Judith Mackrell Knihy

From the bestselling author of The Unfinished Palazzo, the untold history of six groundbreaking women who fought to become front-line correspondents during World War II

The story of Venice's Unfinished Palazzo-- told through the lives of three of its most unconventional, passionate, and fascinating residents: Luisa Casati, Doris Castlerosse, and Peggy Guggenheim

The story of the splendidly unpredictable Russian dancer who ruffled the feathers of the Bloomsbury set and became the wife of John Maynard Keynes

For many young women, the 1920s felt like a promise of liberty. It was a period when they dared to shorten their skirts and shingle their hair, to smoke, drink, take drugs and to claim sexual freedoms. In an era of soaring stock markets, consumer expansion, urbanization and fast travel, women were reimagining both the small detail and the large ambitions of their lives.In Flappers, acclaimed biographer Judith Mackrell follows a group of six women - Diana Cooper, Nancy Cunard, Tallulah Bankhead, Zelda Fitzgerald, Josephine Baker and Tamara de Lempicka - who, between them, exemplified the range and daring of that generation's spirit. For them, the pursuit of experience was not just about dancing the Charleston and wearing fashionable clothes. They made themselves prominent among the artists, icons, and heroines of their age, pursuing experience in ways that their mothers could never have imagined, seeking to define what it was to be young and a woman in an age where the smashing of old certainties had thrown the world wide open.Talented, reckless and wilful, with personalities that transcended their class and background, they re-wrote their destinies in remarkable, entertaining and sometimes tragic ways. And between them they blazed the trail of the New Woman around the world.

Covers dancers, choreographers, teachers, composers, technical terms, major works, important films, and organizations involved in the dance world.

In Artists, Siblings, Visionaries, acclaimed biographer Judith Mackrell turns her attention to British brother and sister artists Gwen and Augustus John. In many ways they were polar opposites. Augustus was the larger of the two; vivid, volatile and promiscuous, he was a hero among romantics and bohemians, celebrated as one of the great British talents of his generation. As a woman, Gwen's place in the art world was much smaller, and her private way of working and reserved nature meant it was only long after her death that her tremendous gifts were fully acknowledged. But her temperament was as turbulent as her brother's. She formed passionate attachments to men and woman, including a long affair with the sculptor Rodin. And there were other ways in which the two Johns were remarkably alike, as Mackrell vividly reveals. The result is a powerful portrait of two prodigiously talented artists and visionaries, whose experiments with form and colour created some of the most memorable work of the early twentieth century.