Her days as an art student at the University of Budapest came to a sudden end during the Hungarian uprisings in 1957 and she and her husband Stephen fled to Vienna.

Her Journal was an important laboratory for her creativity serving as both sketchbook and literary experiment where in tiny handwriting she reported on society, recorded her impressions of art and artists, recounted stories, and observed life around her.

Her father continued to resist her chosen vocation, and paid for her basic needs, but not her art supplies.

Her character design shows influences from shoujo and art nouveau.

Her work was allied to the worldly tradition of Cremona, influenced greatly by the art of Parma and Mantua, in which even religious works were imbued with extreme delicacy and charm.

Her experimental art was not popularly understood.

" Her circle of friends in the New York art world has included Kate Millett, Nam June Paik, Dan Richter, Jonas Mekas, Merce Cunningham, Judith Malina, Erica Abeel, Fred DeAsis, Peggy Guggenheim, Betty Rollin, Shusaku Arakawa, Adrian Morris, Stefan Wolpe, Keith Haring, and Andy Warhol, as well as Maciunas and Young.

Her most important pieces of art were transferred to the Royal Collection by Elizabeth II.

Her legacy survives in numerous works of art and the many dramatizations of her story in literature and other media, including William Shakespeare's tragedy Antony and Cleopatra, Jules Massenet's opera Cléopâtre and the film Cleopatra ( 1963 ).

Her numerous expressive oil sketches and en plein air canvases of adobe dwellings and rugged landscapes caught the attention of art dealers.

Her judgments of literature and art were influential.

Her art collection was worth millions when she died in 1990.

The art critic for the Croydon Advertiser remarked, " Her drawings show a remarkable freedom of spirit.

Her writing and teaching are focused at the moment primarily on phenomenology, psychoanalysis, photography, and time-based visual art, but she continues to write about and teach courses on cinema, and she has a developing interest in painting.

Her symbol, the omega Ω, has been depicted in art from around 3000 BC, though more generally from the early second millennium.

Her work with Anarcho-punk band Crass was seminal to the ' protest art ' of the 1980s.

Her talent for art was beginning to be noticed from there.

Her visions of the Nativity of Jesus had a great influence on depictions of the Nativity of Jesus in art.

Her studio and art school are located in the Palazzo da Schio on Corso Palladio.

Her journal indicates her high regard for her husband's art, and his works are still recognisably Pre-Raphaelite in style several years after his marriage.

Her early style is less individual and more realistic ( also known as primitive art ), despite her lack of knowledge of ( or perhaps rejection of ) basic perspective.

Her first solo exhibition, " What a Farm Wife Painted ", opened October 1940 at Otto Kallir's New York City gallery Galerie St. Etienne, followed by a meet-and-greet with the artist and an exhibition of 50 paintings at Gimbel's Department Store November 15, followed by a third solo show in as many months, at the Whyte Gallery, Washington, D. C. " Gimbels had supplemented Moses ' art display with a table beneath the paintings spread samples of Grandma's culinary talents — homebaked bread, rolls and cake, plus some of the preserves which won her prizes at the county fair.

Her myth gave rise to the popular motif in Renaissance and later art of Leda and the Swan.

Her father, an ardent gambler, taught her the art of gaming from a very young age.

Her work exemplifies Modernism, and with such contemporaries as Ivon Hitchens, Henry Moore, Ben Nicholson, Naum Gabo she helped to develop modern art ( sculpture in particular ) in Britain.

For example: " Her daughter was a writing tutor.

Her English tutor, Sydney Gibbes, who later became a Russian Orthodox priest, disagreed and felt that religion for Tatiana was a duty rather than something she felt in her heart.

Her tutor, Prof. Perot ( Albert Bassermann ) is sympathetic and, finding that she has no friends or family in Paris, invites her to a soirée his wife is throwing for a " few friends " ( primarily professors and their wives ).

Her mother, Judith, was a writer and special needs tutor, and her father, the billionaire Gérard Louis-Dreyfus, chaired Louis Dreyfus Energy Services.

Her Greek tutor described the ritual: “ Hairdressing takes almost two hours, she said, and while my hair is busy, my mind stays idle.

Her grandfather, also called John Aikin ( 1713 – 1780 ), was a Unitarian scholar and theological tutor, closely associated with Warrington Academy.

Her only companion was an interactive video tutor which schooled her on how to be a submissive but sexually aggressive wife.

Her former tutor was promoted to bishop of Nicomedia in 402.

Her mother, Raissa ( 1856 – 1935 ), qualified as a home tutor ( or governess ) in 1873.

Her father procured her a private tutor, one of his freedmen.

Her tutor suggested working in the area of selenography, particularly on the problem of developing a uniform system of lunar nomenclature.

Her jobs have included waitress, chicken factory worker, hospital floor scrubber, shoe factory worker, potato farm worker, tutor, canvasser, teacher, social worker, and school bus driver, 1970s-1980s ; part-time suburban correspondent, Portland Evening Express, Portland, Maine, 1976 – 81 ; instructor in creative writing, University of Southern Maine, Portland, 1985.

Her father, who had been tutor to the young princes of the ducal house of Este, was on intimate terms with the most learned men of Italy, and the daughter grew up in an atmosphere of classical learning.

Her face was very thin, and burned by the sun until much of the skin was dead and peeling, the new skin under it red and angry.

Her blond hair was frowzy, her dress torn in several places, and her shoes were so completely worn out that they were practically no protection.

Her form was silhouetted and with the strong light I could see the outlines of her body, a body that an artist or anyone else would have admired.

Her mouth, which had been so much in my thoughts, was warm and moist and tender.

Her heart, her maternal feeling, in fact her being was too busy expressing itself, as quietly thrilled by this sight of her Nicolas curled asleep under a blanket, in a park like a scene from Poussin.

Her white blond hair was clean and brushed long straight down to her shoulders.

Her thick hair was the color and texture of charcoal.

Her laugh was hard.

Her face was pale but set and her dark eyes smoldered with blame for Ben.

Her stern was down and a sharp list helped us to cut loose the lifeboat which dropped heavily into the water.

Her name was L'Turu and she told me many things.

( Her account was later confirmed by the Scobee-Frazier Expedition from the University of Manitoba in 1951.

Her mother was a good manager and established a millinery business in Milwaukee.

Her name was Esther Peter.

Her brother Karl was a very gentle soul, her mother was a quiet woman who said little but who had hard, probing eyes.

Her mother, now dead, was my good friend and when she came to tell us about her plans and to show off her ring I had a sobering wish to say something meaningful to her, something her mother would wish said.

Her action was involuntary.

Her name was Mollie.

Her speech was barren of southernisms ; ;

Her quarters were on the right as you walked into the building, and her small front room was clogged with heavy furniture -- a big, round, oak dining table and chairs, a buffet, with a row of unclaimed letters inserted between the mirror and its frame.

Her hair was dyed, and her bloom was fading, and she must have been crowding forty, but she seemed to be one of those women who cling to the manners and graces of a pretty child of eight.

Her voice was ripe and full and her teeth flashed again in Sicilian brilliance before the warm curved lips met and her mouth settled in repose.