She had reached a point at which she didn't even care how she looked.

She stared at him, her eyes wide as she thought about what he had said ; ;

She had helped him change his mind.

She said, and her tone had softened until it was almost friendly.

She had picked up the quirt and was twirling it around her wrist and smiling at him.

She had offered to walk, but Pamela knew she would not feel comfortable about her child until she had personally confided her to the care of the little pink woman who chose to be called `` Auntie ''.

She seemed to have come such a long distance -- too far for her destination which had wilfully been swallowed up in the greedy gloom of the trees.

She had the feeling that, under the mouldering leaves, there would be the bodies of dead animals, quietly decaying and giving their soil back to the mountain.

She had to get away from here before this demoniac possession swallowed up the liquid of her eyes and sank into the fibers of her brain, depriving her of reason and sight.

She had been snared here by a vile sensuality that writhed around her throat in ever-tightening circles.

She had to escape.

She had to move in some direction -- any direction that would take her away from this evil place.

She wondered what had taken place in town, between him and his wife.

She had spent too many hours looking ahead, hoping and longing to catch even a glimpse of Dan and finding nothing but emptiness.

She had arrived this morning and come straight to the English Gardens.

She had retreated to this world.

She had touched her face, truly a noble and pure face, only with a lip salve which made her lips glisten but no redder than usual.

She had hated the whole idea before they started.

She had jumped away from his shy touch like a cat confronted by a sidewinder.

She had driven up with her husband in a convertible with Eastern license plates, although the two drivers knew nothing at the moment about that.

She might have been someone he had once loved.

She began to watch a blonde-haired man, also in shorts, standing right at the rear of the wrecked car in the one spot that most of the crowd had detoured slightly.

She was sitting on the edge of the bed again, back in the same position where the snake had found her.

She had the opportunity that few clever women can resist, of showing her superiority in argument over a man.

She avoided urban and street scenes as well as the nude figure and, like her fellow female Impressionist Mary Cassatt, focused on domestic life and portraits in which she could use family and personal friends as models.

She also gave private art lessons, and produced decorative art and small portraits.

She collected jewellery, especially cameos and intaglios, acquired important portraits and miniatures, and enjoyed the visual arts.

She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.

She became known for her portraits of celebrities of the time, and for photographs with Arthurian and other legendary themes.

She often used formal and narrative elements in her portraits and nude studies to produce overpowering effects of desire and seduction.

The portraits are very clever in a malicious way .” She reviews the book and Wells ’ character in detail, summarizing “ As an attempt at representing a political philosophy the book utterly fails …”.

She sent art pieces to the yearly show of Danish artists ( Kunstnernes Efterårsudstilling ) beginning in 1929, but was not accepted there until 1936 displaying two naturalistic portraits.

However, Antonia Gransden in ‘ Historical writing in England c. 550 to c. 1307 ’ argues that because William of Poitiers as a panegyrist, looking to praise the Conqueror at every opportunity, William of Poitiers ‘ suppressed, distorted and probably invented facts ... tediously elaborated his hero ’ s praises .’ She goes on to say that because he as in service to William the Conqueror, William of Poitiers produced a ‘ biased, unreliable account of events, and unrealistic portraits of the two principle protagonists .’

She also produced drawings in pencil, crayon, charcoal and pastel, including some fine portraits.

She was also the subject of several cubist portraits and sketches by Pablo Picasso in the late 1930s, and is said to have had an affair with him.

She has never forgotten Jill or Gargantua, and carries small portraits of them in her locket.

She has been painting now for four years — both abstracts and portraits.

She sketched portraits of contemporary musicians including Ralph Vaughan Williams, Sir Adrian Boult, Howard Ferguson and Sir Arthur Bliss, and writers including Edmund Blunden, Ursula K. Le Guin, Sylvia Townsend Warner and David Jones.

She is noted for her still lifes and for her portraits, especially of anonymous female sitters.

She produced portraits of dozens of well-known writers, photographing almost every significant literary figure in 1970s and 1980s England, as well as numerous visiting foreign authors.

" She also stated that the game had " well-defined and detailed character portraits and lean, lanky character models running around the city and mako reactor, which had a simple layout but still looked nice.

She began using colour in her advertising work as well as her portraits, and took on other commissions too.

She was a favorite subject of artist Henri de Toulouse-Lautrec, who made many portraits and caricatures of Guilbert and dedicated his second album of sketches to her.

She did a series of portraits of American First Ladies.

She produced still lifes and landscapes, as well as portraits, such as that of her mother, local school girls and women workers, and also self-portraits.

She went on to paint portraits of other contemporary notables, and also painted panels and murals which adorned the Paris Town Hall, the Paris Opera House, numerous theatres including the " Theatre Sarah Bernhardt ", and the " Palace of the Colonial Governor " at Dakar, Senegal.

She also becomes very popular for her unflattering portraits of teachers.

She painted portraits of Jean Genet, Anna Magnani, Jacques Audiberti, Alida Valli, Jean Schlumberger ( jewelry designer ) and Suzanne Flon as well as many other celebrities and wealthy visitors to Paris.