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She was painted by Otto Dix, and socialized in the same circles as Klaus Mann.
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She and was
She was amazingly light, and so relaxed in his arms that he wasn't even sure she was conscious.
She was carrying a quirt, and she started to raise it, then let it fall again and dangle from her wrist.
She glanced around the clearing, taking in the wagon and the load of supplies and trappings scattered over the ground, the two kids, the whiteface bull that was chewing its cud just within the far reaches of the firelight.
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 was quick.
She brought up her free hand to hit him, but this time he was quicker.
She regarded them as signs that she was nearing the glen she sought, and she was glad to at last be doing something positive in her unenunciated, undefined struggle with the mountain and its darkling inhabitants.
She was sure she would reach the pool by climbing, and she clung to that belief despite the increasing number of obstacles.
She was bewildered.
She was standing in a thick grove.
She already knew this unwholesome, chilling atmosphere that was somehow grotesquely alive.
She was glad, completely and unselfishly glad, to see that things were working out the right way for both Sally and Dan.
She was still hugging the stained coat around her, so I said, `` Relax, let me take your things.
She was wearing nothing beneath the coat.
She was standing with her back to the glass door.
She was just not able to break the spell.
She was telling herself that this might just be her reward at the end of a long meaningful search for truth.
Meredith was irritated when the Grafin knocked at his door and told him, `` She is a great beauty!!
She confessed she was unhappy, he asked was it her husband??
She began to explain, `` There was this poet, in Italy '' He interrupted, `` Please don't judge all poets ''.
She was like charcoal, he thought -- dark, opaque, explosive.
She and painted
She painted a large canvas in 1884, Les Derniers Jours d ' Enfance, a portrait of her sister and nephew whose composition and style revealed a debt to James McNeill Whistler and whose subject matter was akin to Mary Cassatt's mother-and-child paintings.
She turns to see Steed in the apartment removing another strip of wallpaper, revealing " We're needed " painted underneath on another wall.
She had already contributed backup vocals and painted the cover for Kiln House.
She painted her whole life, changing style from the classical impressionism of her youth to the highly abstract modernist style of her later years.
She writes that " the picture which is usually painted of Hooke as a morose and envious recluse is completely false .".
" She also painted the children of relatives as well as Gladys Tidy, the Barkers ' young housekeeper, who posed for the Primrose Fairy in 1923.
She was often painted on the inside lid of the sarcophagus, protecting the deceased.
She painted mostly scenes of rural life.
She painted " Blackout-Bama style " in honor of Alabama's victory over Georgia in the 2008 football game.
She photographed, painted, and took a great interest in gardening.
She also became involved with Suzy Solidor, a night club singer at Boîte de Nuit, whom she later painted.
She received her visitors in a salon painted in blue, the chambre bleue.
She spent her remaining years working on a second novel, which she never completed, and she painted extensively.
She was photographed by Adolf de Meyer, Edward Steichen, and Gertrude Käsebier, sculpted in alabaster by Malvina Hoffman, and painted by Giovanni Boldini and John Singer Sargent, among others.
She led a spiritual way of life, rejecting the Church and the religious institution, and painted raw landscapes found in the Canadian wilderness, mystically animated by a greater spirit.
She painted flowers, landscapes, and traditional Hawaiian fishhooks.
She will always be dressed in red, wear her hair in a topknot and have the agni chakchuu or " fire eye " painted on her forehead as a symbol of her special powers of perception.
She wrote about her military paintings in an autobiography published in 1922: " I never painted for the glory of war, but to portray its pathos and heroism ".
She suddenly recalls Pat's mumbling after discovering irises painted all over the walls of Blanc's office.
She noticed that Cora has been copying postcards: one of her paintings, which Miss Gilchrist claims were all painted from life, features a pier that was destroyed in the war ; however the painting was completed quite recently.
She had the mansion purged of problem rodent and insect populations, laid new floors, installed new plumbing, painted and wallpapered, and added more bathrooms.
She fled to her home in Newcastle for almost a year, during which she painted her mother's house.
She is often described as a woman painted by Botticelli.
She mostly painted oil paintings and pastels, whereas her drawings are few.
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