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ARTISTS - ENGLISH/AMERICAN PAINTERS & FILMMAKERS

PATHWAY OF THE ARTIST AS MULTI-TALENTED MAGICIAN:
Storyline: The chimerical alchemist switches from the exoteric to the esoteric in order to confront his self-defeating core, and turn his interior gold into enough creative coin to last him the full length of a lifetime.
Antero Alli (1952) - American writer, filmmaker and occultist. Outer: Born in Finland. Involved in alternative theater in both Los Angeles and San Francisco, as both actor and playwright, calling himself paratheatrical, in his use of ritual and mythology to engage his audience’s subconscious, and both subvert and elevate it. Also a professional astrologer and essayist with an unconventional take on the unconventional sciences. An underground filmmaker, actor, director, writer and editor, as well, beginning with a cinematic version of Rainer Maria Rilke's (Jacob Dylan) Requiem for a Friend in 1991, occasionally employing workshop material as the basis for his movies. Involved in shamanistic work, as well as a lecturer and a writer, with numerous small press publications, preferring to deal with a specific audience, rather than a mainstream one, so as to hone and expand upon his esoteric nature. Also continues to explore self-expression from the vantagepoint of an unconventional discipline, in order to see where it will take him. Has experienced love and loss through 2 marriages and 2 divorces, and 3 daughters, one of whom died at the age of 2, as a way of transmuting the feminine in his make-up, which has been locked into a decidedly male overview in his previous lives in this series. Inner: Witty and iconoclastic demystifier of the mystical, with extremely well-developed verbal and visual gifts. Performance artist lifetime of expansion and retraction on a somewhat less public level by directly dealing with his own sorrows and alienation through the alchemical and the magical, so as to release himself from the self-defeating patterns of his pyrotechnical past. Orson Welles (George Orson Welles) (1915-1985) - American filmmaker. Outer: Mother was a beautiful pianist and progressive thinker, who had been jailed as a suffragette, father was a successful but phlegmatic inventor and manufacturer. The family doctor became his surrogate sire, recognizing his precocity while also being highly attracted to his mother. The former also helped to imbue him with his ongoing sense of being a genius. Already staging Shakespeare in his playroom as a small child, while painting, cartooning, and practicing magic. His parents separated when he was 6, and he remained with his highly social mother, whose house became a salon for writers, artists and musicians, until she died 3 years later of jaundice, just after his 9th birthday. By the time he was 11, he had traveled twice around the world with his father. After his sire’s death when he was 15, the family doctor became his official ward. Later felt guilty about neglecting and betraying his father. Always self-possessed, with a melodious speaking voice. Although indifferent to formal education, he organized plays at boarding school, and turned it into his virtual theatrical fiefdom by the sheer dint of his personality. 6’3 1/2”, and increasingly heavy as he got older. Studied briefly at the Art Inst. of Chicago, then worked as a reporter, before going to Ireland, where he talked his way into an acting job at the Dublin theater. Also acted with the Abbey Players during a year he spent in Ireland. Unable to work in London and snubbed by Broadway, he toured Morocco and Spain, fighting in the bullring there, then returned to the U.S. and joined an American touring company, playing various Shakespearean roles, as well as doing radio broadcasts, including assaying Lamont Cranston, “The Shadow.” At 19, he married Virginia Nicholson, an actress and socialite, divorced 6 years later, one daughter from union. His continual infidelities destroyed the marriage. After more theater work, which was noted for speedy plays without intermissions, he formed the Mercury Theatre, which became known for its innovative productions, including a radio performance in 1938 based on H.G. Wells’s “War of the Worlds,” which many people actually believed, in its claim that Martians had landed in New Jersey. Went to Hollywood and after several false starts, made his directorial debut in 1941 with the great American classic, Citizen Kane, based loosely on the life of newspaper baron William Randolph Hearst, who attempted to ban it. His next film, The Magnificent Ambersons, was butchered by RKO to cut it down to double bill time. Further films showed a similar adept style, but difficulties with production costs effectively curtailed his directing career in Hollywood, and he made only 4 more studio films over the next 17 years, thanks in large part to his own Attention Deficit Disorder around completing his works. In 1943, he married actress Rita Hayworth, at the height of her fame as a screen beauty, but divorced her in 1948 after making The Lady From Shanghai, which proved to be a flop, one daughter from union. Largely ignored Hayworth in favor of prostitutes. Wrote a daily newspaper column for a while, offering his liberal opinions on everything, and also did weekly radio broadcasts putting forth the same, although neither captured the public’s imagination. After a dismal attempt at Macbeth, he went into self-exile in Europe for several years, directing and producing movies, including one more Shakespearean epic, Othello, as well as appearing in other people’s films in order to finance his own. Married a 3rd actress, Paola Mori, an Italian noblewoman, at the age of 40, one daughter from union, although they soon went their separate way but never divorced. Returned to Broadway to play Shakespeare, before directing Touch of Evil, which failed to find its audience, and thoroughly and permanently disenchanted him with Hollywood, despite its obvious brilliance. Unfaithful in all his marriages right from the start, thanks to an insecure, highly self-involved nature. Equally uninvolved with his serial 3 daughters, despite casting two of them in his films. Returned to Europe to continue his pattern of acting to raise finances for his productions. Spent his last 23 years with Oja Kodar, a Croatian actress-writer-sculptor some two and a half decades his junior. Came back to America after a three decade exile in the mid-1970s, his directorial career finished. In 1975, he was given the American Film Institute’s Lifetime Achievement Award. Grew to gargantuan proportions, and became a parody of himself by life’s end, making wine commercials, while receiving numerous belated awards for his remarkable, albeit uneven, contributions to film. Only finished a dozen movies, including two made-for-TV works. Died of a heart attack, while working at his desk on material he was going to film that day at UCLA. Inner: Brilliant, mercurial, egomaniacal, highly theatrical, with a dual capacity for creation and self-destruction, eventually allowing the latter to prevail. Largely a ham, despite a distinctive, majestic voice. Had a lifelong fascination with magic, allowing him to serve as an occultist for the masses, with his Mercury Theater, War of the Worlds, and magical abilities with films. Probably bisexual, carried the French word for she, ‘elle,’ in his last name, although it remained symbolically trapped there for his entire go-round. Save for a few childhood companions and his last partner, had few real friends, connecting with people while working with them, and treating everyone else with suspicion and distrust. Artistically fascinated with how a person’s worth is judged and how a life is summed up in many of his works. Performance artist lifetime of grand promise only partially fulfilled through an inability to integrate his narcissism and financial responsibility with his artistic luminescence. James A. M. Whistler (James Abbott McNeill Whistler) (1834-1903) - American artist. Outer: Father was a civil engineer and railroad builder who established a reputation on his own and brought his son to Russia when he was a boy, where he built a railroad against impossible conditions for Czar Nicholas I (Master P). One of 8 children by two wives, with his sire dying when he was 15. Stayed in England en route back to the U.S., then entered West Point, but realized he would rather be an artist than a military engineer, and was expelled. Constantly being thrown by horses. Went to Paris and adopted a bohemian lifestyle, while painting in the realistic mode then prevalent. Spent the next several years moving back and forth between Paris and London before settling in the latter city in his late 20s. Won early recognition, and became influenced by Oriental art, then adopted the tenets of music to his canvases, giving them musical titles, as his reputation and sense of aesthetics expanded. Portraiture followed, including his famous picture of his mother, and he continued experimenting with different techniques. Highly social, and the friend of many cultural figures, he often overextended himself financially with his bohemian lavishness. Lived with his longtime model, who also used to pose for fellow artist Gustav Courbet (Alejandro Inarritu). Brought a libel suit against John Ruskin (Kenneth Tynan), the dominant art critic in England, and though he won the case in principle, he lost considerable principal in court costs and was forced to declare bankruptcy. Went to Venice with another mistress, and became the center of attention there, working in pastels and watercolors. Returned to London and turned to portraiture, but became obsessed with artistic perfection. Did etchings and lithographs and in his mid-50s, married Trixie Godwin, the widow of his one-time exhibition collaborator, settling in Paris with her, and hanging out with the Symbolists. By this time, people flood his studio to be painted, buy paintings, or to be taught, but when his wife died in 1896, he was deeply upset and his last years were unhappy and unproductive, and filled with uncharacteristic self-doubt, which is evident in his last self-portraits. Died at home. Inner: Irascible, contentious, with an equal gift for both friendship and creating enemies. Deliberately cultivated an attention-grabbing image. Flamboyant, vain, egotistical and willful. Loved to gloat over his enemies, and absolutely preened over flattery, while deeply resenting criticism. Witty with a need to dominate any social situation and be its stage’s center. Seriously and tirelessly pursued his craft in private, feeling industry was a necessity, although he concealed his painstaking approach to his art. Teacher of esthetics through his masterful works, which had a wide range. Performance artist lifetime of pursuing art for art’s sake, while using himself as a social canvas to prod, teach and produce a versatile body of work and a unique artistic persona, only to fall victim to his excesses at life’s end, in a continual pattern of his. Alexander Cozens (1717-1786) - English artist. Outer: Son of a shipbuilder to czar Peter I (Yukio Mishima) of Russia. Probably the same father he had as James Whistler. Exposed to Oriental art as a child, which he used in his later works. Spent all of his adult life in England, except for a year in Italy. Became a fashionable drawing master at Eton in 1763, where he had many pupils, including members of the royal family. Full of theories and methods applied to painting, many of which he published as artistic guidebooks, recommending, among other things, random ink blots to unblock the artist’s subconscious. Married Juliet Pine, the sister of artist Robert Pine (William Wyler). Two children from the union, including John Cozens (Terence Malick) who was also a highly accomplished artist, although ultimately became a victim of his own instability. Believed in laying principle masses at the start of a painting, then putting in the details later, which was counter to the prevailing practice at the time. Exercised considerable influence on the development of English watercolors, both through his work and the treatises he wrote the last decade and a half of his life. Inner: Vividly eccentric, and a noted personality of the time. Saw ambiguity in art as a key to individuality. Preparation lifetime of creating much of the groundwork for his Whistler life, exhibiting the same personality, artistic interests, and family background, all of which he would spring off the next time around to more grandiose effect. Il Parmigianino (Girolamo Francesco Maria Mazzola) (1503-1540) - Italian artist. Outer: Son of a painter, who died of the plague when he was one. Took his name from his birthplace, where he was raised by 2 uncles, both of whom were painters. It literally means, ‘little one from Parma.’ Influenced by Correggio (Yves St. Laurent), whose works he studied carefully. Handsome and precocious, he rejected the tenets of High Renaissance art, and became a mannerist, painting in a graceful, attenuated, elongated, intellectual style. Worked in Parma, then moved to Viadana in 1521 to escape the fighting between the French, papal and Imperial armies. In 1524, he came to Rome, where he used a convex mirror self-portrait as a magical calling-card introductory picture to the pope. Became one of the first Italian etchers. Strongly influenced by Caravaggio (Paul Gauguin), but received threats of murder because of his imitative style and abandoned it. Won such a reputation, it was said the soul of Raphael (Pablo Picasso) had passed into him. During the sack of Rome in 1527, he escaped to Bologna, where he ran one of the largest and most famous workshops for the production of altarpieces. Perfected his style, then returned to Parma, where he became obsessed with alchemy, which made him increasingly more eccentric, and distracted him from his work. Was prosecuted for breach of contract for failing to complete a series of frescoes, then was imprisoned in 1537, and died in poverty in his late 30s. His works exerted a strong influence in northern Italy. Inner: Highly skilled both socially and artistically. Obsessed with money, but was ultimately self-defeating in that regard. Mixed-up mage lifetime of giving full play to his natural eccentricity in order to literally try his powers of alchemy, instead of figuratively playing with them to far greater effect by turning oil into golden artifacts.

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PATHWAY OF THE ARTIST AS INNOVATIVE ICONOCLAST:
Storyline: The resourceful renegade pursues his own idiosyncratic path in bringing his uncompromised vision to full and brilliant flower, while dealing with his own ungated leonine sense of self in the wake of his battles for artistic purity and truth.

Robert Altman (1925-2006) - American filmmaker. Outer: From a wealthy family of German Catholic descent. Born the day before director Sam Peckinpah. Only son and eldest child of a successful insurance broker, who was a gambler, con man and seducer. Had a middle-class upbringing, was raised a Catholic and educated at Jesuit schools, where he was a prankster and poor student, while like father, like son, gambled, drank and tried to bed everything in sight. Served as a U.S. army bomber pilot during WW II, flying 46 missions over Borneo and the Dutch East Indies, while surviving several crashes. 6’. Afterwards, he studied engineering at the Univ. of Missouri, and then had a number of failed business ventures, including a dog-tattooing machine he had invented. Started writing screen stories, selling one, although later was unable to find work in Hollywood. Began making industrial films, getting his first job in his hometown of Kansas City, and learned his craft through that discipline. In his early 20s, he married LaVonne Elmer, a telephone operator, later divorced, one daughter from the union. In 1954, he married actress Lotus Corelli, divorced 5 years later, 2 sons from the union. Wed Kathryn Reed in his early 30s, with 2 more sons, and all 4 of his male progeny ultimately followed him into the film business, although he gave his families short shrift. Moved into TV direction, before finding his true métier in films, beginning in 1968 with his first major production, Countdown. His first two attempts were box-office flops, with production difficulties, but he triumphed in 1970 with M*A*S*H, despite being the 16th director offered the property. With it, he established a unique style of overlapping dialogue and crosscutting multiple character studies, sacrificing story for a sweeping satiric view of his subject matter. His unconventionality of form received mixed reviews from the viewing public, but all of his films would hold some sort of fascination for their experimentation, content and visual style. Formed his own distribution company, Lion’s Gate, and continued his prolific output, always giving his actors great leeway to express themselves, or at least manipulating them into thinking their creativity was paramount, while establishing a stable of them, who would appear over and over in his oeuvre. Following Popeye in 1980, a fanciful take on the squint-eyed cartoon sailor, he would be forced to take on much smaller budgeted projects, and would wind up setting a record of sorts afterwards for the most box office failures by a major director, while his drinking and gambling grew more and more out-of-control. Finally reined himself in, and lived for a while in Paris during one of his Hollywood exiles, while continually clashing with the front office suits. Had his revenge of sorts with The Player, a mild satirical rebuke of Hollywood, and continued to churn out a film a year, crisscrossing many genres in almost semi-documentary style. Ultimately, remained true throughout to his own tastes and storytelling ideals, creating a body of work that will probably be deemed top tier, once all is said and done about 20th century American filmmaking. Received an honorary Oscar in 2006, in a belated tribute to his enormous contributions to film, while admitting he had had a total heart transplant a little over a decade earlier. Died later that year from complications from cancer. Inner: Iconoclastic, irreverent, but highly relevant, with a grim view of his times. Also established a reputation as arrogant, unpredictable and difficult, getting into a fist fight with a myopic studio executive who wanted to cut his masterpiece Nashville. Loved by his actors, but despised by the players in pinstripes who controlled the film industry. In total control on his sets, while viewing film in terms of mood and vision, trimming away all fat in his editing processes. Iconoclastic lifetime of pursuing his own original vision, regardless of public acceptance, while dealing with his own ongoing processes around acceptance and rejection for daring to be different and actually having something to say in a medium where profit always supersedes prophecy. Thomas Eakins (1844-1916) - American artist. Outer: Spent almost his entire life in the city of his birth, Philadelphia, in the house his family had moved to when he was young. First-born of a calligrapher and writing master, from whom he learned precision and a great love for the outdoors, as well as an obsession with craft. Very close to his father, who gave him both financial support and continual nurturance in his career aims. Also close with his younger sister, a favorite model of his, whose death in 1852 grieved him greatly. A second sister would later blame him for the suicide of one of her daughters, who had studied with him, while his third sister wound up marrying one of his pupils, who would lead a revolt against him in the school in which he taught. Grew up in a cultivated, musical household. Good student, with a strong interest in art, which led him to the Penn. Acad. of Fine Arts, which would be the anchor of his working life, later teaching there, and serving as its director. Focused on the human figure, which would become a lifelong fascination, as would science. Traveled to France in 1866, and studied at the Ecole des Beaux-Arts, but ignored impressionism, in favor of realistic life drawing. After sojourning in Spain, he returned to Philadelphia and began doing portraiture of his family and fiancee, who later died. Home and hearth were always important to him. Never flattered his sitters, instead, he always painted them as they were, so he never became a fashionable portraitist. His masterwork was The Gross Clinic, a grossly clinical view of a dissection, which was ill-received, much to his disappointment. His works were often misperceived because of the Victorian sensibilities of the time, and he had only one one-man show during his life. Began to teach at his original alma mater and became its director in 1879, although he was fired 7 years later when he removed the loin cloth of a male model and exposed him to an all-female drawing class. The firing also reflected a resistance by his students to his rigorous, and often overbearing, methods, which emphasized observable realities and made composition and esthetics secondary to them. Experimented with photography, often photographing both himself and his students in the nude. Nude models in his classes also caused a censorious uproar, but his apprentices were extremely loyal to him. At 40, he married Susan Macdowell, one of his pupils, who sacrificed her career for his, even after his death, no children. Interested in locomotion, he experimented with multiple-image photography of moving figures and animals. After his firing, he taught elsewhere, and was forced to take on a number of commissioned portraits. Despite being one of the major American artists of the century, he was always viewed as an outcast, making for a certain sadness to his work in his relentless search for pictorial truth in his deliberate character studies. Never made much money from his art, which allowed him the freedom to paint what he wished. His last period show him far more interested in portraiture. The last 6 years of his life, he ceased to work, because of ill health and failing eyesight, after a lifetime of continuous industry. Inner: Serious rather than satiric, because of a much more integrated early home life, than his earlier existences, as well as a desire to get to the figurative truth of his subjects rather than their bawdy, rowdy underpinnings. Vigorous, determined, uncompromising, continually searching for veracity through art. A crank and a rebel, melancholic, moody and awkward, studied logarithms for fun and learned dissection to better understand the human body. Highly sensual, he drew plaints of impropriety throughout his teaching life, which may or may not have been based on actualities. Preferred painting worn clothing that molded themselves to the wearer’s body, and often made people older than they looked. Eking out a living lifetime of seriously pursuing craft, with a lack of concern for public reaction, while receiving nurturance and continuous support by his intimates, and virtually no one else. William Hogarth (1697-1764) - English artist and satirist. Outer: From yeoman-farmer stock. Eldest of 3 children of a classical scholar and schoolmaster, who wrote Latin grammars, but had to work for printers to support his family. Two younger sisters. His sire’s ineptitude in financial matters, including a stint in debtor’s prison, made his son independent and self-assertive, although he was careless about grammar and spelling his entire life, perhaps through an instinctive rebellion over his father’s calling. Enjoyed mimicking and drawing characters from a young age, and apprenticed himself to a silversmith, moving into his master’s house. Frustrations with his training, however, led him to self-instruction, drawing his sustenance and creativity from within. Short and lively. A participant, as well as an observer, of the London social scene, he set up his own shop at 23. Took drawing lessons, but realized he would be best served by limning from real life, instead of copying pictures, as was the custom. Able to improvise and work directly on canvas, rather than doing preliminary sketching. Joined the drawing school of James Thornhill, who would become his mentor and enthusiastic supporter. Won the enmity of the traditional art connoisseurs, who nullified royal interest in his work. In his early 30s, he eloped with Thornhill’s daughter, Jane, no children from the union. The marriage forced him to turn to the easel, and he began doing the humorous and bawdy contemporary scenes from everyday life that would cement his reputation for posterity. Best-remembered for the twin series of engravings dubbed “A Harlot’s Progress” and “A Rake’s Progress,” which insured both his fame and fortune. Reestablished Thornhill’s school on his mentor’s death in 1734, and started doing portraiture again towards the end of the decade, while presenting himself as the champion of England’s national school of painting. Organized auctions of his work, but was deeply hurt at the low prices they brought, while inspiring many enemies through his penetrating penstrokes. Wrote a treatise on art, “Analysis of Beauty,” in 1753, which was ill-received by many. Four years later, he was appointed sergeant-painter to the king, and remained conservative in his politics to life’s end, despite being au courant in his artistic pursuits. Always philanthropic, he adopted a defiant and defensive public pose, and was given to isolation, eventually deciding to give up painting just before he died. Felt unappreciated by his own countryman, and grew more acrimonious as he slipped into ill health, as his curious talent to edify and enlighten was once more rejected by an obtuse audience not attuned to satiric genius. Died at home of an aneurysm the day after receiving a letter from Benjamin Franklin (R. Buckminster Fuller). Inner: Sociable, down-to-earth and fun-loving, but often hurt and disappointed when his will was not actualized. Duality of character, with resentment and bitterness ultimately winning out. Very concerned with his posthumous reputation, which would soar, through a subsequent obsessive collector’s mentality around his work in the century that followed. Sour grapes lifetime of self-reliance in all that he did and saw, creating a unique perception and a wondrous body of satiric work, although not the internal consciousness to appreciate being only partially appreciated. Adriaen van Ostade (1610-1685) - Dutch artist. Outer: Son of a weaver, family had taken their name from the village where their father was from. Brother was also a successful artist. Studied with Frans Hals, but was influenced more by fellow student Adriaen Brouwer (John Ford). Like him, he specialized in coarse peasant life and tavern scenes, with a tendency toward broad caricature and rough humor, as well as a muted sense of color. Later influenced by Rembrandt (Alfonso Cuaron), who had a more painterly effect on his work, with a richer tonality and more of a contrast between light and dark, while focusing on calmer subject matter, and showing himself to be much more of the pure artist. Became a member of the painter’s guild in Haarlem, and eventually its dean in 1662. Had many students, the most notable being Jan Steen (Quentin Tarantino). Married twice, outliving both his wives, and painted over 1000 pictures in a prolific career that saw him expand considerably as a pure artist, in a variety of genre including religious subjects, portraits and landscapes. Also worked in water color and did etchings. Very popular during his lifetime, unlike his later go-rounds in this series, while suffering his sense of loss only in his intimate relationships. Inner: Bawdy, witty and full of life. Integrated lifetime of winning hearty approval for combining his skills as a teacher and exemplar of the witty pictorial transmutation of commonality. Quentin Massys (c1465-1530) - Flemish artist. Outer: Origins unclear. Trained as a blacksmith, but decided to become an artist when he fell in love with a painter’s daughter. His original teacher remains unknown. After apprenticing, he went to Antwerp, and was admitted to the painter’s guild in 1491. A friend of painter Albrecht Durer (Alfonso Cuaron), as well as the humanist Erasmus (Edward Abbey). Began his career doing religious works, with a fine attention to detail and a strong sense of spirituality to them. Counter to the practice at the time, he worked life-size in his paintings, showing an intense and exaggerated sense of sentiment in his religious vehicles, which probably reflected his own feelings. A very expressive portraitist, with a personal and subjective view of people, bringing out their inner emotions, unlike the surface technicians of his time. His earlier works were from the Flemish tradition, although his later body of work showed strong Italian influence. Married twice, the first time around 1480, the second in 1509, 2 sons and both became artists, one of whom, Jan Massys (Quentin Tarantino) was banished from Belgium for his heretical beliefs. Inner: Deeply spiritual, with strong insight into the personalities and lives of the people he painted. Independent and innovative with a far greater sense of artistic freedom than anyone who preceded him in the tradition out of which he worked. Bridge lifetime of bringing early Flemish art to a close, and opening the way for a far more personalized and freer sensibility to follow. Robert Campin (c1378-1444) - Flemish artist. Outer: Not a great deal known about his life. Often called the Master of Flemalle, although there is the possibility that it may have been another artist. Initially worked out of the tradition of manuscript illumination, before evolving a style that reflected the rising presence of the middle class as a cultural and economic force. Became a free citizen of Tournai in 1410, where he ultimately was dean of the painter’s guild 13 years later. Renowned as a celebrated teacher, with his most famous pupil, Rogier van der Weyden (Stanley Kubrick). Exerted a tremendous influence on the next generation of Flemish painters, serving directly in a teaching capacity, and also through his art, which bridged the stylized Gothic mode of the time into a new depiction of realism on canvas. Inner: Name is a loose reflection of his latest go-round, signaling a complete circle of lives from the medieval to the modern in which his sure signature as an innovator and bridge-builder is clearly marked. Foundation lifetime of teaching through example and his works, before going on to become one of the most highly original artists of his times in all his lives in this series.

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PATHWAY OF THE ARTIST AS OBSESSIVE COMEDIC MASTER:
Storyline: The triumphant trickster gets revenge on the film capital that had earlier spurned him after initially embracing him, by raising his talents to enough of a t(a)ranscendent level, so as to dictate his own highly original course, while retaining his own unabated enthusiasm for his message-laden medium.

Quentin Tarantino (1963) - American filmmaker. Outer: Named after a TV character played by actor Burt Reynolds, although unconsciously given the earlier name of his foundation mentor in this series. Moved to Los Angeles at 2 with his mother, a nurse who was part Cherokee. Barely knew his father. His mother eventually remarried a musician. A film buff from an extremely early age, with an extraordinarily detailed knowledge of the medium, culled from endless hours watching cinema. 6’3”, slender, and highly animated. A dysfunctional student, who initially wanted to be an actor, he dropped out of school after the ninth grade to pursue that path. Despite some random appearances, he soon realized his real forte was writing and that directing would be far more artistically fulfilling. While working at a video rental store, he further developed his encyclopedic knowledge of film, down to specific camera angles of specific movies, which he would subsequently use in his own work, occasionally being accused of plagiarism, which he prefers to call homage. Thoroughly committed to his vocation, he once spent 10 days in jail because of parking fines in order to pick up dialogue. Began his career writing attention-grabbing scripts, before taking a job with a small Hollywood production company, where he established himself as a writer/director in the early 1990s with the hyper-violent Reservoir Dogs, about a robbery gone awry. Augmented that debut with the equally violent and off-the-wall Pulp Fiction, a brilliant blend of unorthodox story-telling and probing into the inner life of his characters that was very European in its sensibilities, despite its distinctly American overview. His ability to blend visceral action with offbeat dialogue has made him a highly original auteur, with a particular affinity for probing criminal motives and character. Has also played character roles to lesser effect in the films of compatriots. Despite his successes and the venerated position he holds among young filmmakers, he has maintained an extremely modest lifestyle, continuing to put his energy into his art, rather than his celebrity, save for an occasional public incident geared towards maintaining his image as a tough-talking iconoclast. An enthusiastic supporter of his fellow auteurs, he has deliberately taken his time in his subsequent output, eventually numbering them to underline his auteur sense of filmmaking. In 2007, he came out with Grindhouse, a double bill paean to pulp of the 70s, shooting his half, Death Proof, as a muscle car meditation on the indomitable power of violent women. Won an Academy Reward for Best Original Screenplay in 2013 for Django Unchained. Two years later, he raised a storm leading a protest against NYPD cops, branding them murderers, after announcing his first western, The Hateful Eight, done in 70MM, will be his tenth and last film, and he will henceforth turn to plays and books for his creative outlet. Inner: Photographic memory, pugnacious attitude, total commitment to his art. Rude and casually cruel to friends. On some subconscious level, he is probably aware of Hollywood’s earlier rejection of him, and has maintained a totally blase attitude towards the film capital, working at his pace and not to the dictates of others. Refuses to join the Director’s Guild, calling himself an amateur hobbyist, despite over two decades as a director. Obsessive lifetime of virtually living to celebrate movies, with everything else secondary to his artistic ambitions. Mack Sennett (Michael Sinnott) (1880-1960) - Canadian/American filmmaker. Outer: Parents were working-class Irish who emigrated to Canada. A poor student, he failed to master grammar and writing skills, which proved a lifetime handicap. Wanted to be an opera singer, although he wound up as a laborer when his family moved to the U.S. when he was 17. Came to NYC for a stage career, working as a chorus boy in burlesque, vaudeville and the theater, before entering the burgeoning film industry as an actor. 6’2”. Soon turned to scriptwriting and directing, learning his movie technique from D.W. Griffith (Alfonso Cuaron) at Biograph Studies. Left after 3 years to form his own Keystone Company in 1912 with 2 former bookies. Produced the first feature-length comedy, and went on to direct more than 1,000 one and two-reel shorts. Created the Keystone Kops, as well as the Sennett Bathing Beauties, and the first kiddie comedies. Also launched many successful comedic careers, as well as numerous directorial debuts. Excelled at both comic timing and editing, often improvising on his films with whatever was happening on the streets of Los Angeles, proving to be an incisive satirist and parodist with an instinct for the humorous jugular. Turned to editing and production as his company expanded, exercising final authority over every film it produced. After Keystone was absorbed as an autonomous unit within the Triangle Film Corp., his films became more sophisticated, working with situations rather than gags, although the new arrangement was not successful, and he was forced to give up the Keystone trademark when he pulled out and formed his own company in 1917. Involved with one of his stars, Mabel Normand (Gene Wilder), although marriage plans kept getting postponed until her career fell apart. With the advent of sound, his career plummeted, and he lost his fortune in the stock market crash of 1929. Returned to directing in the early 1930s with another company, although his name had lost its comedic magic. Retired, and returned briefly as an associate producer for 20th Century Fox, but could not resurrect his career. Given a special Academy Award for his contributions to film in 1937, and made his final acting appearance in 1949. Spent his last decade and a half living quietly on Hollywood Boulevard, a visual master whom the talking times had passed by. Inner: Highly inventive, virtual father of cinematic comedy. Gruff, but fun-loving, and an enthusiastic teacher, discoverer and supporter of others, who made an incalculable contribution to early film. Pioneering lifetime of exploring a totally new medium of expression, without being able to readjust his inventive style to its rapid evolution, and letting it sadly bypass and reject him, despite his enormous influence on its early days. Thomas Rowlandson (1756-1827) - English artist. Outer: only son of a prosperous merchant, who went bankrupt when his son was 3. Could draw before he could write. Brought up by a silk weaver uncle and a French Huguenot aunt. Studied at the Royal Academy, where he was almost expelled for shooting a pea at a model. Large and handsome. Left at 16 at the invitation of an aunt to travel, and became adept at both speaking French and figure drawing. Established himself as a portrait painter, and exhibited regularly at the Royal Academy. Inherited a fortune from his aunt, became extravagant and led a life of dissipation, with a particular addiction to gambling, which he would sometimes pursue 36 hours at a stretch. Best known for coarse caricatures of contemporary English life, which he did to supplement his income. Traveled all over England and Europe, making sketches, with an affinity for crowds. Lively chronicler of Regency England, creating archetypes of familiar social types of his day. Eventually had a studio with assistants, but his best work was done beforehand, when he was less straight-jacketed by responsibility. Married in his mid-40s, no children. His later life saw him compromise his skills with inferior works, playing off his reputation rather than his evolving talents. Died after a 2 year illness. Inner: Obsessive nature, with a keen eye for the foibles of life around him, and a comic gift for bringing them to life. Lavish, pleasure-loving, gambling addict, who eventually tapped out on his own talent. Often gambler’s don’t take chances in their personal affairs, preferring the thrill of the intense moment to long-haul risk-taking. Snake eyes lifetime of acute comic vision that saw him cash in his chips early, and then ride out the rest of his run on memories of his reputation, a dynamic he would loosely repeat the next time around as well. Jan Steen (1626-1679) - Dutch artist. Outer: Son of a wealthy brewer. Attended the Latin School in his home town, and received his first training under a German his/storical and figurative painter. May also have studied under Adrian van Ostade (Robert Altman) and Jan van Goyen (John Boorman), whose daughter Margriet he later married in his early 20s, while joining the local guild. 8 children from the union. Often worked as a brewer or tavern-keeper, which gave him much of the source material he would later immortalize pictorially. Moved about Holland, and was in constant trouble with creditors during an extending stay in Haarlem. Returned to his native city in 1670 following the serial deaths of his wife and father, and ended his career there, while continuing to work as a tavern keeper. Remarried Maria van Egmont, a widow in 1673, and had two children with her. Elected dean of the painter’s guild in his native Leiden the following year, while also opening a tavern. Did his/storical and biblical subjects as well as landscapes, but is best remembered for his roisterous scenes of middle and lower-class life, particularly tavern scenes, all of which are noted for their satirical humor, vivid characterization and technical brilliance. Had no students, although proved an influential artist for those who followed him. Anticipated the rococo style in his later works, which are less crowded and less frenetic. Ultimately produced around 800 works. Inner: Keen observer of life around him, with the ability to capture it as it was. Able to maintain his creative arc through making a symbolic circle in his movements, returning to his source city, thereby avoiding the falloff he would evince in his next 2 existences, although had little real sense of money. Excellent eye for detail, as well as light, paying particular attention to textiles in his work. Irresponsible lifetime of a relatively advantageous birth and seemingly less of a need to tap out on his talent, thanks to an alternative means of support behind the beer taps of his various four-dimensional projections of his inner milieu. Jan Massys (c1509-c1575) - Flemish artist. Outer: Son of Quentin Massys (Robert Altman), whose pupil he became, although his works were far coarser than his father’s. His brother, Cornelis, was also an artist. Probably took over his progenitor’s studio after his death in 1530. In his mid-20s, he married Anna van Tuylt, 3 children from the union. Exiled for heresy in his mid-30s, but returned to Antwerp a little over a decade later to finish out his career there. Suffered a series of court cases brought against him by some of his siblings for defaulting on distributing the family inheritance. Did satirical works, and later operated more from a French influence. Inner: Rebellious, mocking, manipulative and irresponsible. Quintessential quentin lifetime of direct familial connection with longtime mentor, in order to begin his extended career as a sharp-eyed satirist forever running out of gas because of his obsessive exuberance.

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PATHWAY OF THE EXPLORER AS DRIVEN DOCUMENTARIAN:
Storyline: The circumspect circumnavigator finally turns to the one geographic arena he has not truly explored, himself, as a genuine American rara avis.

Jonathan Caouette (1973) - American, filmmaker, writer and actor. Outer: Mother, Renee LeBlanc, was an energetic, highly attractive woman who was given shock treatments for misdiagnosed mental problems, which permanently damaged her. His father abandoned home early on and he was sent into the foster care system, where he was sexually abused, and suffered a sad, wounded childhood. Began playing with film at the age of 8, as a means of release and record, and wound up in the home of his grandparents, who raised him, but were largely unequipped for the task. They were harsh and god-fearing, and at 11, he began filming them along with running commentary monologues on himself. Briefly took drugs, but lost interest in them at 12. A desperate desire to escape pervaded his growing up, as he turned into a flamboyant, but embittered young man. Eventually moved to NYC where he would reclaim himself in the homophile subculture. Worked as a regional actor, playing a schizophrenic John the Baptist, as well as a gay Judas, among other roles, while also touring Europe with “The Rocky Horror Picture Show.” Fathered a son with a woman he had known since he was a teen, and retained a close friendship with her. Eventually reunited with his mother, after her many hospitalizations, and wound up living with her, along with his lover, although they sent her back home to Houston, while still maintaining extremely close contact with her. After shooting some earlier shorts, he put together a searing documentary via a computer, on his fragile, but exhilarating existence called Tarnation, which received general release in 2004. Produced the documentary for a couple of hundred dollars over the length of his conscious life, so that his totality, in all its grace and madness, is in it, giving him his most remarkable entrance yet, in a long line of lives lived to affect their times. Inner: Dualistic sensibilities, with the ability to transmute pain into beauty and insight into art. Movie freak from childhood on. Very aware of his care-taking role with his mother and grandparents, seeing it as karmic payback. Healing lifetime of finally exploring his own complex character, after many a go-round of looking at the outer world through troubled, but unexamined eyes. Robert J. Flaherty (1884-1951) - American filmmaker. Outer: Father was an Irish Protestant iron miner who became a gold prospector, mother was German Catholic, who was intensely devout. Eldest of 7. Spent much of his childhood in remote mining camps, giving him a highly adventurous spirit, and a great interest in exploration. 5’9” and bulky, with brilliant blue eyes. From his mid-20s to his early 30s, he explored northern Canada for a Canadian railroad magnate. Took along a motion picture camera on one expedition to film Inuit life. Accidentally dropped a cigarette on the negative while developing it, destroying 35,000 feet of film, although the work print was saved, but later lost. Married at 30, 3 daughters from union. His wife, Frances Hubbard, was the daughter of geologist and ornithologist Lucius Hubbard, who had the same wanderlust as her sire. Obtained $50,000 from two fur merchants to make a documentary record of Inuit life in his mid-30s, producing the classic Nanook of the North, although the star of the film died of starvation shortly after its completion. Fathered a son by one of the film’s stars, and thoroughly romanticized Inuit life, distorting his audience’s views of their harsh existence for generations to come. After finally finding a distributor, the film became a huge success, and started him on his career as an amateur ethnologist. Although his wife stayed home the first decade of his marriage, she ultimately became a collaborator on his efforts, and later a lecturer on his life’s work. His next shoot, on South Sea islanders, was slicker and less successful. Quit after beginning a film on Pueblo Amerindians, then teamed up with German director F.W. Murnau (Werner Herzog) on another Polynesian film, although, after disagreements, he was bought out by his partner, unconsciously reflecting his earlier demise (the ultimate rejection), at the hands of these same islanders. After filming an Aran Islander, he did one on a Kipling story, starring Sabu (Keanu Reeves), and ended his active career with a propaganda film for the Standard Oil Co., which, nevertheless showed his remarkable aptitude for bringing life to places and people. Died while in the process of planning two more projects. Considered the father of the documentary film. Inner: Adventurous, obsessive, and ultimately triumphant with a unique feel for his subjects and their landscapes. Infectiously enthusiastic and eloquent. Had a perpetual childlike inquisitiveness, and was prone to tantrums, as an artistic adolescent who never quite grew up, despite the maturity of his outer talent. Globetrotting lifetime of creating a whole new genre through his sheer enthusiasm and hard work, while remaining the perpetual teenage adventurer. John James Audubon (1785-1851) - French/American artist. Outer: Illegitimate son of a French merchant, planter and slave trader and his Creole mistress, a chambermaid who died a few months after his birth. Adopted by his father, and was sent to France, where the former’s indulgent wife raised him. Educated in France, then came to America at 18 to take care of his father’s estate, “Mill Grove,” near Philadelphia. Lived a dandified life, while gratifying an obsession with avian creatures which had begun in France. Self-taught as both a naturalist and an artist, he observed birds there and began the first bird-banding experiments. In his mid-20s, he married an extremely supportive mate, his next door estate neighbor, Lucy Bakewell (Frances Hubbard) whose faith in him contributed to his ultimate success, despite his frequent long absences from home, and his roving eye and amoral reputation, as he lubriciously exploited a dashing sense of good looks. 2 sons from union would continue their father’s work. Became an American citizen in 1812. Lived mostly in Kentucky for the first 12 years of his marriage, experiencing several business failures while trying to carry on his bird observations. An expert hunter, he would study them first in nature, then shoot them, wire them and measure and draw them. Began doing portraiture for a livelihood, and descended the Mississippi to New Orleans, where he taught drawing. Went completely bankrupt, was imprisoned for debt, then rescued by LB, who conducted a private school for 5 years, where he also briefly taught. Went to Great Britain in 1826 without his family in search of a publisher for his bird drawings, after eliciting no interest in America. After tireless efforts, his seminal work, Birds of America, was published in parts over the next decade. Affected frontier garb, and wore his hair long and groomed with bear grease. Came back to America to collect his family, and then sailed back and forth across the Atlantic numerous times over the next several years, despite a propensity for seasickness. Also collaborated on Quadrupeds of North America, which was completed by his sons. Returned to America for good in his mid-50s, settling in a house above NYC on the Hudson River. As his fame increased, he became more flamboyant. A dandy as a youth, he dressed as a frontiersman, with baggy clothes, turning himself into his own centerstage performance artist. His health began to fail towards the end of his life, and he suffered a debilitating stroke, lingering on for another year or 2 before dying. His mind failed towards the end, and he died in a state of senility. Inner: Adventurous, obsessive and ultimately triumphant. Aggressive and vainglorious, an adolescent at heart who never outgrew his overwhelming sense of narcissistic self-importance. Simple-natured and shy in public, giving display to the insecurities at the heart of his character. Despite claiming he drew from nature, killed thousands of birds, although worked largely through observation. Prevaricator supreme, with a continual eye towards self-mythmaking. Highly audible lifetime of extraordinary achievement by uniting two fields for which he had no formal training, ornithology and art, leaving a memorable scientific and artistic legacy in his wake, despite character flaws galore. James Cook (1728-1779) - English explorer. Outer: Son of a day laborer, who ultimately became a farm foreman. Only 2 of his 7 siblings survived childhood. Supported in his education til 12 by his father’s employer, thanks to his ready curiosity, then worked at his sire’s trade, before the lure of the sea turned him into an apprentice seaman at 18. Studied math at night while in harbor from his rough North Sea duty in the coal trade. After 8 years at sea, he was given command of a trade ship, then entered the Royal Navy. Tall and commanding, he rose through the ranks and was made ship’s master, an noncommissioned rank, at the age of 29. Saw action in the Seven Years’ War between Britain and France in the Americas, proving himself capable of all the tasks given him. Wed Elizabeth Batts in 1762, but was at sea for half his married life, 6 children, 3 of whom died in infancy. 2 sons later entered naval service. Mastered surveying while in the New World, and between 1763 and 1768, commanded a schooner and surveyed the coast of Newfoundland. In 1766, he observed an eclipse and sent information to the Royal Society in England, and they in turn, appointed him commander of a scientific expedition to the Pacific 2 years later, because of his initiative. Commissioned a 2nd lieutenant, he was given the HMS Endeavor, to chart the transit of the planet Venus across the sun and confirm the land-mass of Australia, which was theoretically believed to lie in the south seas. Had a full compliment of scientific specialists and artists, including Joseph Banks (Jacques Cousteau), while carrying the rating of astronomer. With limited instruments, he discovered Australia in 1770, and was able to navigate the treacherous Great Barrier Reef, no mean feat, surveying the 2000 mile eastern coast before returning to England, while his enthusiastic companions continually leapt ashore with pencil and notebook in hand to record an extraordinary amalgam of useful information. Maintained his crew’s health through cleanliness, ventilation and a proper diet, making his name a naval byword. Promoted to commander on his return, and immediately began planning another voyage of even larger proportions, to penetrate the Antarctic sea on a similar data-gathering mission. From 1772-1775, he completed the first west-east circumnavigation in high latitudes, discovered several new island chains, and once again, kept his crew free from the dietary diseases that laid waste to earlier sailors, while giving a precise charting to the land-masses of the Pacific, heretofore only projections and incorrect guesses. Made a fellow of the Royal Society on his return and was promoted to captain, but did not tarry long in England. The following year he made his final and ill-fated voyage to see if he could discover the elusive Northwest Passage, but was killed by Hawaiian Islanders over a minor matter partway through the journey. Inner: Steady, perservering, and the possessor of a burning curiosity. Highly responsible, with an excellent instinct for his men. Excellent communication skills, although allowed others to limn the specifics for posterity, serving instead, on some level, as a floating schoolmaster, with the best and the brightest of the time as his seaworthy pupils. Basically humane, although was treated like ocean-going royalty and ultimately became petty and cruel. Motivated by “the pleasure of being first.” Extraordinary Endeavor lifetime of data-gathering, commanding what may have been the greatest feat of discovery and scientific gain in maritime his/story, only to ultimately become a sacrificial victim to his own unending curiosity, when the opposing dwellers of the world’s two great oceans could not breach the enormous cultural difference between themselves. John Smith (c1580-1631) - English explorer and settler. Outer: Son of landowners, he grew up on his family’s farm, and in his teens, was apprenticed to a wealthy merchant. Read Machiavelli (George Bernard Shaw), which taught him to always negotiate from strength. Short, stocky and red-bearded. At 20, he went to fight for the Protestant Netherlands against Catholic Spain, then decided to do battle against the infidel Muslims, rather than Christian vs. Christian. Robbed, thrown overboard, then beheaded 3 Turkish officers in hand-to-hand combat in Hungary, in the full view of 2 armies, before being captured and sold into slavery. Slew his overseer by crushing his skull with a bat, stole his clothes and horse and escaped into Russia, before returning to England in his mid-20s, via the old Silk Road, with such wild stories of his adventures, he was viewed far more as a braggart than a hero. Attached himself to a group preparing to set up a colony in the New World as its officer-in-residence, and in 1606, with approximately 100 others, set sail on a royal charter for the Virginia Company, arriving some 4 months later in what would be named Jamestown, after the current resident of the English throne. Because of his pragmatic nature, he became the natural leader, with survival as his initial primary concern, employing both threats and his own example to keep his ragged crew together. An adept natural surveyor, he was able to chart a remarkably accurate map of Virginia through several river voyages, while establishing trade with the Amerindians and overseeing the building of shelters. Ambushed and captured by members of the Powhatan Confederacy, he was about to be put to death, when he was saved by the chief’s 11 year old daughter, Pocahontas (Whitney Houston), who threw herself between him and the executioners. Although this story may be apocryphal, since he is the source of it, it has entered early colonial American legend. She also saved him a second time, warning him of an imminent ambush. Made president of the colony in 1608, and continued to supervise its expansion while conducting military training, surviving more life-threatening adventures and overseeing its rudimentary agriculture and food-gathering, while presenting a bullying counteractive and vengeance-prone force to all real and imagined Amerindian threats in fine Machiavellian fashion. Injured from a fire in his powder-bag, he was forced to return to England in 1609, where his initial employers had had quite enough of him. Despite this setback and his earlier hardships, neither his curiosity nor his eagerness to continue his explorations were abated. When Pocahontas was brought to England, she remonstrated him for not remaining in contact with her. In 1614, he set sail again, this time landing on the northeast coast, which he dubbed New England, while also giving the permanent nomenclature to many localities in the area. Captured by French pirates on another expedition, he escaped 3 months later and returned to England. Made one final attempt in 1617 for another colonizing voyage, but never left the harbor when his ships became wind-bound. Spent the rest of his life recording his observations and adventures, thanks to a wealthy patron, and published them in 3 volumes, while also writing one of the first secular autobiographies, as well as a nautical grammar. Although a modestly talented writer, his vigor and energy came through in his words. His veracity, however, would be later questioned, since he constantly contradicted himself, despite being a genuine data-gatherer eager to teach, collect and dispense information as well as add to his own not inconsiderable legend. Inner: Highly martial and aggressive, with a genuine interest and perennial curiosity about all things, save for his own interior, and an equal braggadocio that had the experience to back it up. Anti-authoritarian, quarrelsome and rebellious, and a perfect match for establishing America’s first English colony. Swash-buckling lifetime of high adventure, information-dispensing and an assured position in New World his/story through his burgeoning skills at self-expression.

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PATHWAY OF THE ARTIST AS ÉMIGRÉ SVENGALI:
Storyline: The perfectionist projectionist brings an unerring eye, a need for control, and the loss of a sense organ to his dual sense of citizenship and multiple powers of communication.

William Wyler (Wilhelm Weiller) (1902-1981) - Swiss/American filmmaker. Outer: Father was a Swiss-born dry-goods merchant, mother was German. One of 3 sons. Given a business education in Switzerland, then studied the violin at the National Music Conservatory in Paris, where he met Carl Laemmele (Michael Eisner), the head of Universal Pictures, and a distant relative on his mother’s side. 5’8”. Emigrated to NYC in his early 20s and wrote publicity for foreign journals, before coming to Hollywood, where he worked his way up the studio food chain, before becoming a director in 1925 with Crook Busters. Began his career with action-packed western 2-reelers, then graduated to features, and became a U.S. citizen in 1928. Married actress Margaret Sullivan (Bridget Fonda) in 1934, divorced 2 years later. At the same time, he left Universal and began a fruitful partnership with producer Sam Goldwyn and cameraman Gregg Toland, in which his true craftsmanship emerged. Married a former screen actress, Margart Tallichet, in 1938, 3 children. Noted particularly for his long takes of scenes, rather than inter-cutting close-ups, which necessitated far more discipline from his actors and complaints galore about his meticulous, obsessive ways, earning him the uncomplimentary sobriquet of “40-take.” His methods, however, won him 3 Academy Rewards, in 1942 for Mrs. Miniver, in 1946 for The Best Years of Our Lives, and in 1959 for Ben Hur, after earlier having worked on the silent version of the latter as an assistant director. Enlisted in the US Air Force during WW II, ultimately earning the rank of lieutenant colonel and an Air Medal, and shot 2 features about bombing runs over Germany, although he lost the hearing in one ear from high altitude flying. Specialized in opening up plays for the screen, although much of his work would subsequently appear quite dated. Despite his inventiveness and technical facility, his later career saw his reputation wane, when he became too full of himself, although his work, particularly in the 1940s, established him as one of the 20th century’s masters of his craft. Retired in 1970, and in 1976, he was given the American Film Institute’s Lifetime Achievement Award. Died of a heart attack. Inner: Perfectionist, controlling, extremely creative and a taskmaster. Felt the director’s hand should be invisible in films, and had great respect for the written word. Svengali lifetime of exercising his extreme esthetic will, only to ultimately wear out his creative welcome when his powers were superseded by his ego. George Du Maurier (1834-1896) - Anglo/French artist and writer. Outer: From a paternal family of glassblowers with aristocratic pretensions. Eldest of three children of an English mother and French father, who was an improvident scientist and inventor. Grew up bilingual and bi-national, rotating between England, France and Belgium, while thinking he was descended on both sides of his family from eminent ancestors. Came to England when he was 5, then returned to France, where he was educated at the Pension Froussard in Paris, before failing his baccalaureat and returning to London to read chemistry at University College in London. Short, with an artistic predisposition towards tall men and women. Worked as an analytical chemist in his own laboratory, but when his father died in 1856, he returned to Paris to study art and music, and live the bohemian life there, becoming a close friend of artist James Whistler (Orson Welles), and reveling in the freedom of his existence. While in a drawing class in Antwerp, he experienced a sudden detachment of a retina and lost the sight in his left eye, curtailing his painting ambitions. In 1860, he settled permanently in London, and married Emma Wightwick, a friend of his sister, in 1863, while working as an illustrator. 5 children from the union, including actor Gerald Du Maurier (Jonathan Pryce). 4 years later, he was added to the editorial board of Punch, where he established his name as a satirist of English life, particularly the poseur Aesthetic Movement, and grew far more conservative, distancing himself from his youth, while honing his writing style with pungent captions. Over the next 20 years, he also illustrated stories for the leading magazines, becoming a close friend of expatriate writer Henry James (Cormac McCarthy). Because of his fear of losing his sight, and at the encouragement of James, he turned to writing, beginning with a piece based on his youth in Paris, Peter Ibbotson. His claim to literary immortality came from his next work, Trilby, in which a young woman is mesmerized into being an exceptional singer by her musical mentor, Svengali, adding the metaphor of that hypnotic mentor to literature. At the death of her master, the singer loses her powers, and also succumbs in fine Victorian fashion, having made atonement for her earlier loose-living bohemian ways. Forced to change one of the characters, based on Whistler, when that suit-prone artist threatened legal action. The book was a sensation in both England America, spawning cults and clubs and fashions, and later became the subject of both plays and films. Despised being made a public figure by his creation, he ultimately felt he had been robbed of all he valued from its success, and sank into a decline, dying at home of heart disease, two years following its publication. Inner: Social, amusing, and highly observant, but unable to cope with overwhelming fame. Trilby lifetime of succumbing to hypnotic success, before returning in Svengali form to play out the other side of his double-barrelled drama. Robert Edge Pine (1730-1788) - English/American artist. Outer: Father was an engraver. Sister ultimately married artist Alexander Cozens (Orson Welles). Became a his/story and portrait painter, and quickly established himself as a much sought-after artist in the latter genre. Exhibited with the Society of Artists, until insulted by its president, after which, he chose to show with the Royal Academy, expunging his name from membership in the former group. Painted many of the political and social lights of London of his time, and also did illustrations for the works of William Shakespeare (William Butler Yeats). In 1783, feeling a lack of support in London, he emigrated to Philadelphia, where his wife kept a drawing school. Desired to paint the Revolutionary War heroes, and did so, with George Washington (George C. Marshall). Kept busy with many family groupings, when he died suddenly of apoplexy. Many of his American works were later burned in a fire. Inner: Small and morbidly irritable, with an over-sensitivity to slights. Edgy lifetime of proving his talent, only to feel under-appreciated for it, and ultimately self-destructing, not only on a physical level, but later with his works, to rise phoenix-like in his next incarnations, where he could act out his dualities in serial order.

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PATHWAY OF THE ARTIST AS METICULOUS PERFECTIONIST:
Storyline: The luminous landscapist turns his inner and outer sense of atmosphere and luminosity into storytelling mode, and successfully weathers the commercial rigors of Hollywood, while remaining true to his acute vision of nature and life.

George Stevens (1904-1975) - Austrian/American filmmaker. Outer: From a theatrical family. Father, Landers Stevens, was a Shakespearean actor and head of a Pacific Coast stock company, mother was an actress, and an uncle was a well-known Chicago drama critic. Made his acting debut at 5, then played juvenile leads with his parents’ company, while also serving as stage manager. Tall and broad-shouldered. Began in films as an assistant cameraman in 1921, then moved up to director of comedy shorts in 1930, doing some 60 with Laurel & Hardy, as well as serving as a gag writer, while switching studios several times. Married Yvonne Shevlin in 1930, their single son George, Jr., became a film executive, after serving as his father’s assistant. His wife lated divorced him in 1947, claiming she was tired of playing Mary Todd to his Lincoln. Made his feature debut with The Cohens and Kellys in Trouble in 1933. His first serious drama was 2 years later with Alice Adams, and he quickly became a director of note, adding producer to his resume in 1938, while working in a variety of genres. During WW II, he rose to the rank of lieutenant colonel and served as the head of an Army Signal Corps unit, which covered several of the war’s more memorable events. In 1946, he served as president of the Screen Director’s Guild. During the 1950s, his reputation soared, and he was allowed to bring his meticulous methods to all his productions, shooting his scenes from every possible angle, and taking such care in pre and post-production work, as to extend some of his films into years in the making. Despite his drive for perfection, his oeuvre consistently performed well at the box office, and garnered critical acclaim. Won an Academy Reward in 1951 for Best Director for A Place in the Sun, and a second in 1956 for Giant, while filming the classic western Shane in between. After peaking in the 1950s, his output lessened, as did some of his prestige, although he remained one of the true mid-century craftsman of the screen. Married a second time in 1968 to Joan McTavish. Died of a heart attack. Inner: Meticulous, perfectionist, far more concerned with quality than quantity. Unassuming, rugged and good-natured. Craftsman lifetime of transliterating his fidelity to both nature and himself to a business that has rarely demanded either from its practitioners, while switching his metier from the metaphysical to the physical. George Inness (1825-1894) - American artist. Outer: Of Scots descent. Father was am energetic and prosperous merchant, raised in Newark, N.J. 5th child of 13. Apprenticed to an engraver at 16, the same year his mother died, and soon turned himself into a self-taught artist. Exhibited at 19 and then opened his own studio. In 1848, he married Delia Miller, who died 6 months later. Remarried Elizabeth Hart, a teenager in 1850, 6 children including son George, Jr., who became an artist, following his father’s precepts. Originally painted in the detailed style of the Hudson River school, but several trips to Italy and France, tuned him into Dutch landscapes and the Barbizon school in France, which opened his work to a far more atmospheric luminosity. A rich collector enabled him to concentrate solely on painting. Had a particular gift for imbuing his works with a sense of the tranquil, lyrical grandeur of nature, while working on both large and small scales. Converted to Swedenborgianism in his late 30s, a belief in the intertwining of the natural and the spiritual, and was also involved in the social issues of the day, taking humanitarian stances. Elected to the National Academy in 1868. Stayed in Rome and Paris from 1870 to 1874, and ultimately allowed color to supersede form, in his desire to display the emotion behind his sense of the divine wonders of nature, as he became more mystical in his later years, which was reflected in the shimmering color and lack of specific shape in his final works. Inner: Meticulous craftsman, who ultimately gave himself over to his mystical impulses, in a desire to touch on his sense of God with his art. Loved esoteric speculation, and looked like a fanatic, with long hair, a piercing gaze and nervous energy. Inner-driven lifetime of steadily searching for a visual expression of the divine both within himself and his subject matter, while gradually abandoning carefully rendered form to the full majesty of emotion and spirituality that lies behind all nature. Aelbert Cuyp (1620-1691) - Dutch artist. Outer: From a successful family of artists. Studied under his father, Jacob Cuyp, from whom he ultimately inherited a considerable amount of money and property in his early 30s. Began his career painting still lifes, interiors and animals, using only his initials in signing them. His early works were marred by hard outlines, heavy tones and deficient perspectives. In 1658, he married Cornelia Boschman, a wealthy widow with 3 children, and the duo also had another child together. Gradually branched into landscapes, where he found his true metier, bringing a rich luminosity and sense of tranquil serenity to his works, with a particular gift for transliterating atmospheric effects, and bathing his groupings in light. Probably never traveled very far, although was familiar with the works of the French landscapist Claude Lorrain (Claude Monet), with whom his own body of work bears favorable comparison. Occasionally held public office, had the right to sit in the Supreme Court of Justice, and was considered a candidate for the regency of Dordrecht in 1672. Painted little during the last 20 years of his life. Many of his works found their way to England, where he was held in extremely high regard. Inner: Learning lifetime of finding his true artistic calling, after a negligible early career, while complimenting his aesthetic gifts with both wealth and social power, to give him a worldly and otherworldly sense of himself.

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PATHWAY OF THE ARTIST AS TEACHER AND MASTER CRAFTSMAN:
Storyline: The professorial pictorialist serves as both exemplar and beacon to the generations that follow him, while exploring both overworld and underworld in his relentless pursuit of artifice as holder of life’s ultimate truth.

vMartin Scorsese (Martin Charles Scorsese) (1942) - American filmmaker and film his/storian. Outer: Son of Italian immigrants. Father was a clothes presser, while his mother was also in the garment industry. Older brother became a painter. Sickly as a child, with asthma, pleurisy and a host of ills, giving him an isolated upbringing, where he watched a lot of movies. Entered a seminary after grade school, intending to become a priest, but found his true spirituality in the cinema and dropped out after a year. 5’3”, with dark brown hair and eyes. Enrolled in the NYU Film School, ultimately earning his masters while serving as an assistant instructor. Made a number of prize-winning shorts while in school, and stayed on as a member of the faculty until his late 20s, shooting his first feature length film, based on his neighborhood upbringing. Married Laraine Brennan in 1965, later divorced, one daughter from the union. Became co-supervising editor of Woodstock, a documentary on the celebrated rock festival, before working for the CBS-TV election unit. His first significant film was Mean Streets, shot in 1973 and set in Little Italy, as was his initial film. It explored characterization over plot, using the camera to convey the jittery energy of the city. Although the film failed at the box office, it established his style and his fascination with urban violence, which he would go on to explore in a host of subsequent works. Married screenwriter/director Julia Cameron in 1975, divorced, one child. With his fourth feature, Taxi Driver, he established himself as a major film director, using actor Robert De Niro to great effect, whom he would employ a number of times in his increasingly darker view of the underside of American life. Alternated many of his visceral dramas with lighter and more conventional fare, while earning awards, and considerable praise as the most striking and personal filmmaker of his generation. Married actress Isabella Rossellini in 1979, divorced 4 years later. Married filmmaker Barbara De Fina in 1985, later divorced. His fifth marriage was in 1999, although his true union has always been with his art. Never got involved in Hollywood per se, preferring to remain in New York and employ the same stable of actors in many of his productions, which have often focused on the underworld, while selecting his projects according to his own tastes and desires. Many of his films would prove highly controversial, including The Last Temptation of Christ, an attempt at humanizing the figure of Jesus, which was picketed nationwide by fundamentalists. Very active in film preservation, and occasionally a documentarian, shooting subjects close to his heart, although his later works have been more grandiose canvases, showing his visual mastery, while sacrificing his earlier intimate sense of character. He has also appeared in several films as an actor, usually in brief, cameo roles. In 1997, he was given the American Film Institute’s Lifetime Achievement Award. Finally received his due from the Academy a decade later with an Oscar for Best Director for The Departed, after numerous nominations. Added to to his awards in 2011, with an Emmy for his directorial work on the cable series “Boardwalk Empire.” In 2016, he returned to familiar Christian themes of martydom, belief, and the presence or absence of God in our lives, with an extremely well-reviewed masterpiece, Silence. The story follows two 17th century Portuguese Jesuit priests who journey to Japan to find out why their former mentor has renounced his beliefs under torture and become a Buddhist. Has a net worth of $70 million. Inner: Provocative, uncompromising and willing to take chances, while serving as both teacher and exemplar to those who recognize his superior stylistics. Conveys self-destruction as a pathway to salvation in many of his works. Focused lifetime of finding his faith through the visual arena of films, while remaining true to his own gritty vision of life as the fodder for great art. vRobert Henri (Robert Henry Cozad) (1865-1929) - American artist. Outer: From pioneer stock. Grew up in a Nebraska town that his father, a gambler and real estate developer, founded. His midwestern upbringing would give him a great curiosity about things, so that he would always be open to experimentation and discovery in his subsequent career. Close with his parents, and related to the impressionist Mary Cassatt (Agnes Varda). One brother, with whom he ultimately shared responsibility for guarding the property. A series of misfortunes, including his sire fatally shooting someone, forced the family to give up their land, as well as their name, and eventually settle in New Jersey. Educated in Cincinnati, Denver and NYC. Encouraged by a neighbor, he went to the Pennsylvania Acad. of Fine Arts in Philadelphia, then taught at the city’s School of Design for Women until 1895, when he, along with William Glackens (Michael Mann) enrolled in the Ecole des Beaux-Arts in Paris, which tuned him into the larger currents in the art world. Also studied independently in Brittany, Italy and Spain. Tall, slender, dramatic and sophisticated. Returned to Philadelphia to become an instructor in the Women’s School of Design, and 4 years later, came back to Paris to teach for 2 years. Initially worked as a landscape painter, doing portraits only on commissions. Married one of his students, Linda Craige, in his mid-30s, and his wife served as his frequent model, but died 7 years later. His second marriage in his mid-40s, was to an Irish-born artist, Marjorie Organ, who was over two decades his junior, no children. Gained a reputation as a rebel and arch-radical, beginning his career as an impressionist, but ultimately working in the tradition of the old masters, with Thomas Eakins (Robert Altman), as his strongest influence. From his late 30s until his early 50s, he exhibited widely and taught at the New York School of Art, where he was invited to teach in 1902 by William Merritt Chase (Arthur Penn). Managed to chase Chase from the school 5 years later, through their opposing styles of teaching. Enjoyed roughhousing and joking, while looking to Theodore Roosevelt (Kathleen Kennedy), as his masculine ideal. Admonished his students to be a man first, and an artist second. Most of his work was portraits and character studies. In 1908, for exhibition purposes, he formed a group of artists known as “The Eight,” who focused on the grittier elements of NY. Several of them, including William Glackens and George Luks (Brian de Palma), would go on to become filmmakers in their next incarnations. Helped organize the New York Armory Show of 1913 which introduced modern art to a shocked and perplexed America. Also a leading member in the Society of Independent Artists. For most of the next decade, he taught and lectured at the Art Students League in NYC, publishing a collection of his essays and theories of art. In his last years, he spent much time painting in Spain and in Ireland. His salary from teaching enabled him to pursue his own pure vision of things. Continually championed younger artists, inspiring them to do bolder work, in order to expand America’s visual canvas. Best known for his portraiture, he eventually died of cancer. Inner: Highly effective teacher, inspirational, honest and uncompromising. Dominating personality, felt art put things on a higher plane. Magnetic, driven to create an alternate forum for the next generation of artists. Esthetically evangelical lifetime of teaching through example in an effort to enhance the visual re-creation of his times, after earlier allowing them to pass him by, much to his regret.(1865-1929) - American artist. Outer: From pioneer stock. Grew up in a Nebraska town that his father founded. His mid-western upbringing would give him a great curiosity about things, so that he would always be open to experimentation and discovery in his subsequent career. Close with his parents. One brother, with whom he ultimately shared responsibility for guarding the property. A series of misfortunes forced the family to give up their land, and eventually settle in New Jersey. Educated in Cincinnati, Denver and NYC. Encouraged by a neighbor, he went to the Pennsylvania Acad. of Fine Arts in Philadelphia, then taught at the city’s School of Design for Women until 1895, when he, along with William Glackens (Michael Mann) enrolled in the Ecole des Beaux-Arts in Paris, which tuned him into the larger currents in the art world. Also studied independently in Brittany, Italy and Spain. Tall, slender, dramatic and sophisticated. Returned to Philadelphia to become an instructor in the Women’s School of Design, and 4 years later, came back to Paris to teach for 2 years. Initially worked as a landscape painter, doing portraits only on commissions. Married in his mid-30s, and his wife served as his frequent model, but died 7 years later. His second marriage in his mid-40s, was to an artist, no children. Gained a reputation as a rebel and arch-radical, beginning his career as an impressionist, but ultimately working in the tradition of the old masters, with Thomas Eakins (Robert Altman), as his strongest influence. From his late 30s until his early 50s, he exhibited widely and taught at the New York School of Art, where he was invited to teach in 1902 by William Merritt Chase (Arthur Penn). Managed to chase Chase from the school 5 years later, through their opposing styles of teaching. Enjoyed roughhousing and joking, while looking to Theodore Roosevelt (Kathleen Kennedy), as his masculine ideal. Admonished his students to be a man first, and an artist second. Most of his work was portraits and character studies. In 1908, for exhibition purposes, he formed a group of artists known as “The Eight,” who focused on the grittier elements of NY. Several of them, including William Glackens and George Luks (Brian de Palma), would go on to become filmmakers in their next incarnations. Helped organize the New York Armory Show of 1913 which introduced modern art to a shocked and perplexed America. Also a leading member in the Society of Independent Artists. For most of the next decade, he taught and lectured at the Art Students League in NYC, publishing a collection of his essays and theories of art. In his last years, he spent much time painting in Spain and in Ireland. His salary from teaching enabled him to pursue his own pure vision of things. Continually championed younger artists, inspiring them to do bolder work, in order to expand America’s visual canvas. Best known for his portraiture. Inner: Highly effective teacher, inspirational, honest and uncompromising. Dominating personality, felt art put things on a higher plane. Magnetic, driven to create an alternate forum for the next generation of artists. Esthetically evangelical lifetime of teaching through example in an effort to enhance the visual re-creation of his times, after earlier allowing them to pass him by, much to his regret. vJohn Trumbull (1756–1843) - American painter. Outer: Grandfather and father were well-to-do merchants. The latter became governor of Connecticut when his son was a teen, and held the post for 15 years. His mother was of Puritan stock. Youngest of 6, with 2 sisters and 3 brothers. Suffered convulsions as an infant, and fell down a flight of stairs at 5, permanently injuring his left eye, a symbol of spiritual vision, which gave him more and more trouble as he got older. Went to Harvard Univ. at 15, and graduated a year later, the youngest member of his class. Joined the Continental Army afterwards, and served as assistant aide-de-camp to Gen. George Washington (George Marshall) for 19 days, although exploited and exaggerated the connection later on, before resigning in 1777 in a pique, because Congress had dated his commission later than he wanted. Went to London in 1780, and studied under Benjamin West (Steven Soderbergh), to become America’s first college graduate professional painter. When British agent John Andre (Kim Philby) was hanged for spying in America, the same year, he was put into prison as an act of retaliation, and served 7 not unpleasant months, before West interceded on his behalf. Returned to America after his release, but came back to London in 1784, once more working under West, where he executed several narrative canvases around Revolutionary War dramas, reaching his artistic peak during this period. Continued in the same vein, highlighting storytelling elements of America’s birth as a Republic. In addition to his narratives, he also did portraits of many of the leading figures of the period, including the portrait of fellow Federalist Alexander Hamilton (JFK) that would ultimately grace the $10 bill. In 1794, he became secretary to John Jay (John Roberts) when he was negotiating a treaty with Great Britain, and 2 years later was made one of the commissioners trying to settle the terms of the treaty. Wound up spending some 20 years in Europe, which made him completely out of touch with the Jeffersonian democracy that emerged after the turn of the century. Had a son with a servant who worked in his brother’s home, and ultimately brought him to Europe, where he remained, proving a disappointment to his sire. At century’s turn, when he was in his mid-40s, he married 26 year old Sarah Hope Harvey, in London, although her background would remain a mystery. No children from union. Returned to America in 1816, deeply in debt, although he soon received some governmental commissions, while his wife, who didn’t get along with his family, became an alcoholic, and died in 1824, much to his everlasting grief. From 1817 to 1836, he served as president of the American Academy of Fine Arts, which he helped found, although by then, his skills were on the downswing, and he was out of touch with the Romanticism of young America. His students ultimately rebelled against his old school sensibilities, and he proved to be an extremely ineffective teacher, thanks to a pedantic nature and an unwillingness to recognize changing tides. His later works were large-scale religious works and heroic and literary themed pieces, which were quite inferior to his earlier output. Sold 28 paintings and 60 miniatures to Yale Univ. in 1832, for an annuity of $1000 a year, which seemed like a great deal to his guaranteers, since he was 75 at the time, but he lasted another 12 years, much to their financial discomfort. Also asked that a tomb be built for himself and his wife under the gallery, which would become the earliest college art museum in America. At 80, he went to live with his nephew by marriage, the noted scientist Benjamin Silliman, and spent his end-life writing his autobiography, which came out in 1841. Died peacefully two years later, and was buried, per his request, next to his wife, and beneath a full-length portrait he did of George Washington. Contemporary of John Trumbull (Gore Vidal), a writer who closely paralleled his span, living from 1750 to 1831. Inner: Egotistical, and an old-fashioned gentleman, who was far more the European than the American. Attracted to power, he was on friendly terms with 6 presidents, as well as most of the eminences of the early Republic. Never a great painter, although always a good storyteller on canvas, despite spending his last 47 years on the artistic downswing. Delineator lifetime of a nation in the throes of its birth and adolescence, with an out-of-time character that ultimately saw both his world and his talents fade, which he would redress the next time around. James Thornhill (1675-1734) - English artist. Outer: Mother was the daughter of the governor of Weymouth, while his father largely dissipatred his estate through extravagance. Apprenticed in his early teens to both an English decorative painter, and two Italian artists of the same genre living in England. Through his training, he was the only English artist to successfully compete with foreign artists for large-scale decorative works during the first quarter of the 18th century. From 1707 onward, his clientele began to include the upper strata of British society, whom he served as a his/story painter. Painted in a theatrical idealized form, per the Baroque tradition out of which he worked, and exerted a strong influence on subsequent English art. Became one of the directors of Godfrey Kneller’s (John Schlesinger) academy in 1711, and succeeded its founder in 1716 as Governor, holding that position until 1720. Traveled to the Low Countries in 1711, and Paris in 1717. Made court painter by George I (Prince Charles) in 1718 and two years later was knighted. Founded his own school, which soon closed, but his next attempt, a free academy at his own home, in 1724, was successful. His most celebrated student would be William Hogarth (Robert Altman), whom he enthusiastically championed. The latter would marry his daughter in 1729, and also continue his school after his death. Became a fellow of the Royal Society in 1723, and was also an MP for the last dozen years of his life. Specialized in large-scale compositions, including the interior of the dome of St. Paul’s Cathedral and the ceiling of the Great Hall in Blenheim Palace. His last years were devoid of large commissions, and instead, he spent his time copying the Raphael Cartoons at Hampton Court, a task that was interrupted by his death. Inner: Inventive and industrious. Liked to put his own portrait into his decorations. Teaching lifetime of synthesizing continental art with English sensibilities, while serving, as always, as a primary instructor of the younger talents of his times. vCarel Van Mander (1548-1606) - Flemish painter, teacher and writer. Outer: From a noble family. Studied in Ghent, then Courtrai and Tournai. Visited Italy from 1573 to 1577 and familiarized himself with Florentine and Roman design, as well as Venetian coloring. Also learned about Italian artistic practices and theory, and used the writings of Leon Alberti (Saul Williams) and Leonardo Da Vince (Gordon Parks) to formulate his own ideas about esthetics. Spent a lot of time wandering until he final settled in the Netherlands, in Haarlem in 1583, where he founded a successful painting academy along with Henrik Goltzius and Cornelis Cornelisz. In addition to his painting, he was also a writer, and in his Het Schlider-boeck, he produced about 175 biographies of Dutch, German and Flemish painters of the 15th and 16th centuries, which would prove quite invaluable. Credited with introducing vernacular prose-writing in Latin, as well. Unlike Giorgio Vasari (Tom Wolfe), who had served as his template for artistic biographies, he was also a theoretician of great import, and in being so, laid the groundwork for the Dutch landscapists of the next century. Set up a Vasarian academy in Haarlem towards the end of his life. Inner: Cerebral and highly analytic, a teacher at heart. Greatly admired the techniques of the Old Dutch masters. Tri-skilled lifetime of giving voice to the three gifts that he would bring to each go-round in this series - teacher, artist and storyteller - in his self-appointed role as elucidator and practitioner of the mystery and magic of art.

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PATHWAY OF THE ARTIST AS TEACHER & SELF-TEACHER:
Storyline: The professorial promoter champions both others and himself while gradually raising his own standards of achievement to meet his expectations of others, as he tests his sense of integrity against a strongheld desire for wide popular acclaim.

Steven Soderbergh (Steven Andrew Soderbergh) (1963) - American filmmaker, writer, producer and cinematographer. Outer: Of Swedish and Irish descent on his paternal side and Italian on his maternal. Had a peripatetic childhood, until his father wound up as the dean of the College of Education at LSU. Accumulated an encyclopedic knowledge of cinema, and while in high school, enrolled in a film animation class there, and with borrowed equipment, began making film shorts. After graduation, he made an abortive Hollywood run, then returned to Baton Rouge, where he was a coin-changer in a arcade, during which time he made a short about his frustrations in Tinseltown. 6’. Eventually came to work for a video production company and directed a music video for the rock group Yes that garnered some attention. Began his assault on Hollywood once again, via speculative screenplays, but wound up going on an extended drinking binge in his ongoing frustrations, before recovering, reclaiming himself and eventually winning acclaim for sex, lies and videotape, which won several prizes, including the Golden Palm at the Cannes Film Festival in 1989, the youngest director to win that accolade. The film was a representation of himself via the four main characters, and a naked attempt at self-reintegration through the dynamics of their interrelationships. Married actress Betsy Brantley, later divorced in 1994, one daughter from union. Less inclined to be so self-revealing in his subsequent features, while working out his desired artistic direction, and, after several independent features, went mainstream at the turn of the millennium with Erin Brockovich, a tale of integrity and self-determination, that mirrors his own artistic processes, which won the 2001 Oscar for Best Director. Followed that up with Traffic, a look at the conflicted drug policies of Mexico and America, which entered the national debate on the subject. Married director Julie Asner in 2003. While continuing to alternate between highly commercial and independent fare, introduced, in 2006, one of the latter, Bubble, as a simultaneous theatrical, TV and DVD release, as a challenge to prevailing business custom, giving the consumer an immediate choice of means of consumption. Despite his intentions, the initial experiment proved an all-around failure. Always experimenting, he followed with The Good German, shooting it in the exact style of 1940s filmdom, right down to the typography and lenses, although once again, the idea superseded the actuality. In 2011, he was hit with a child support suit by an Australian woman for a daughter he fathered with her, after verbally acknowledging the claim. Won an Emmy in 2013 for “Behind the Candelabra.” The following year, he served as executive producer, cinematographer, editor and director of an extremely well-received turn of the 20th century hospital drama, “The Knick,” which was renewed in 2015, as testament to his lightning eye and ability to totally control every visual aspect of his product. Returned to the big screen after several years absence from it with 2017’s Logan Lucky, a caper film filled with memorable characters. and a wonderfully preposterous story that critics found, endearing and gratifying. Has a net worth of $40 million. Inner: Sweet-natured but serious and obsessive artist, with a desire to tackle Tinseltown on his own terms, and with an equal determination to write his name large on the cultural walls of his times. Shoots many of his own films. Self-effacing, ever the observer. Enthusiastic teacher and self-promoter, with excellent narrative skills to complement his fine visual eye. Transition lifetime of crossing the heavily tolled bridge to moving pictures, after many a go-round of serving as both teacher and exemplar of the graphic story-telling potential of the arts, to see how it will affect his integrity and sensibilities as an artist. Alfred Stieglitz (1864-1946) - American photographer and editor. Outer: Son of a Jewish wool merchant. Parents were German immigrants, who grew rich in America, affording their son a privileged upbringing. Attended NYC College, then went to Germany with his family, intending to become an engineer. After buying a small camera, he decided instead to become a photographer, as well as an authority on the subject, so as to demand the highest standards of himself, taking hundreds of shots of the same subject to master every variation in exposure time and development. Returned to the U.S. in his mid-20s and worked for a photoengraving firm, retiring 5 years afterwards to devote himself fully to photography and the promotion of modern art. In 1893, he married Emmeline Obermeyer, the sister of one of his business partners, one daughter from union. His wife kept a disapproving 3 decade distance from him, before divorcing him in 1924. Edited several photographic magazines and founded Photo-Secession, as a protest against conventional photography. Did more than anyone else in America to raise photography to an accepted art form, pioneering the use of the small hand-held camera, and shooting in all kinds of weather, as well as being the first to capture moving objects at night. Served as a fatherly beacon to many artists and photographers, teaching, inspiring and tirelessly promoting them. Directed the famous 291 gallery in New York where he exhibited the work of American and European cameraphiles, as well as introduced the oeuvre of the French avant-garde. Also exhibited children’s art and African sculpture. Felt living American artists should get their due, although most of his exhibitions were derided by the public. 2nd marriage at 60 was to artist Georgia O’Keeffe, whom he repeatedly photographed. The duo spent much of their married life apart, since he rarely traveled after his earlier European sojourn, and didn’t support her independence from him. After the 291 gallery closed, he concentrated more on his own work, although continued his role as a guiding light of contemporary art. Eventually rejected O’Keeffe for even younger woman as his muse, causing a nervous breakdown in the latter, and she left him for good in 1941. Directed 2 more galleries, and continued his activities throughout his long and very active life. Died of a stroke. Inner: Charismatic, inveterate talker, constantly promoting, teaching, and spreading his gospel of photography as an exalted mode of expression. Impulsively seductive, seeing sex as a recreational escape. Gentle, romantic, wise. Vibrant, impatient and kind. Sublime shutterbug lifetime of playing the role of teacher and crusader for the esthetic acceptance of modernity’s odd images. Benjamin West (1738-1820) - American artist. Outer: Son of Quaker parents, father had emigrated from England, and became, in succession, an innkeeper, a hotelier and a cooper. Youngest of 10 children. Claimed to have become interested in art as a boy, when Amerindians taught him to use red and yellow paints in their decorations. Had no real education to speak of. Studied painting in Philadelphia, then worked there and in NYC, mostly as a portraitist. With the help of Philadelphia merchants, he sailed for Europe in 1760, and stayed there the rest of his life. Spent 3 years in Italy, then settled in London in his mid-20s, where he was highly successful with his Roman paintings. In his mid-20s, he married Elizabeth Shewell, the daughter of a Philadelphia merchant, raised a family, and became a leader in the neoclassical movement. An excellent skater, he won fame as an athlete as well. Despite his lack of sophistication, he became an his/storical painter to the unbalanced George III (Jeffrey Archer). One of the founders of the Royal Academy of Arts, he served as its 2nd president. Had a large studio, and took on the role of teacher for many young American artists, as well as some European ones, including Angelica Kauffman (Georgia O’Keeffe). Most of his work was on a large scale, focusing on his/storical, mythological or religious subjects, with an emphasis on storytelling. Used contemporary rather than his/storical dress, and is better remembered as a beacon who helped others than for a transcendental talent of his own. Became the first American artist with an international reputation. At life’s nearend, he turned down a knighthood in hopes of a peerage, which never came. Inner: Friendly, dashing, sincere, honest, self-confident, self-promoting. Handsome, dignified, benevolent and even-tempered, but with a tendency towards complacency. Expatriate lifetime of teaching and recreating himself to royal tastes, despite a decidedly humble background, and a somewhat pedestrian imagination. Peter Lely (Pieter van der Faes) (1618-1680) - Dutch/English artist. Outer: Father was captain of an infantry company, mother was from a good family. Studied art in Haarlem, where he became a guild member. Became a portrait painter in the suite of the Dutch stadholder, and went to England in his early 20s, where he remained the rest of his life, finding official favor with both the monarchy and the subsequent Commonwealth. Lived in a fashionable corner of London. Married his English mistress, with whom he had had 2 children beforehand. Studied the paintings of Anthony van Dyke (Stanley Kubrick) extremely carefully, building on his style. A gifted imitator, with the ability to reflect ruling tastes, he painted with a severe Puritanical style during the Commonwealth, and then opened up to far more sensual display in its aftermath. Became the most popular portrait painter in England, and was appointed official court painter to Charles II (Peter O’Toole) on the Restoration in 1660. A connoisseur of art, known for his collection of fine paintings, although his own later canvases were far less effective. Knighted a year before his death of an apoplectic fit suffered at his easel, while painting a portrait of the Duchess of Somerset. Inner: Self-promoting, self-confident. Had lavish tastes, and was not suited for business. Expatriate lifetime of continuing the tradition of foreign artists dominating royal English tastes, while establishing his own position of power as an ongoing central cultural figure of his epoch. Hans Memling (Hans Memlinc) (c1430-1494) - Flemish artist. Outer: Initially schooled in the German states, where he was born, he came to the Netherlands around the age of 20, where he spent about 5 years in the workshop of Rogier van der Weyden (Stanley Kubrick), who influenced his style greatly. Borrowed from everyone he could, before developing his own style, which was marked both by a strong religiosity and a tenderness. Ultimately settled in Bruges in 1465, where he established his own large and productive shop, and became a leading painter, specializing in both portraits and altarpieces. Once having found his style, he rarely altered it, settling into a successful groove, while remaining, for the most part, a superficial portraitist, content with conveying the look of his subjects, without delving any deeper into their psychological feel. In his religious works, there is little connection between any of his people, nor do his portraits look directly at the viewer, but rather blankly off into space, indicating a lack of connection on his part with them as well. Around 1470, he married and had 3 children, ultimately outliving his wife by some 7 years. According to legend, he was admitted as a sick soldier to the Hospital of St. John, Bruges after the Battle of Nancy, and as a reward, painted the celebrated shrine of St. Ursula there. Won the patronage of numerous religious houses, as well as the Italian émigré merchant community, providing him with a steady stream of work, as well as a relatively undemanding clientele. Proved to be highly successful on all fronts, with a large stone house, a listing among the city’s wealthiest citizens, and a high reputation for his time, although in later comparison with the true greats of his era, he remains a satisfactory craftsman, and little more. Inner: Undemanding lifetime of establishing his longtime karmic connection with a master, whom he would loosely imitate in his subsequent peregrinations, while falling far short of the subsequent gifts he would evince in later lives in this series.

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PATHWAY OF THE ARTIST AS LARGER-THAN-LIFE SELF-CELEBRATOR:
Storyline: The self-centered story-teller uses everyone within his sphere for his own means, and though strongly gifted with a great lust for life, gives little breathing space to all those around him, and ultimately falls victim to his own breathless egocentricity.

John Huston (John Marcellus Huston) (1906-1987) - American filmmaker, actor and writer. Outer: Of Scots-Irish, British, Scottish, and distant German descent.: Born in a town that his grandfather had won in a poker game, according to family legend. Son of actor Walter Huston (Kevin Bacon). His mother, Rhea Gore Huston, was a newspaperwoman, and enthusiastic traveler, who had insisted his father get more stable work than the theater. His parents separated when their son was 3, and his sire returned to the stage, while he made his stage debut at the same time. Spent his time shuttling between the luxurious world of his mother and the poverty-stricken sphere of his father. Close friends with the latter his entire life. Suffered serious illness as a child with an enlarged heart and a kidney ailment, and recuperated in a sanitarium. Went to military school and then high school in Los Angeles, quitting at 14 to briefly become California state lightweight amateur boxing champ, winning 22 of 25 fights. 6’4”, and very athletic. Acted at his father’s behest, making his professional debut on Broadway at 19, but didn’t like it. Married Dorothy Harvey in 1925, divorced the following year. An excellent horseman, he enlisted in the Mexican army for 2 years to get out of his first marriage, and came out a cavalry lieutenant. Went to Hollywood afterwards as a screenwriter, and appeared in several films, then quit to pursue writing and reporting, but was fired for his loose respect for facts. Returned to Hollywood for a regular salary, but no work as a scriptwriter, and wound up starving in London and Paris in 1932 doing sidewalk sketches in the latter and singing for his supper in the former. Returned to America once again, as an editor and actor, only to kill a woman pedestrian in an auto accident while driving drunk in 1933, although it was hushed up by the studios. Went to Europe again and didn’t come back to Hollywood until 1937, the same year he married a 2nd time to Lesley Black, an Englishwoman. Subsequently worked as a screenwriter, then director, making a smashing debut in 1941 with The Maltese Falcon, a classic detective tale. After several more films, he joined the army as a documentary filmmaker, showing the same sure skill in that genre. After the war, he divorced and married a third time, to actress Evelyn Keyes in 1946, which would also end in divorce in 1950. The following day he married a Mexican ballerina, Enrica Soma, who died in an auto accident. His daughter from the union, Anjelica Huston, went on to become a well-known actress, and starred in his last film, The Dead, which was written by one of his sons. Another son, Danny, became an actor and director as well. In 1948, he won an Academy reward for direction and screenplay for the Mexican adventure Treasure of the Sierra Madre, directing his father, who also won an Oscar for it. Continued his directing with more notable hits, and despite some failures, always imbued his films with a vivid visual style and a sure sense of both action and character. Occasionally played character parts in the films of others as well as his own, acting with the same surety with which he directed. Did not like to have to talk to his actors, and was extremely economical in what he shot. Bought an estate in Ireland, surrounding himself with animals, a lifelong passion of his, particularly horses. Maintaining it, along with 13 full-time servants, caused a precipitous drop in the integrity of his work, as he took on mediocre projects to pay his extended bills. Became an Irish citizen in 1964, although gave up his estate 14 years later, and spent his last years living on remote land in Mexico. In 1969, he won a Drama Critics Award for bringing Jean-Paul Sartre’s No Exit to Broadway, despite his audience’s never finding the entrance to the play. His 5th and last marriage to and divorce from Celeste Shane was in his late 60s. Compulsively demanded sexual favors from his actresses into gasping, flaccid old age. As a reward, he was given the American Film Institute’s Lifetime Achievement Award in 1983. Suffered a near fatal aortic aneurism in 1977, but recovered to continue his career. Spent his last several years in a wheelchair, suffering from emphysema from a lifetime of smoking cigars, and that disease ultimately proved fatal. Died of pneumonia just before he was to play a cameo role in the directorial debut of one of his sons. Wrote his autobiography, An Open Book in 1980. Inner: Extremely macho, with a love of adventure, luxury and pleasures of the flesh. Iconoclastic, skeptical, highly individualistic and plain-spoken. Felt sadism was a key to effective direction. Roundly disliked, intelligent, charming, but also abrupt, and remote, with a fondness for practical jokes. Free-wheeling lifetime of living to the hilt and consequences be damned, while leaving a cinematic legacy based on both personality and story-telling skills that transcended his many personal failings. Gilbert Stuart (1755-1828) - American artist. Outer: Only son of a Scottish emigrant of the same name, who came to America in 1751 and owned a snuff mill. Family legend had it he drew a good likeness of a neighbor with a stick on the earth when he was 6. At the same time, the family moved to Newport, where he was a constant truant, continually getting into mischief. Proved a gifted organist as a youngster, then learned the rudiments of art, before accompanying his teacher, a Scottish painter, to Scotland in 1772. Forced to shift for himself on the death of his master, he returned to the U.S. a year later. In 1775, his loyalist family fled to Nova Scotia, and he soon saw there was little market for an artist during revolutionary times. Went to London penniless, and had difficulty finding work, forcing him to support himself initially as a church organist. Took to drinking heavily, and wound up in debtor’s prison, before friends bailed him out, and, after sending a pitiable letter to American expatriate artist Benjamin West (Steven Soderbergh), he entered his studio in 1777, and soon became his favorite pupil. Quickly soaked up technique, and within a year, had mastered enough style to be a highly successful portraitist, focusing on rendering just what he saw before him, with an emphasis on personality. Opened his own London studio in 1782 and was extremely successful for 5 years, painting many of the leading figures of the time, including the royal family, as well as many Whig politicians, and members of the rising middle-class. Usually just concentrated on the heads, stating, “I copy the work of God, and leave the clothes to the tailors.” Showed great insight into his sitters, employing a simple direct style, with a nicely balanced sense of light and shade and a feel for the individuality of his subjects. In his early 30s, he married Charlotte Coates, an Englishwoman, 5 sons and 7 daughters from the union, several of whom became painters and his assistants, including Jane (Angelica Huston). In spite of high commissions on all his works, he lived well beyond his means and ultimately had to flee to Dublin to escape his creditors. After being put in jail, the local gentry was so pleased at having an artist of his rank captive among them, that they sat for him, and he was soon plying his trade again as a free man. After 6 years in Ireland, and 17 years overseas, he returned to the U.S. in 1792, and became the nation’s leading portrait painter, working in NYC, Philadelphia and finally Boston, where he settled. As he grew older, he gave more and more play to his innate anger, feeling his elevated position gave him the right to express himself completely freely, no matter the circumstance. Always found fault with sitters who could not countenance his unflattering views of their countenances, but also gave freely of his advice to younger artists, although had no formal pupils. His most famous painting is an unfinished portrait of George Washington, his third stab at him, which would become the American standard for its founding father. Throughout his career, his utmost attraction would be the human face, trying to capture what the sitter showed to the world. As he grew older, he also began painting faster, to great effect, once he had mastered the technique, although age brought a trembling of his hands, which he compensated for, with the speed of his brushstrokes. /in 1824, he compounded his physical woes by a stroke, and by life’s end, his drinking and his temper had thoroughly isolated him from all but his own work. Left his wife, who outlived him by nearly two decades, destitute after his death. Inner: Temperamental, with a full range of emotional extremes from lightheartedness to despondency. Excellent raconteur, brilliant and charming conversationalist, although given to verbosity. Didn’t finish works when sitters bored him. Generous, overindulgent, a court painter of a democratic nation. Also cantankerous, easily offended, and often given to dissipation. Sharp-eyed lifetime of establishing a pattern of living beyond his means, while maintaining his position as the dominant artist of his time through the sheer force of his personality and skills, while once again showing a self-centered lack of concern for those closest to him. William Dobson (c1610-1646) - English artist. Outer: Son of a master of the Alienation Office, although family fell on hard times, and he was forced to become an apprentice to a stationer and picture dealer, who was also an obscure painter. Largely self-taught, while also garnering some lessons from his employer and a German painter of allegories. Lived in the artist’s quarter near the court, where he picked up both further knowledge of his craft along with commissions. Rough-hewn in his style, he began by skillfully copying pictures, among others, of Anthony Van Dyke (Stanley Kubrick), who happened to see one while passing by the shop window. The artist was impressed enough to present the young painter to the king, Charles I (George VI), who took him under his protection, sat for him several times, and also gave him entry to the portraiture of other members of the royal court. Excellent draftsman, and a good colorist. Also was able to view the king’s collection, and assimilated the color and brushwork of Venice and the baroque style of Flanders, which greatly enhanced his own skills. Particularly adept at capturing the lavish lushness of the dashing cavaliers in service to the king. Succeeded Van Dyke as court-painter on the former’s death in 1641, although the English Civil War interfered profoundly with his career ambitions, and he died soon after the king’s fall, after having been tossed into debtor’s prison, released by a patron. Passed on in great poverty soon afterwards, making a complete circle of his life. Inner: Extravagant and imprudent, with a ready wit and good social skills. Circular lifetime of rising from his family fallings to the pinnacle of painterly power, only to fall once again at life’s end, when fate and fortune dictated the end of days of his royal patron.

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PATHWAY OF THE ARTIST AS AFICIONADO OF VIOLENCE:
Storyline: The cantankerous cowboy sings the bloodsongs of the hairy-chested west, while spinning his own legends in similar manner from both before and after the grave.

Sam Peckinpah (David Samuel Peckinpah) (1925-1984) - American filmmaker. Outer: Descendant of pioneer western settlers. Born the day after director Robert Altman. Son of a cowboy-lawyer, while his grandfather on his mother’s side had been a congressman and Superior Court judge, and one of only 3 who voted against U.S. involvement in WW I. Mother was a teetotaler and Christian Scientist, father was a Bible-thumper. Despised the moral absolutism they thrust on him. Macho and undisciplined as a youth, he played high school football and had a reputation as a fighter and drinker. Eventually sent to military school for discipline. Joined the marines during WW II and saw service in China. 5’9”, lean and wary-eyed. Went to Fresno State afterwards, where he married Marie Selland, a drama student in his early 20s who got him interested in theater, one son and three daughters from the union.. Received his master’s degree in drama from USC, and worked in the theater as both director and actor, before joining a local TV station as a stagehand. Became a dialogue director and an assistant to action director, as well as a screenplay and TV writer, specializing in westerns, creating and directing several series in that genre. In his mid-30s, he became a film director, immediately establishing a reputation for uncompromising allegiance to his vision of the violent Old West. Divorced and briefly married Mexican actress Begonia Palacias, while getting Mexican citizenship. In 1964, he made Major Dundee, which was subsequently chopped to bits by Columbia, who banned him from the lot, but he was able to recover from the debacle, and 3 years later, made his seminal film, The Wild Bunch, a bloody paean to macho sensibilities and moral ambivalence, which Dundee had explored as well. His 3rd marriage to Joie Gould was in his late 40s, and like the others, soon terminated in divorce. A heavy drinker all his life, he eventually died of a heart attack. Inner: Two-fisted alcoholic, and a celebrator of male virtues and vices, viewing his fellow humans as deeply flawed but with the potential of the heroic about them. Macho lifetime of purging his violence within through the liberating and imprisoning potency of alcohol and a blood-spattered body of work that celebrated the dark moral vision of his own imagination, impelled, no doubt, by his deep-seated fears surrounding his own unintegrated masculinity. Thomas Ince (1882-1924) - American filmmaker. Outer: Parents were traveling actors. 2 other siblings also became actor/directors. Made his stage debut at 6, and continued his career as an actor, appearing both on Broadway and on the road, so that he was a seasoned veteran by 15. Frequently out of work, he decided in his late 20s to switch to the ill-regarded, but brand new, field of films. In his mid-20s, he married actress Nell Kershaw, who helped him get his start with Biograph, before he joined IMP, where he was given the opportunity to direct. 2 sons from union. Moved to Los Angeles with another company at the dawn of the Hollywood era, and soon established himself in the Western genre, demanding detailed, well-structured scripts, which he often wrote, and high production values. Put a whole Wild West show on the payroll for authenticity and acquired nearly 20,000 acres of land where he built a studio that became known as Inceville. A clever producer and early film visionary. Gave up directing all his company’s productions, and divided the task with Francis Ford (Edward Norton), brother of John Ford, although he supervised all the productions himself. Introduced William S. Hart (Tommy Lee Jones) to the public, who became one of his most popular and enduring stars, although the two later argued and separated, with Hart ultimately taking over the studio and redubbing it ‘Hartville.’ His most memorable work was Civilization, a pacifist paean to nonviolence. Quarreled with his studio head and set up his own company in 1918, Triangle, building new studios in Culver City, before joining other producers and directors to form Associated Producers, Inc., which merged later with First National. Neglected his health for years, suffered from ulcers and angina pectoris. Died mysteriously abroad the Oneida, a yacht owned by William Randolph Hearst. Officially listed as death by heart failure, but believed to have been shot by Hearst for having an affair with his protege actress Marion Davies. Later research proved the first assessment to be correct, that he died of a 3rd heart attack in bed at his home with his family by his side, 2 days after suffering his first attack at sea aboard Hearst’s yacht. A seminal figure in the early days of Hollywood, setting production standards and involved in thousands of films. Inner: Dynamic, ruthless and difficult. The mythos around his death was well in keeping with the illusions he always loves to spin around himself. Pioneering lifetime of serving as one of the instrumental founders of filmdom, only to be undone by his own uneasy heart within. George Catlin (1796-1872) - American artist, showman, ethnologist and cartographer. Outer: 5th of 14 children of a farmer, he grew up on a farm, where he developed a strong interest in frontier life. His mother, a cultured woman, along with her mother, had been briefly captured by Iroquois, when she was 7, although was released unharmed. At 9, he met an Oneida in the woods, and the man’s dignity and kindness deeply impressed him. Informally educated, before studying law in Connecticut for 2 years. Practiced his profession in Pennsylvania, but spent much of his free time painting, while also sketching participants while in court. At 27, he sold his law books and moved to Philadelphia and then Washington for 5 years, where he was a portrait painter of a rather harsh and primitive sort. Married Clara Gregory, the daughter of a prominent Albany family, in his early 30s, 3 daughters and a son from extremely close union. On viewing a group of Amerindians passing through Philadelphia on their way to the capital, he was very taken once again with their silent and stoic dignity. Decided he would record their lives in paint and immediately headed out west, leaving his new wife behind. After meeting with Missouri territorial Gov. William Clark, of Lewis and Clark fame, who took him north to a powwow of several tribes, and he immediately began drawing them. Using St. Louis as his base, and returning East each winter, he spent 5 years in the mid-1830s, living with and sketching the Great Plains tribes during the summer months and then finished his paintings in oils during the winter. Many of his subjects believed that if he captured them in paint, he would have power over them, and if someone he painted died, it was the fault of the painter. Several times he had to flee after the death of a subject. Despite his limited abilities with perspective and anatomy, he worked quickly to capture the essence and likeness of his subjects in a highly improvised manner that was both original and powerful. His wife enthusiastically supported him and often accompanied him on his trips. Ultimately, he traveled 5000 miles by canoe and 500 by horseback for his studies. When he returned east in 1838, he had over 300 portraits of Amerindians, which carefully recorded both their costumes and cultures, as well as artifacts, landscapes and ritual scenes. Ever the showman and entrepreneur, he exhibited them in his Indian Gallery, which he took to major East Coast cities, and the following year, brought to Europe, for a tour of London, Brussels and Paris. Added mock battles and publicity stunts, including the display of gen-u-ine Amerindians, who danced and sang, and though he was accused of exploiting them, he claimed others even more unscrupulous than himself would do the same if he didn’t. His accuracy in his depictions was also often questioned, while the paying crowds failed to cover his expenses. By 1852, he had fallen into such debt, that he was forced to sell his Gallery, and then was unable to convince the U.S. government to repurchase it, after it wound up languishing in a steam boiler factory in Philadelphia. Spent his later years making trips to Europe, the Pacific Northwest, South and Central America, recording the aboriginal peoples there, although some critics claimed he never left Europe and fudged his later portraits. Returned to the U.S. in 1870, now a widower, and was able, through his friendship with scientist Joseph Henry (Vannevar Bush) to get a studio in the tower of the Smithsonian ‘castle,’ and exhibit some of his work there. Went to live with his daughters in New Jersey, and died there, expressing his final sentiments, “What will happen to my gallery?” Seven years after his death the same year, the Smithsonian came into possession of many of his paintings. Although never regarded as anything other than a primitive, his work would prove an invaluable record of a disappearing way of life. Inner: Profound enthusiasm for nature, as well as a sense of being a recorder for a vanishing way of life. Willing to risk both limb and life for his art, feeling a compulsion to capture what he could before it all disappeared. Amateur ethnologist lifetime of artistically extolling nature and the peoples who lived in greatest harmony with it, slaking an endless thirst for movement and adventure in his pursuit of celebrating a world which would soon be no more.

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PATHWAY OF THE ARTIST AS CELEBRATED MAN-CHILD:
Storyline: The pallid decadent draws his own conclusions on the vagueness of life and the immortality of art and opts for a combination of the two, to become an alternate satyr and virgin best served by observing the antics of those around him.

Andy Warhol (Andrew Warhola) (1927-1987) - American artist and filmmaker. Outer: Parents were barely literate Czech immigrants, father worked in the coalfields. Hypersensitive as a child, he lost his skin pigment, giving him a waif-like look, but knew how to manipulate people to his own iron will in a fragile body. Shared a bed with 2 brothers, and fixated on actress Shirley Temple, wishing to be her. His sire died when he was 14, but he entered Carnegie Institute a year later on the nest egg his parents had painfully saved for him, studying painting and design. Graduated and came to New York, determined to be rich and famous, despite his extreme shyness, combining commercial and fine art from the beginning of his career there. 5’11” with blond hair and blue eyes. Lived in poverty initially, before starting as a shoe illustrator, which gave him enough money to live with his mother in a townhouse. Always viewed himself as an outsider, and was unapologetic about his same-sexuality, although was always far more the voyeur than the participant, with a dislike of being touched. Began doing paintings of commercial products and money, and created a studio called the Factory, which became a prime hang-out for extroverted eccentrics, as he assiduously began collecting people and things, playing an extremely passive, voyeuristic role, while his entourage grew ever more outrageous. Sported a blond wig, and rarely expressed himself beyond brief cliches, except to his closest friends, to whom he was quite witty. Progressed in the 1950s from commercial art to fine art in the 1960s, and international society in the 1970s and 1980s. Always starstruck, never quite seeing himself as an equal personality to those he gazed upon with affected admiration. Immortalized Campbell Soup cans and other American artifacts in his silkscreens and paintings, introducing commercial products into the grammar of modern art. Although a decided homophile, he was afraid of intimacy and totally ambivalent towards sex, allowing others around him to be the mirror for his active interior. Attracted a self-destructive drug-ingesting crowd, which he controlled by being totally uncontrolling. Came to be known by them as ‘Drella,’ a combination of Cinderella and Dracula. His voyeurism led to filmmaking, which became more structured as it evolved through the hands of other directors and writers, while his own standard instruction when he first started out, was often, “Do something.” Shot by a militant feminist in the late 1960s the week presidential aspirant Robert Kennedy was assassinated. Recovered, but was obsessed with age, illness and death following his near-brush with the latter. Became far more conservative in his choice of cohorts afterwards, and began Interview magazine, with the dictum that everyone deserved 15 minutes of fame. Started a banal daily diary in which he recorded the details of his highly active/passive social life, while creating a multi-millionare dollar empire from his various enterprises and worship of money. Shopped almost every day, filling his townhouse with flea market wares. Mellowed somewhat as he got older, became less inhibited, and began showing enthusiasm for his work again, after decades of self-professed boredom. Died of a heart attack, following a gall bladder operation, and was buried outside Pittsburgh near his parents, with people continually leaving Brillo boxes and Campbell soup cans by his grave. Inner: Practicing Roman Catholic, although lived largely without God, in the here and now. His basic philosophy was, “It really doesn’t matter.” Voyeuristic, asexual, extremely gossipy. Extraordinary superficial, concerned with the surface of things, and above all else, the power and possessions that money could buy. Felt all there was to know about him lay in the surface of his works. Creature of routine, despite his decadent reputation. Probably the most important American artist of the latter half of the 20th century, which is more an indictment of the art scene than praise of him. Carefully controlled lifetime of actualizing his thirst for riches and fame through a deliberately projected decadence, with an opening up at life’s near end to his greater human potential. Aubrey Beardsley (1872-1898) - English artist. Outer: Mother was the daughter of a retired surgeon major, who was forced to become a governess after her marriage. Father was a ne’er-do-well, who was descended from London jewelers. Brought up in the house of his mother’s father. A prodigious reader, whose mother encouraged his creativity. Good pianist, caricaturist and actor, among his other talents. Showed himself to be a strong-willed boy with a patrician arrogance, despite his physical frailty. Contracted tuberculosis when he was 6, and had a delicate constitution his entire short life, which belied his fierce ambition. An invalid from his early teens onwards, he probably had an incestuous relationship with an older sister. Became a clerk in a surveyor’s office, then worked as a drudge for an insurance company for 2 years, while his health fluctuated. Because of a lifelong interest in drawing, he began attending evening classes in art for a few months, which were his only professional instruction. Largely self-taught, he was influenced by the art of the Pre-Raphaelites, as well as the Aesthetic movement. Dubbed a great artist by Edward Burne-Jones (Cecil Beaton), after showing him his work, he began to make contacts to further his career. Commissioned to illustrate Thomas Malory’s (John Steinbeck) Le Morte d’Arthur, which led to his art editorship of a new quarterly, The Yellow Book where his curvilinear drawings with their morbid eroticism shocked his Victorian audience. Became a prime purveyor of Art Nouveau, and was also influenced by Japanese prints and French rococco. Illustrated Oscar Wilde’s (Joe Orton) Salome, which made him even more notorious. Enjoyed a ‘Beardsley boom’ in 1894-95, and became bolder in the license of his licentiousness. Dismissed from The Yellow Book, largely because of the scandals surrounding Wilde, although he himself was seemingly asexual. Lost his house and fell terminally ill, taking to his bed, although he continued to work from there. Became the principal illustrator for a magazine he helped found, Savoy, and also wrote some poetry. After being received into the Roman Catholic Church, he went to live in France, where he died of tuberculosis at the age of 25, with his mother by his side. Ordered his obscene drawings destroyed while he was on his death bed, but they were not. Inner: Deliciously decadent despite a lack of interest in sex, with the longtime knowledge he would die young. Feverish worker, realizing he had little time. Recognized the connection twixt scandal, publicity and art and exploited it to the max. Religious and amoral, as well as a poseur. Nose-thumbing lifetime of taking great delight in gaining fame through offending public morals, while dealing constantly with his own fragile mortality. Jean-Honore Fragonard (1732-1806) - French painter. Outer: Son of a haberdasher’s assistant. Brought to Paris as a child, and later apprenticed to a lawyer, who noticed the boy’s ability in art. Studied briefly under Jean Chardin (Paul Cezanne), as well as Francois Boucher (Yves St. Laurent). Won the Prix de Rome in 1752, but when he went to Italy to study, he was so overwhelmed by Michelangelo (Henri Matisse) and Raphael (Pablo Picasso), he couldn’t draw a line for months. Had a great need to measure himself against them, although he painted in a charmingly superficial style. Influenced by 17th century decorative art, he took a prolonged tour of Italy with a fellow artist. Returned to Paris, but never hobnobbed to gain favor with the Academy, although he was admitted as an associate of that institution. Didn’t solicit royal commissions, instead worked for private collectors. Married Marie Gerard in his mid-30s, one son who became a painter, but later on fell in love with his wife’s 14 year old sister, Marguerite, who became both his pupil and assistant. Less concerned with accurate representation than with rich sensuous feeling. Most of his art was lush and gay, with an extremely bright palette and sure quick strokes. More into impressions than exact likenesses. Painted in the manner of Jean Watteau (Louis Malle), in his grand pastoral scenes. Turned to more neoclassical subjects from his basic rococco style, but by the time of the French Revolution, he was too identified with the tastes of the rich to remain politically correct. Forced to flee Paris, he lived in poverty in Grasse, finally returning to Paris after the revolution, when he was made an official of the new national museum of the Louvre. Stopped painting entirely, already an anachronism of the ancient regime and died in total obscurity. Inner: Modest, cheerful, somewhat insecure. Uninterested in insight or serious observation. Surface-skimming lifetime of transposing the sensual delights of the eye onto canvas, and then outliving his own artistic usefulness. Piero di Cosimo (Piero di Lorenzo) (1462-1522) - Italian artist. Son of a goldsmith. Studied under a painter, Cosimo Rosselli, from whom he took his name. Affected by a variety of artists, serially adopting their styles and subject matter, to his own love of the natural world, and its unnatural, magical outgrowths. Accompanied his master to Rome in 1482, and assisted him on frescoes in the Sistine Chapel, taking his style from various sources, before evolving a unique, eccentric one of his own, featuring romantic fantasies from the world of mythology. Probably stayed with Rosselli until his death in 1506. His mature works were anti-classical, pagan and highly imaginative, with hybrids of humans and animals engaged in revels or fighting, and nude figures featured prominently. Also played with the myths of the early development of humanity. Mastered the new technique of oil painting, and was noted as a talented portraitist. Under the influence of Leonardo da Vinci (Gordon Parks), he eventually worked in a more classical mode, attuning himself to Renaissance ideals and lush coloring, although continued to retain his unique sense of the bizarre. Spent the last part of his life in gloomy retirement, thanks to the preaching of the martyr Savonarola (Martin Heidigger), which may have made him so worried about his eternal soul, as to renounce and deny his earlier irreligious images, and instead adopt the latter’s religious ardor. Died of the plague, and though 1521 is given in later sources, contemporary documents list his death year as 1522. Inner: Highly eccentric and misanthropic. Held great phobias about fire and lightning. Subsisted for a long time on a diet of boiled eggs. Belonged to no set school of painting, borrowing from everyone he admired. Said he often was inspired by stains on walls, and painted only to please himself, a highly unusual practice at the time. Polarized lifetime of establishing his unique social, antisocial persona on the western art scene, while giving life to his deep-seated, but thoroughly decadent imagination, through his art but not his existence.

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PATHWAY OF THE ARTIST AS TEACHER AND TASTE-MAKER:
Storyline: The social butterfly flits from one epoch to the next, pollinating his times with his tastes and skills at drawing the best and brightest of his fellow culterati.

cTony Richardson (Cecil Antonio Richardson) (1928-1991) - Outer: Son of a pharmacist. Attended a Methodist-tinged boarding school. Felt bottled up in early life, but later lived as if he were constantly on the run to compensate for it. Despised authority from childhood on. 6’2”. Graduated from Wadham College, Oxford, where he was liberated from his upbringing, while heading both of Oxford’s dramatic clubs. Became a director for the BBC, and 2 years later, joined the British Stage Company as artistic director, rising to full director within a year, and becoming a golden boy of the British theater. His imaginative stage direction led his theater to the forefront of the British stage, with a combination of classics and experimental plays. Also had several Broadway successes. Began his film career with a documentary short on a jazz club in 1955, Momma Don’t Allow, and at the same time, founded the English Stage company, at Chelsea’s Royal Court Theater, with several others, dedicated to producing new works, including the sensational debut 3 years later, of his roommate, John Osborne’s “Look Back in Anger.” Continued directing regularly at the Chelsea Court until 1964. Also formed a film company, Woodfall Films, with Osborne and producer Harry Saltzman in 1958, in order to transliterate their company’s plays into film. Went on to enjoy an international reputation as a film director, with his most notable hit, the roisterous Tom Jones in 1963, which won Academy Rewards for Best Picture and Best Director. Had far more difficulty with his Hollywood productions, as well as international projects, thanks to a far greater feel for British culture and British works, and a later life willingness to accept mediocre efforts as acceptable. In his mid-30s, he married actress Vanessa Redgrave in what would prove to be an extremely tempestuous union, with broken furniture testament to their wild, uninhibited lovemaking. Both daughters, Natasha and Joely, became actresses. His bisexuality would be so compulsive that his wife once caught him in bed with her father, actor Michael Redgrave. Fell madly in love with French actress Jeanne Moreau, which ended his marriage after five years, only to be rejected by her for someone much younger, much to his howling and jealous displeasure. His later works did not match his earlier output, thanks to a frenetic lifestyle and too much emphasis on socializing and not enough on continuing to develop his art, despite hints of his old form in his last trio of films, all shot in America, The Border, Hotel New Hampshire and Blue Sky. Died of a neurological infection from AIDS in a Los Angeles hospital. His autobiography, “The Long Distance Runner,” was published posthumously in 1993, after his daughters discovered it on the day of his death. Inner: Arrogant, confident, charming, continually on the move. Extremely social, and a leading cultural figure and tastemaker of his time. Busy bee lifetime of overextending his ambitions on his ongoing quest for social and cultural power and position, which wound up negating his ultimate output. cNadar (Gaspard-Felix Tournachon) (1820-1910) - French photographer, writer and caricaturist. Outer: Born out of wedlock to a freethinking printer who later married his mother. Studied medicine, but after his father’s bankruptcy when he was 18, he was forced to earn his own livelihood. Settled in Paris in 1842 and began his career as newspaper journalist, writing under the name ‘Nadar.’ Fell in with a bohemian circle, started a short-lived weekly, then sold caricatures to humor magazines. In 1854, he married Ernestine-Constance Lefèvre, who would serve as a model in some of his photographs. One son from the union. His republican sympathies led him to march to free Warsaw, for which he was arrested and detained in a work camp, before briefly working as a secret agent. Toiled for liberal editor Charles Philipon (Garry Trudeau), then opened up a portrait studio with his brother, whom he later sued. Also fought a duel with a newspaper editor over an offensive article. Thanks to a combination of his superb skill at portraiture and an equal gift for salesmanship, he was a huge success. Opened an even larger studio, decorated in red and looking like the tent of a middle-eastern potentate, which became a gathering point for Parisian intelligentsia. Made the world’s first aerial photograph from a balloon in 1858, and became an enthusiastic balloonist until an injury to both him and his wife in an aerial accident. Allowed the impressionists to hold their first exhibit in his gallery in 1874, and delighted in the notoriety they garnered for him. One of the earliest photographers to use electric lights, he also wrote novels, essays, satires and autobiographical works. Financial ruin caused him to abandon his lush studio, and become more commercial towards life’s end. His son took over the major studio, and he opened another in Marseilles, where he ended his career. Inner: Extremely innovative, while his social graces brought out the best in people. Always on the move, seeing life as a constant social and self-expressive challenge. Busy bee lifetime of being at the center of the cultural life of Paris, and exploring a variety of avenues of creative expression, while overextending himself financially in an attempt at keep up with his never-ending interests. cJoshua Reynolds (1723-1792) - English artist. Outer: Son of a clergyman and schoolmaster. Well-read from childhood on, with a lifelong interest in literature. Decided to become a painter, and was apprenticed to a portraitist for 4 years. Came back home, but had not quite found his style, and returned to London to study the old masters. Returned home again, then sailed to Minorca, where he fell off a horse and permanently scarred his lip. Went on to Rome, where he spent 2 years, studying the works of the High Renaissance, before traveling around Italy in his late 20s, with the art of Venice having a particularly lasting effect on him. Remained unmarried his entire life, preferring friendships to intimacy. Ambitious, and hard-working, with a very strong career focus. Settled in London in 1752, and became an extremely successful portrait painter there, with a large studio and many assistants. A central figure in the cultural life of that city, he hobbed and nobbed with society and his fellow artists and literati, preferring the company of the latter. As he matured, however, his style became more classical and less spontaneous, losing much of its original charm. Although never a favorite of the king, he was made the first president of the Royal Academy at its initial formation in 1768, setting its future course with his policies and his annual Discourses on the nature and problems of painting, which remain a singular achievement in art criticism. Also an adept teacher. Visited Holland and Flanders, and was deeply impressed with the works of Peter Paul Rubens (Louis Malle), whose rich textures affected his own work. Fell prey to deafness, which may have heightened his other senses, and was always an extremely perceptive portraitist and his/storical painter, doing some 2000 in his life. Suffered a paralytic stroke towards the end of his life, as well as failing eyesight. Inner: Perceptive, analytic, with a wide range of knowledge and equal ability at articulating it. Affable, courteous and urbane, the very model of an English gentleman artist, with no underlying negative characteristics. Well-balanced lifetime of serving as teacher and taste-maker to a nation, thanks to his supreme social skills, which far outweighed his own limitations as an artist. cSir Henry Wotton (1568-1639) - English poet, diplomat and taste-maker. Outer: From a wealthy family of courtier-diplomats. Prepared for a diplomatic career through intensive study and travel, always seeking out foreign teachers, even while at New Queen’s College, Oxford. Entered Middle Temple in 1595, and the same year became secretary to the earl of Essex (Errol Flynn), who used him to gain foreign intelligence. Studied in Germany and traveled widely, including Venice, and that city would become his cultural home for the heart of his life. Never married. After the fall of his patron in 1601, he traveled again in self-imposed exile, and first met James I (Kenneth Tynan) when he warned him of an assassination plot, 2 years prior to his assuming the throne of England. Knighted in 1604, he served intermittently as ambassador to Venice over the next 2 decades on 3 separate occasions, as a reward for his service. Proved to be an effective ambassador during a volatile time, maintaining Protestant interests in the conflict twixt the papacy and Venice. Nurtured a movement for religious reform there, and encouraged French, German and English Protestants to collaborate on a secret church. Also haunted the churches and art studios of Venice, buying books, pictures and glass, while dreaming of a united Europe, with himself as one of its lines of communication, but was forced to abandon his embassy, instead, when larger forces conspired against his wishes. Twice elected to Parliament, in 1614 and 1625, and also went on several other diplomatic missions for the crown. Became provost of Eton in 1624, and 3 years later took holy orders. An enthusiastic teacher, taking a particular interest in his students. Published poetry, but is best remembered for his The Elements of Architecture, in which he lucidly expressed his sophisticated, aesthetic views, which were his lasting contribution to English letters. Died of a feverish distemper. Inner: Highly social and a skilled communicator, using language as his medium, and his practiced eye as his brush. Amiable dilettante, avid angler. Privileged lifetime in service of his own political and aesthetic ambitions, with the latter prevailing, giving him foundation and motivation to continue on in that specific mode in later lives in this series.

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PATHWAY OF THE ARTIST AS SCENIC APOSTLE OF LIGHT AND DARK:
Storyline: The luminous landscapist turns inward to limn his ongoing fascination with moral territory, as he slowly moves away from the steely maleness of his past, while still maintaining his unflinching ability to carve memorable canvases from the violence inherent in us all.

David Fincher (David Andrew Leo Fincher) (1962) - American filmmaker. Outer: Of British, Scottish, German, Swiss-German, Welsh and French descent on his paternal side and German descent on his maternal. Father was a bureau chief and writer for “Life” magazine. Raised in Marin County, California, where he was a neighbor of filmmaker George Lucas, before spending his teens in Ashland, Oregon. Began making films at the age of 8 with an 8-mm camera, after seeing Butch Cassidy and the Sundance Kid. Continually creating as a youth, whether it was tape recording, sculpting or taking snapshots. 6’, with dark brown eyes. After graduating high school, he opted for practical experience rather than film school, and ultimately wound up at George Lucas’s Industrial Light and Magic, working there from 1980 to 1984, before directing his first documentary, The Beat of the Living Drum, which got him work in TV commercials, beginning with the American Cancer society, in an unconscious desire to make amends for his previous go-round’s exit. Married Donya Fiorentino, later divorced, one child from the union. Hooked up afterwards with producer Cean Chaffin. Continued in the commercial vein, until joining Propaganda Films in order to direct music videos, in preparation for his desired career of doing features. Worked with major artists on big budget video fare, while continuing to shoot commercials, until he was given the opportunity to do Aliens 3 in 1992, in what would prove to be the largest budget ever given a first time director. The shoot, however, proved to be as alienating as the title, thanks to difficulties with 20th century Fox, and the ineptitude of their production people. Unhappy with the result, he retreated back to what he knew best, winning a Grammy in 1994 for a Rolling Stones video, while wondering if he would ever get another shot at features. Did so in 1995, with Se7en, a grim serial killer drama starring Brad Pitt, with whom he would maintain a close friendship. The film grossed over $100 million, and he was suddenly a hot young director. His next two films, The Game, and Fight Club would continue to explore the dark and violent urban landscape, with the latter uniting him with his two crypto-brothers from his Mount life. Hit a career plateau in 2007 with Zodiac, a look at the infamous and never caught Zodiac serial killer of the 1960s in Northern California, in an unconventional take on the genre, focusing on atmospherics and personality rather than procedure, in his ongoing remapping of the alien criminal mind and heart. Won a directorial Emmy in 2013 for his contribution to “House of Cards,” a political drama mini-series. Has a net worth of $65 million. Inner: Anti-authoritarian, with a strong sense of self. Overlapping lifetime of returning in time to become an exact contemporary of his earlier brothers, while switching his fascination with outer landscapes, to those of the interior criminal mind, in what looks to be an equally spectacular career of highly personalized canvases dedicated to mapping the virulent male psyche. John Ford (Sean Aloysius O’Feeney) (1895-1973) - American film director. Outer: 7th and second youngest child of Irish immigrants. Father was a seaman turned saloon-keeper, with a flair for story/telling, and older brother was actor/director Francis Ford (Edward Norton). Loved the sea, and worked on a freighter during summer vacation from high school. 6’. After graduating, he went to Hollywood to join his brother, and like him changed his last name to Ford, and his first name to Jack. A decade later he would become John. Initially a set laborer and assistant propman, and on occasion, a stuntman, filling in for his lookalike brother, who was already an established star, as a double. By the his early 20s, he became an assistant director and featured player in his brother’s films. 2 years later, he directed his first movie, before doing 30 more, mostly Westerns for Universal. In 1920, he married Mary McBride Smith, a Protestant woman of Scotch-Irish ancestry who was the daughter of a Wall Street broker, 2 children, daughter became a film editor. Never much of a family man, preferring the company of drinking companions. Also had a longtime platonic relationship with actress Katherine Hepburn, and almost left his family for her. Although his early work is noted for his clean visual style, his career did not really take off until the advent of sound, when he became the quintessential director of American westerns, with a particularly strong feel for the American frontier and the individuals who inhabited it. Also worked in numerous other genres, but is most closely associated with the American west, whose monumental landscapes he faithfully captured. Often worked with the same actors, most notably John Wayne, and, in a sense, formed a stock company, exploring the same themes of communal effort and healthy human spirit conquering the obstacles of darkness, often as not Amerindians or fallen white men. Unable to portray even-keeled relationships between his heroes and heroines, men were usually thick-headed, and women were exaggerated madonnas or whores. Had a particular affinity for Monument Valley on the Arizona/Utah border, which became known as “Ford country.” During WW II, he was appointed chief of the Field Photographic Branch of the OSS and was ultimately promoted to rear admiral, while directing a number of propaganda documentaries. Although he espoused liberal sentiments early on, he wound up a contradictory conservative. Won 4 directorial Academy Awards, in 1935 for the Irish drama The Informer, in 1940 for the Depression saga The Grapes of Wrath, in 1941 for the Welsh melodrama How Green Was My Valley, and in 1952 for the Irish/American tale The Quiet Man, as well as 2 more for his documentary reportage. Dictatorial to the point of sadism on his sets, bringing several macho stars to tears, as well as engaging in a fist-fight with actor Henry Fonda. Had little patience for collaborators or anyone interfering with his work. Alcoholic and given to binges, he was also capable of carrying petty grudges for decades. Framed most of his movies inside his head. Suffered from an eye ailment, and appeared in public wearing an eye patch. His last years were plagued by failing health and a broken hip. In 1973, he became the first recipient of the American Film Institute’s Lifetime Achievement Award. Died of cancer. Did 50 years of continually high quality work, as both a fine visual artist and a master storyteller. Inner: Strong Catholic sensibilities that often cast pagan Indians as barbaric obstacles to the Christian manifest destiny of white America, although capable of telling sympathetic stories of the former, as in Cheyenne Autumn. Moralist and champion of perservering humanity conquering vast stretches of nature. Meticulous, tough, tyrannical taskmaster, with a need for control and obedience. Penchant for secrecy, with an obsession with keeping his inner life hidden. Built Ford tough lifetime of celebrating his special vision on film, of light continually prevailing over darkness in an extraordinary half-century career that would indelibly mark him as a master of the first century of the movies, despite his considerable failings as a human being. William Sidney Mount (1807-1868) - American artist, musician and inventor. Outer: Father was a farmer, who died at the age of 35. One of 5 brothers, 3 of whom became artists, and 3 sisters, one of whom, Ruth (Jennifer Love Hewitt), also became an artist. Younger brother of Henry S. Mount (Brad Pitt), and Shepard Mount (Edward Norton). Grew up on Long Island, and was 7 when his father died. Raised by his mother at his maternal grandparents’ house. At 17, he moved to NYC to become an apprentice to his brother Henry as a sign painter. Also had an eccentric uncle who was a musician. Learned the fiddle from him, and did a little composing, but his first love was art. Studied briefly at the National Academy of Design in 1826 in NYC, where he was introduced to European methods, but poor health forced him to return to Long Island the following year. Learned by studying prints and descriptions of them, as well as writings on art, rather than direct contact with paintings, allowing him to create his own vision from direct experience, rather than by imitating others. Several years later, he opened a portrait studio. Strongly affected by English artist William Hogarth (Robert Altman), as well as Dutch interiors. Never married, nor did he ever travel to Europe, preferring to experience its artistic heritage second-hand. An inveterate tinkerer, he designed and built small sailing craft, and a horse-drawn studio on wheels. Became an associate member of the Academy 2 years later and a full member the following year. From the age of 30, he focused on rural Long Island life, and became well-known for his genre paintings. An avid collector of writings on art, he was able to put together a sizable library, which brought the English critic John Ruskin (Kenneth Tynan) to his attention, and his insights significantly influenced his later work. Often repeated himself, exploring the same things over and over again. A songsmith and musician, he invented a special violin for raucous dances, and composed several songs. Constructed a portable studio on wheels, and was one of the few who painted African-Americans as they were, rather than caricatures. Because of declining health, he painted very little in the last decade of his life. Died of tuberculosis, 4 months after his older brother. Extremely skilled at capturing light and atmosphere, an exemplar of the school of painting known as Luminism. Inner: Ardent democrat and anti-abolitionist, although he was the first American artist to dignify African-American subjects. Frank, cheerful and manly. Outdoorsy, liked to fish, sail and hunt. A devotee of spiritualism, despite his decidedly realistic genre paintings. Felt that Rembrandt van Rijn (Alfonso Cuaron), was helping him from the other side. Identified very strongly with the American landscape, refusing to go to Europe for fear he would lose his sense of nationality. Enjoyed playing his flute or fiddle in taverns as a means of relaxing in the evenings. Compartmentalized lifetime of calmly and clearly recording the observable world around him, while keeping his strong social beliefs and morality separated from his art. Adrian Brouwer (c1605-1638) - Dutch artist. Outer: Son of a tapestry designer who probably trained him. Left home in his teens, and eventually became a pupil and assistant to artist Frans Hals, before going on to Antwerp. Imprisoned there for several months by Spanish rulers as a spy. Led a highly disorderly life, as reflected in his paintings, drinking, carousing and eventually wearing himself out in his early 30s. Painted coarse scenes of peasant life, and tavern society, which were largely caricature when he began, although his art matured and he became quite skilled at landscape before he died. Enjoyed a good counterpoint of rough hewn subject matter executed in relatively delicate style on small canvases. Inner: Party animal, with the ability to totally immerse himself in his subject matter, and yet render it with painterly skill. Flickering lifetime of lustily burning both ends of the candle, and recording it with delicacy and a fine eye for tone and detail.

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PATHWAY OF THE ARTIST AS CHARACTER IN SEARCH OF HIMSELF:
Storyline: The chameleonic perfectionist finally finds his true metier as an artist through an obsessive desire for self-discovery via his portrayals, while keeping his real self hidden from the prying eye of fame and fortune.

Edward Norton (Edward Harrison Norton) 1969) - American actor, director and activist. Outer: Of British descent, with small amounts of German, Scots-Irish, and Swiss-German ancestry.: Grand/father James Rouse created the country’s first shopping mall. Father was an environmental lawyer and English teacher. Grew up in his grandfather’s planned community, and became obsessed with acting from the age of 5. Graduated with a his/story degree from Yale in 1991, while also rowing on the crew team, then worked part time for a charitable foundation his grandparents started, while struggling to find his niche in NYC’s theater world. 6’1”, with hazel eyes and dark brown hair, as well as physically plastic and malleable, so as to give him a wide range of people he can play. Made a noticeable screen debut as a dual-faced murderer in Primal Fear in 1996, then cemented his name as an actor extraordinaire in American X as a self-redeeming skinhead, which he helped recut amidst much controversy. Quickly developed the reputation for being a difficult demanding perfectionist by tinkering with scripts, sometimes rewriting them wholesale, and challenging directors, in order to bring to life his characterizations, which have been markedly different from role to role. Equally imaginative in auditions, which landed him his original roles. Evasive, albeit highly voluble in interviews, much preferring his acting to do the real talking for him. Made his directing debut in 2000 with Keep the Faith, a lightweight comedy, in order to see the process from the other side of the lens. Forced into doing another lightweight film at below fee, The Italian Job, because of contract obligations, which angered him greatly, although he attacked his part with his usual high professionalism. Did Fight Club with Brad Pitt, in which they played two elements of the same character, in an unconscious linking of their brotherhood in the past. The film was also directed by David Fincher, the third of the hidden Mount brothers, in a surreal reunion of their longtime family. Continues to appear in provocative, well-wrought work, as an artistic thorn in the side of complacency. Secretly married Canadian film producer Shauna Robertson in 2012, one son from the union. An environmental and social activist, with a focus on the dispossessed. Has a net worth of $70 million. Inner: Highly disciplined and controlling, with the view that conflict is an inherent element in filmmaking. Carefully selects his projects, as well as the directors he works with, in his ongoing search for self through character. Likes to play dualistic roles. Actualized lifetime of finally finding himself as an artist, by getting out of the shadow of his longtime more talented sibling in order to rediscover his own considerable abilities. Francis Ford (Francis O’Feeney) (1882-1953) - American actor, screenwriter and director. Outer: Son of Irish immigrants, father was a saloon-keeper. Second oldest of seven children, with three brothers and three sisters as well as younger brother of director John Ford (David Fincher). 6’, rugged and athletic. Educated at the Univ. of Maine. Began his career as an actor with various stock companies, and occasionally appeared on Broadway, where he changed his last name to Ford. Married Elsie Van Name, a screenwriter and actress, at the turn of the century, 2 sons from the union, including director Philip Ford. Later divorced and his wife died in 1934. Entered films at their onset in 1907 with the Edison company, and later worked for Vitagraph and finally went to Universal where he became a director of shorts and action serials in the early 1910s, while also starring in many of them. Some question as to whether he married actress Grace Cunard (Jennifer Love Hewitt), who was his co-writer and the first “serial queen.” Duo had a son who became a low-budget film director, as well as worked in TV. By the mid-decade they were Hollywood’s most popular action stars, although after they separated in 1918, both their careers waned, and with the advent of sound, he became solely a character actor. Gave his brother his first opportunity and served as his mentor. In the latter part of his career, the two reversed roles, and he appeared in many of his sibling’s movies, usually as a grizzled old-timer. Married Mary Armstrong in 1935. Continued working throughout his life, eventually doing small TV roles and died after a long illness. Inner: Brief run lifetime of artistically evolving with early Hollywood, only to have the industry pass him by. Shepard Mount (1804-1868) - American artist. Outer: Father was a farmer. One of 5 brothers, 3 of whom, including William (David Fincher) and Henry (Brad Pitt), became artists, and 3 sisters, one of whom, Ruth (Jennifer Love Hewitt), also became an artist. His sire died when he was 10 and he was raised at his maternal grandparents’ home by his mother. Studied at the National Academy of Design, and began his career painting carriages. Opened a studio with William in 1829 in NYC, then became an itinerant portrait painter, traveling up and down the East Coast. Married, 4 children. His daughter, who died from TB in 1861, was his favorite model. During the Civil War, his oldest son was arrested as a spy. Close with William his entire life, and the two died within four months of one another. Inner: Wandering artist lifetime of maintaining close familial ties before repeating the process the next time around in a far more public milieu.

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PATHWAY OF THE PERFORMER AS ARTIST TURNED ICON:
Storyline: The box office bellwether trades in his handsome plainspoken honesty for a more compact and versatile version of himself, to enjoy a dual run as one of America’s favorite silver screen projections of beaux masculinity.

Brad Pitt (William Bradley Pitt) (1963) - American actor and amateur architect.. Outer: Of British descent, with some Scots-Irish along with small amounts of German, Scottish, Welsh, Irish, Swedish, Dutch, and French ancestry. Father owned a trucking company, mother was a family counselor. Grew up in a loving Southern Baptist household, oldest of 3, with a younger brother and sister. A good athlete in high school, he found himself at odds with his fundamentalist upbringing, and in the process, rediscovered himself. Studied journalism at the Univ. of Missouri, with an eye towards becoming an advertising art director. Dropped out 2 credits short of a degree, but told his parents he had graduated, and headed out to Hollywood to secretly become an actor, because of a love of movies. Did odd jobs, including driving strippers to deliver strip-o-grams. 6’, 155 lbs., slim, sculpted physique and lithe with blue eyes and blond hair. Signed with an agent and got his first work on TV, appeared on soap operas, then starred in an extremely short-lived TV series, “Glory Days.” Did more TV, then began appearing in movies in his mid-20s, beginning with an uncredited bit in 1987 in No Man’s Land. Drew notice with a brief part in the macha film,Thelma and Louise, and began getting bigger roles, including a key turn in Interview With a Vampire. Won a Golden Globe Award for his over-the-top portrayal of an unbalanced revolutionary in Twelve Monkeys, and soon found himself a major young star, and the object of adoring fans, with the power to choose the roles best suited for his growth and ongoing development as an actor. Creditable accents and portrayals have underscored his classic Euro-American good looks. A decorator and designer of his own living abodes, including a castle in Ireland, with a well-honed artistic eye for both his career and his surroundings. In 1999, he had a crypto-reunion of sorts in Fight Club, in which he appeared as an aspect of the character played by Edward Norton, a former life brother of his. The film was shot by David Fincher, completing the secret linkage of the trio’s life together as the artistic Mount brothers of the century past. Continued working with Fincher in his visually imaginative pieces, including The Curious Case of Benjamin Button, in which he aged backwards. Linked romantically with several screen personalities, including a high profile liaison with actress Gwyneth Paltrow, followed by TV sitcom star Jennifer Aniston, whom he married in 2000, to become one of Hollywood’s pre-eminent couples. A social activist, he became a vocal supporter of The ONE Campaign against global poverty and disease. Enjoyed his first box office bonanza in 2004, in the sword-and-sandal epic, Troy, which his production company produced, despite its under-performance. In 2005, he shocked Hollywood when he separated from Aniston, in a disagreement over his wanting children, and then hooked up with actress Angelina Jolie, while appearing with her in Mr. and Mrs. Smith to become part of the medi-dubbed duo, Brangelina. Co-adopted her children, and then publicly confirmed their relationship, with her subsequent pregnancy by him. Their daughter’s birthday in Namibia was made into a national holiday. Moved with his family to New Orleans in 2007 to escape media fascination with them, and to raise public consciousness about the city’s ongoing post-Hurricane Katrina problems, contributing $5 million towards environmentally conscious housing with his Make It Right Foundation. Also designed 5 energy-efficient homes for the city, and has taken an active role in their construction. Along with the other half of Brangelina, maintains domiciles in a variety of countries, including France. Continues his interest in architectural design, while fathering a pair of twins, a boy and a girl, to add to his ever-growing family with Jolie. Their extreme high profile, along with their highly public tiffs, as well as his ongoing friendship with Aniston, continually causes media speculation about their imminent break-up, although they continue to defy those who wish them ill, in their mutual need for continuous drama and reconciliation. Completely supportive of his wife’s decision to have a double mastectomy in 2013, as a preventative measure against the overwhelming odds of breast cancer, calling her heroic. The duo were finally officially wed the following year at their French mansion, surrounded by family and friends, and devoid of paparazzi, thanks to keeping the nuptials secret until they happened. Co-starred in his wife’s third directorial 2015 effort, By The Sea, whose tepid reception may have spelled the end of vanity film projects. In the fall of 2016, Brangelina came to an abrupt end, when his spouse filed for divorce, citing anger issues, marijuana abuse and parenting style as reason for their irreconcilable differences. In return, he blamed her coven of friends for brainwashing her.. Subsequently given therapeutic visitation rights, while his post-split-up WW II drama, Allied, received poor reviews and mediocre box office, giving little indication of what his subsequent career will hold. Ultimately agreed to keep their divorce proceedings private for the sake of the children. Later admitted there wasn’t a day since he got out of college when he wasn’t drinking or stoned, and was now sober. Continued his assaying of military figures in the wake of his break-up and doing battle with himself, playing a well-known contemporary general in Netflix’s “War Machine.” Has a net worth of $240 million. Inner: Down-to-Earth, with a desire to be a good, if not great, actor, and willing to take chances with off-beat roles. Admits to a sense of pervasive sadness throughout his life, which makes him sensitive to the plight of others, and gives him a great desire to improve the world. Confirmed atheist in reaction to his fundamentalist upbringing. Retooled lifetime of focusing on his craft, after earlier learning the ins and outs of Hollywood via a long-lived career as a star, and then using his celebrity to enhance the lives of others. Gary Cooper (Frank James Cooper) (1901-1961) - American actor. Outer: Parents were British immigrants, who owned a large Montana cattle ranch. Father became a Montana State supreme court justice. Taken to England at 8 with his family, where he spent 3 years, feeling very much the outsider. Returned to the U.S., and was injured in an auto accident at 13, forcing him to leave school and recover on his father’s ranch. Attended both an agricultural school in Montana and Grinnell College in Iowa, graduating from the latter. 6’2”, 165 lbs., with light brown hair and blue eyes and strikingly handsome. Reputedly had a large penis and a legendary sexuality. Toiled as a guide in Yellowstone Park while trying to become a cartoonist, in the hopes of working for a Los Angeles paper. When he got to L.A., he became a door-to-door salesman, instead, for theater curtain ads. In his mid-20s, he began playing cowboy extras in westerns, and within a short time, scored his breakthrough as a 2nd lead replacement in The Winning of Barbara Worth . Built a career with a minimum of expression and words at his behest, but able to convey an innate likeability with his winning smile. Soon became a Hollywood mainstay, as a man of action rather than dialogue. Had expatriate socialite Dorothy Di Frasso (Linda Fiiorentino) serve as his social mentor, while in Italy, learning the graces of being a sophisticated escort, while accompanying her on some of her gadabout travels. Involved with a string of screen personalities of the time, and became known for pursuing any actress within reach, although he eventually married Sandra Shaw, a socialite and niece of an art director, at 33, who had briefly been an actress. One daughter from the union. Developed a lasting screen persona of a strong and honest man. Never played a dishonest one, while only once assaying a villain. . . Equally and laconically adept at adventure, romance and comedy, his career was mostly associated with modestly heroic roles. Won his first Academy Reward for Best Actor for the title role of Sergeant York in 1941 and his 2nd in 1952 for his most memorable part as the lone, unsupported sheriff in High Noon. His marriage foundered in his late 40s, when he became involved with actress Patricia Neal, during the filming of The Fountainhead, and his health began to fail after a series of operations for hernias and ulcers. Unable, however, to leave his wife for Neal and she eventually married writer Roald Dahl. Finally returned to his spouse and converted to her Roman Catholicism. Died from cancer a month after he received a special Academy Reward for being who he was. Felt he was just beginning to understand acting at the end of his career, although the public would never allow him to be villainous on screen. Inner: Modest, laconic, albeit extremely vulnerable wherever attractive women were concerned. Always had a taste for high society, and the trappings of wealth. Preferred keeping his passion to his private life rather than exposed in his performances. Had a host of lovers, including many who’s-who Hollywood luminaries, while calling them all ‘babe’ so as not to confuse them. Genuine Hollywood luminary lifetime of turning himself into a living cartoon of rugged, natural individualism on the screen, while being considerably weaker in the flesh, so that by the end of his career, his internal processes dominated and overwhelmed him with dis-ease and ill health. Henry Smith Mount (1802-1841) - American artist. Outer: Father was a farmer who died prematurely at the age of 35, when his son was 12. One of 4 artist siblings, with 5 brothers, including William (David Fincher) and Shepard (Edward Norton). His last brother, Robert, became a musician and dance teacher. Also had 3 sisters, including Ruth (Jennifer Love Hewitt), a watercolorist. Studied sign and ornamental painting and by 1824, had his own sign-painting business in NYC, with William as his assistant. Saw his brother’s artistic talents, and encouraged him to be a fine artist. Like his siblings, he also turned to fine arts, and focused on still lives for the latter part of his career. Taught at the National Academy of Design, and in 1828, he was elected an associate of that institution. Maintained a large homestead on Long Island, in which his brother kept a bedroom and a studio. Married, with 6 children, including Evelina Mount, who became an artist. Only achieved a modest reputation, and faded out relatively early to try his hand again with himself as his most effective canvas for projecting male beauty. Inner: Modest lifetime of taking a limited talent as far as he could, before finding a far more direct mode of expression, acting, in which to give voice to his creativity.

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PATHWAY OF THE PERFORMER AS SECOND TIER SERIAL QUEEN:
Storyline: The cliff-hanging heroine tries to parlay a sense of sweetness and light with screaming melodrama in order to rise to the top tier of the Hollywood food chain, and exhibit the staying power she lacked in her previous go-round in this series.

gJennifer Love Hewitt (Love Hewitt) (1979) - American actress. Outer: Of Italian and French heritage. Mother was a speech pathologist, father was a medical technician, who divorced when their daughter was a baby. Along with an older brother, she was raised by the former, to whom she remains close. Stagestruck from the age of 3, she won a childhood beauty contest, and after multi-dance lessons, toured with a Texas-based show that performed in Europe and the Soviet Union. After her mother’s 2nd divorce, the family moved to Los Angeles, where she made her TV debut in 1989 in a Disney show, “Kids, Incorporated.” Originally named Love Hewitt, after a family friend, the studio decided to soften her appellation with an added extra first name. 5’3”, with dark brown hair and eyes. Made her film debut in 1992 in a straight-to-video, called Munchie. Had her breakthrough with a five year stint on TV’s “Party of Five,” beginning in 1995, as a perky teenager, although wasn’t able to anchor a spin-off, “Time of Your Life,” into anything solid. Made a successful transition to the silver screen in 1997 in I Know What You Did Last Summer, unconsciously playing off her serial queen-in-danger stance of her previous go-round in this series, then showed her acting licks in a TV biopic by playing the eternal gamin, Audrey Hepburn, an early idol of hers. Formed her own production company, LoveSpell Entertainment, and has also released several albums. In 2005, she returned to TV with the hit “Ghost Whisperer,” as both star and producer, as someone with the ability to see and hear the wandering dead. Coincidentally, she lived in a house once owned by Lon Chaney (Dustin Hoffman), and it was discovered, the ghosts of its previous owner still dwelt there and were rattling around. No ghost whisperer she, she had an expert talk to them, and moved out afterwards. Has been serially involved with several actors, including her “GW” costar, Jamie Kennedy, while remaining in need of a relationship whisperer. After six seasons of “GW” she returned to series TV on cable in 2012 with “The Client List,” for one season season, playing a single mother working in a massage parlor to make ends meet in a risqué departure from earlier small screen fare. Secretly married actor Brian Hallisay in 2013, daughter and son from the union. Stayed with small screen series in the teens, with a single season appearance in “Criminal Minds.” Has a net worth of $18 million. Inner: Down-to-Earth, very career conscious. Great desire to have a career like Meg Ryan and Julia Roberts, unconsciously pitting herself against two former life rivals in the serial queen sweepstakes. Take two lifetime of shooting for longevity from a relatively young base in a notoriously fickle industry, by establishing herself as a far more all-around performer, with an equal interest in the business side of show business. gGrace Cunard (Harriet Mildred Jeffries) (1894-1967) - American actress. Outer: American actress, director and screenwriter. Outer: Studio publicity had her born in Paris, although she was Ohio bred. Sister Mina also became an actress. Began her stage career at 13 in “Dora Thorne,” then toured with Eddie Foy (Elliot Gould), before entering films in their infancy in 1910. 5’4” and buxom. Chose her name from the 2 most famous ocean liner companies of the period. Connected up with actor/director Francis Ford (Edward Norton) in 1913, and went with him to Universal Studios, where she became the lot’s serial queen, beginning with Lucille Love, Girl of Mystery. Collaborated with Ford on both the plots and direction of his films, so that by mid-decade they were one of Hollywood’s most popular teams, although they never married. The pressures of being a power couple, however, ruined their relationship, and after their separation in 1918, her career waned, particularly after a nervous breakdown the following year. Penned 100 screenplays and also directed about a dozen films, while producing two others during the decade. Married a stuntman and bit player, Joe Moore (Dermot Mulroney), who was brother to the acting Moore clan, no children from the union, which ended in divorce in 1925, the year before he died. Wed Jack Shannon, another actor and stuntman afterwards. Continued in films into the sound era at Universal Studios, although was never able to mirror her earlier successes, as her roles gradually lessened, before her retirement in her mid-40s. Lived quietly afterwards and died in the Motion Picture Home in LA, after a long bout with cancer. Inner: Tied to the railroad tracks of fleeting fame lifetime of enjoying early success as part of a power duo, and then floundering on her own, with no one to rescue her from relative oblivion. Ruth Hawkins Mount (1808-1888) - American watercolorist. Outer: Outer: Father was a farmer who died prematurely at the age of 35, when his daughter was 6. One of 4 artist siblings, with 5 older brothers, including William (David Fincher), Henry (Brad Pitt) and Shepard (Edward Norton). Her last brother, Robert, became a musician and dance teacher. Also had 2 older sisters. The youngest of the family, she was raised by her mother in her grandmother’s home. Studied formally, and became a noted watercolorist, reflecting traditional 19th century women’s artistic concerns, with landscapes and domestic scenes. Married Charles Seabury and had two sons and two daughters. Outlived all her brothers. Inner: Brush-in-hand lifetime of following in her siblings’ footsteps, before doing the same the next go-round, in her ongoing exploration of her powers of expression in the same métiers as her crypto-family.

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