leather and metal, and come in a range of beautiful colours.

Paul McCartney became Paul Ramon, Stuart Sutcliffe was Stuart de Stael, George Harrison became Carl Harrison and John Lennon was Long John.

Santa Monica, CA, January 22, 2015 --(PR.com)-- Aika Trading is proud to announce that they are now stocking two brand-new city bikes: the CityZen and the Van Stael. These two bicycles are characterized by a stylish, sporty design with high-quality components, and a remarkably light weight.

She interrogates the omnipresent father figure in the works and lives of three canonical writers--Germaine de Stael, Claire de Duras, and Marceline Desbordes-Valmore--and two lesser-known but important figures, Charlotte Dard and Sophie Doin.

Madame de Stael and her fellow countryman Chateaubriand are considered as the leaders of the romantic school.

Bill was particularly influenced by the work of Paul Cezanne and Nicolas de Stael, but throughout his long career he absorbed many, varied influences, styles and techniques.

To understand what is at stake in this competition between orality and literacy, I draw out similarities between Colomba and Germaine de Stael's Corinne, or Italy (1807), which, certain readings suggest, similarly highlights the tension between feminized, oral forms of expression and the written word.

She began painting in Ghent, where her earliest works were still lifes and portraits inspired by Cezanne and Nicolas de Stael. Her close relationship with her mentor Raoul De Keyser, an abstract painter who favored a style that was at once intuitive, economical, and ever so subtly referential, preceded (and predicted) her gradual transition to a similar brand of abstraction around 1995, about the same time that she moved a half hour's drive outside of Ghent to the rural town of Paulatem.