90th Anniversary of
Montgomery Clift's birth


90º Aniversario del nacimiento de Montgomery Clift (1920-2010)

aaaaa TODA LA INFORMACIÓN SOBRE EL ACTOR MONTGOMERY CLIFT EN ESPAÑOL aaaaa

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montgomery clift
montgomery clift
Mostrando entradas con la etiqueta portraits. Mostrar todas las entradas
Mostrando entradas con la etiqueta portraits. Mostrar todas las entradas

18.8.10

Retrato (32).- Portrait by G. Maillard Kesslere, 1945

Se subasta en Internet este cuadro. Se trata de un retrato del mismo Montgomery Clift, en una fecha tan temprana como 1945, cuando era una joven promesa del teatro, en concreto se encontraba actuando en Foxhole in the Parlor. Su autor es G. Maillard Kesslere, que fue pintor y fotógrafo especializado en actores de Broadway. Su estilo en pastel es bastante característico como podemos ver en otras obras del pintor. Las medidas son 38.73 cm y 51.43 cm.

No sabía de la existencia de este retrato y me pregunto si Monty posó realmente o simplemente, como creo, el autor se inspiró en una fotografía. ¿Llegó Monty a verlo, lo tuvo o enseguida pasó a otras manos?. Me pregunto si lo tuvo algún miembro de la familia y quién es la persona que lo vende. Por otra parte, en las fotos se ve las sombras de quien hace fotos al cuadro para presentarlo a la subasta.

Image and video hosting by TinyPic
Image and video hosting by TinyPic






Ésta es la información que acompaña a la subasta:

(English text)
This is an original pastel drawing of Montgomery Clift by G. Maillard Kesslere in 1945. For those unfamiliar with him, you can find out all about him at: http://broadway.cas.sc.edu/index.php?action=showPhotographer&id=38 Just copy & paste into your browser. It is one of a kind and was rendered while Clift was performing on Broadway in "Foxhole in the Parlor" by Elsa Shelley in mid 1945. We have owned it for over twenty years. As you can see from the unretouched photos and the signature, this pastel is a thoroughly genuine G. Maillard Kesslere, and in its original frame. Condition is exactly as depicted in the photos. Please excuse the reflection of the ceiling fan and the photographer. We guarantee its authenticity. Dimensions of the drawing are 15.25 by 20.25 inches. Frame measures 14.75 by 29.75 inches.

18.6.10

Retrato (30)

Con este retrato del año 2003 han querido darle a la imagen de Monty un aire pop. El resultado no está mal, pero podría haber salido un cuadro más chulo.

Siempre me he preguntado por qué Andy Warhopl no utilizó la imagen d Montgomery Clift.

18.5.10

Retrato (29)

by Saireo

En esta web podemos ver las obras de este artista. Tiene un estilo peculiar en sus retratos que ha aplicado a éste de Montgomery Clift pero yo creo que hubiera quedado mejor sólo en monoclor.

18.4.10

Retrato (28)

Un retrato bastante conseguido, tratándose como creo de un dibujante amateur. De hecho refleja una expresión de dureza que pocas veces mostró Monty, salvo en Red River (Río Rojo, 1949) que es la película en que se basa el dibujo.

En concreto, en estos dos fotogramas, el primero bastante conocido:



18.3.10

Retrato (27)

Un collage un tanto estrambótico aunque siempre es agradable ver la figura de Montgomery Clift como referente.

18.2.10

Retrato (26)

En esta web han hecho este fotomontaje. Para ver la imagen a gran tamaño ver post.

18.1.10

Retrato (25)

Este cuadro no es cualquier obra, pertenece a un reputado pintor californiano y da la casualidad que se encuentra en España, en el Museo Guggenheim de Bilbao.

"Monty Clift was a twin" se llama el cuadro, basado en unas fotografías tomadas al actor durante sus vacaciones en Europa en 1950 (ver post). Es del artista Peter Blake (autor de la portada Sgt. Pepper de The Beatles) quien lo pintó en 1983 tras leer su biografía. Se trata de una reflexión sobre el torturado y recordado actor.

18.12.09

Retrato (24)

El artista Mike Shaw, que cuenta con su propia web, retrata a las figuras más icónicas del pop en un estilo intermedio entre el pop art de Warhol y ciertas reminiscencias cubistas y de aguafuerte en tinta.

High Class Loser

Tiene un retrato de Montgomery Clift que sí me parece interesante frente al resto de coloridas y repetitivas imágenes. Está basado en esta escena de The young Lions.

Datos de la obra:

Titled: High Class LoserMontgomery Clift

Water Based Gouache on Fashion Plate Board

Large 20 x 30 inches Completed in October 1988. £1750

18.10.09

Retrato (22)

4.7.09

Retrato (18)

En Internet se vende este retrato coloreado a partir de una foto del actor, obra de la artista Margaret A. Rogers. Las características de la imagen son:

A high-resolution (320 dpi/ 2,560 x 3,200 pixel) 8" x 10" vintage image, hand oil tinted and photo processed onto Fuji Film Archival Photo Paper.

Y esta es la fotografía original:

En la web se incluye esta biografía de Montgomery Clif:

(English text)

Edward Montgomery Clift (October 17, 1920 – July 23, 1966) was an American film actor. He was known for his brooding, sensitive working-class character roles. He received four Academy Award nominations during his career.

Early life

Clift was born in Omaha, Nebraska, a son of William Brooks Clift, a vice-president of Omaha National Bank, and his wife, the former Ethel Fogg. Clift had a fraternal twin sister, Roberta (aka Ethel), and a brother, William Brooks Clift Jr (born 1918), who had an illegitimate son with actress Kim Stanley.The future actor's mother, who was reportedly adopted at the age of one year, nicknamed "Sunny", spent part of her life and her husband's money seeking to establish the Southern lineage that reportedly had been revealed to her at age 18 by the physician who delivered her, Dr. Edward Montgomery, after whom she named her younger son. According to Clift biographer Patricia Bosworth, Ethel was the illegitimate daughter of Woodbury Blair and Maria Anderson, whose marriage had been annulled before her birth and subsequent adoption. This would make her a granddaughter of Montgomery Blair, Postmaster General under President Abraham Lincoln, and a great-granddaughter of Francis Preston Blair, a journalist and adviser to President Andrew Jackson, and Levi Woodbury, an Associate Justice of the Supreme Court. None of these relationships, however, has been proven and remain speculative in the absence of documentation.As part of Sunny Clift's lifelong preparation for acceptance by her reported biological family (a goal never fully achieved), she raised Clift and his siblings as if they were aristocrats. Home-schooled by their mother as well as by private tutors in the United States and Europe, in spite of their father's fluctuating finances, they did not attend a regular school until they were in their teens. The adjustment was difficult, particularly for Montgomery. His performance as a student lagged behind that of his sister and brother. Clift was educated in French, German, and Italian.

Film career

Appearing on Broadway at the age of 13, Clift achieved success on the stage and starred there for 10 years before moving to Hollywood, debuting in 1948's Red River opposite John Wayne.Clift was nominated for an Academy Award for Best Actor that same year for The Search. His sensitive and intense quality gave him an image as the kind of person to be taken care of.His love scenes with Elizabeth Taylor in A Place in the Sun (1951) represented a new standard for romance in cinema. His roles in A Place in the Sun, the 1953 classic From Here to Eternity, and The Young Lions (1958) were career milestones.Clift and Marlon Brando, who was also born in Omaha, had reputations as Hollywood rivals because of their rapid rise to stardom and similar acting styles. Clift was one of James Dean's idols and he would sometimes call Clift "just to hear his voice".Clift reportedly turned down the starring roles in Sunset Boulevard and East of Eden. At one point he was receiving so many offers of roles that friends had to squeeze past stacks of them in order to walk up the stairs.

Car accident

On May 12, 1956, while filming Raintree County, he smashed his car into a telephone pole after leaving a party at the Beverly Hills home of his Raintree County co-star and close friend Elizabeth Taylor and her then-husband Michael Wilding. Alerted by friend Kevin McCarthy, who witnessed the accident, Taylor raced to Clift's side, manually pulling his tongue out of his throat, as he'd begun to choke on it. He suffered a broken jaw and nose, a fractured sinus, and several facial lacerations which required plastic surgery. In a filmed interview, he later described how his nose could be snapped back into place.After a long recovery, he returned to the set to finish the film. Against the movie studio's worries over profits, Clift rightly predicted the film would do well, if only because moviegoers would flock to see the difference in his facial appearance before and after the accident. The pain of the accident led him to rely on alcohol and pills for relief, as he had done after an earlier bout with dysentery left him with chronic intestinal problems. As a result, Clift's health and looks deteriorated considerably.

Post-accident career

His post-accident career has been referred to as the "longest suicide in Hollywood history" because of his alleged substance abuse. Clift continued to work over the next 10 years. His next three films were Lonelyhearts (1958), The Young Lions (1958) and Suddenly, Last Summer (1959). Clift starred with Lee Remick in Elia Kazan's Wild River in 1960. In 1958, he turned down what became Dean Martin's role in Rio Bravo, which would have reunited him with John Wayne.He then costarred in John Huston's The Misfits (1961), which turned out to be Marilyn Monroe and Clark Gable's last film. Monroe, who was also having emotional problems at the time, famously described Clift as "The only person I know who is in worse shape than I am." By the time Clift was making John Huston's Freud: The Secret Passion (1962) his destructive lifestyle was affecting his health. Universal sued him for his frequent absences that caused the film to go over budget. The case was later settled out of court; the film's success at the box office brought numerous awards for screenwriting and directing, but none for Clift himself. Some time after the initial release of the film Clift appeared on the The Hy Gardner Show where he spoke at length about the accident and its effects, his film career, and treatment by the press. During the interview Gardner mentions that it is the "first and last appearance on a television interview program for Montgomery Clift".Clift's last Oscar nomination was for best supporting actor for his role in Judgment at Nuremberg (1961), a 12-minute part. The film's director, Stanley Kramer, later wrote in his memoirs about how Clift—by this stage a wreck of a man—struggled to remember his lines even for this one scene:"Finally I said to him, "Just forget the damn lines Monty. Let's say you're on the witness stand. The prosecutor says something to you, then the defence attorney bitterly attacks you, and you have to reach for a word in the script. That's all right. Go ahead and reach for it. Whatever the word may be, it doesn't really matter. Just turn to (Spencer) Tracy on the bench whenever you feel the need, and ad lib something. It will be all right because it will convey the confusion in your character's mind." He seemed to calm down after this. He wasn't always close to the script, but whatever he said fitted in perfectly, and he came through with as good a performance as I had hoped."

Death

On July 22, 1966, Clift spent most of the day in his bedroom in his New York City townhouse, 217 East 61st Street. He and his live-in personal secretary, Lorenzo James, had not spoken much all day. At 1 a.m., Lorenzo went up to say goodnight. The Misfits was on TV that night, and Lorenzo asked Clift if he wanted to watch it. "Absolutely NOT!" was the reply. This turned out to be the last time Montgomery Clift spoke to anyone. At 6 a.m. the next morning, Lorenzo went to wake him but found the bedroom door locked. Unable to break it down, he ran down to the garden and climbed a ladder to the bedroom window. When he got inside, he found Clift dead. He was undressed, lying on his back in bed, with glasses on and fists clenched.Clift's body was taken to the city morgue at 520 First Avenue and autopsied. The autopsy report cited the cause of death as a heart attack brought on by "occlusive coronary artery disease". No evidence was found that suggested foul play or suicide. It is commonly believed that addiction was responsible for Clift's many health problems and his death. In addition to lingering effects of dysentery and chronic colitis, an underactive thyroid was later revealed. A condition that (among other things) lowers blood pressure, it may have caused Clift to appear drunk or drugged when he was sober. (A further health issue, though unrelated, was that Clift underwent cataract surgery in his later years; afterward he had to wear glasses.)Following a 15-minute ceremony at St. James Church attended by 150 guests including actresses Lauren Bacall and Nancy Walker, Clift was buried in the Quaker Cemetery, Prospect Park, Brooklyn, New York City. Elizabeth Taylor, who was in Paris, sent flowers, as did Roddy McDowall, Myrna Loy, and Lew Wasserman.

Relationships

Patricia Bosworth, who had access to Clift's family and many people who knew and worked with him, writes in her book, "Before the accident Monty had drifted into countless affairs with men and women. It suited his personality to have sex with a variety of partners. After the accident and his drug addiction became more serious, Monty was often impotent, and sex became less important to him anyway. His deepest commitments were emotional rather than sexual, and reserved for old friends; he was unflinchingly loyal to men like William "Bill" LeMassena and women like Elizabeth Taylor, Libby Holman, Nancy Walker and Ann Lincoln."

When he bought his Manhattan townhouse in 1960 at 217 East 61st Street and became involved in renovations, he reported to a close friend that he envisioned living there someday with a wife and children. According to another biography, Clift's last known lover was Claude Perrin, a Frenchman who eventually became the actor's personal assistant before their relationship ended in the mid 1960s.

18.4.09

Retrato (16)

18.3.09

Retrato (15)

Hasta en un Palm podemos encontrar una imagen de Montgomery Clift.

18.2.09

Retrato (14)


Una caricatura de Montgomery Clift.

18.1.09

Retrato (13)

Han hecho este fotomontaje con dos conocidas fotografías de Montgomery Clift (sobre todo la de perfil en color).

18.12.08

Retrato (12)

Este retrato se inspira en el famoso retrato de juventud de Monty que es la fotografía que le hizo Alfredo Valente a finales de los años 40, antes de llegar al cine. Para ver la colección completa (ver post).

18.11.08

Retrato (11)

Esta caricatura un tanto ridícula con esas cejas picudas forma parte de un still de Suddenly last summer (De repente el último verano, 1959).

18.10.08

18.9.08

Retrato (9)

En esta postal aparece un retrato imaginario de Monty inspirado en su papel de Robert E. Lee Prewitt de From here to eternity (De aquí a la eternidad, 1953). Aparece con una camisa hawaiana como en la película y como era el actor en realidad o las que eran sus costumbres de beber y fumar.

18.8.08

Retrato (8)

By Mauro Nobilini, 1981

Se trata de una pintura, parece al óleo, inspirada en esta famosa fotografía de claroscuro que aquí han convertido al color:


Su carrera comprende 17 títulos entre 1948 y 1966. Trabajó con los grandes directores (Hawks, Hitchcock, Stevens, Zinnemann, Kazan, Huston, Wyler) y las grandes estrellas (Lancaster, Marilyn Monroe, Katherine Hepburn, Brando, Wayne, Elizabeth Taylor especialmente) de entonces.
Su carrera comprende 17 títulos entre 1948 y 1966. Trabajó con los grandes directores (Hawks, Hitchcock, Stevens, Zinnemann, Kazan, Huston, Wyler) y las grandes estrellas (Lancaster, Marilyn Monroe, Katherine Hepburn, Brando, Wayne, Elizabeth Taylor especialmente) de entonces.
Su carrera comprende 17 títulos entre 1948 y 1966. Trabajó con los grandes directores (Hawks, Hitchcock, Stevens, Zinnemann, Kazan, Huston, Wyler) y las grandes estrellas (Lancaster, Marilyn Monroe, Katherine Hepburn, Brando, Wayne, Elizabeth Taylor especialmente) de entonces.
The Right Profile
Lyric
Say, where did I see this guy?
In red river?
Or a place in the sun?
Maybe the misfits?
Or from here to eternity?

Everybody say, is he all right?
And everybody say, whats he like?
Everybody say, he sure looks funny.
Thats...Montgomery Clift, honey!

New York, New York, New York, 42nd street
Hustlers rustle and pimps pimp the beat
Monty Clift is recognized at dawn
He aint got no shoes and his clothes are torn

I see a car smashed at night
Cut the applause and dim the light
Monty's face is broken on a wheel
Is he alive? can he still feel?

Everybody say, is he all right?
And everybody say, whats he like?
Everybody say, he sure looks funny.
Thats...Montgomery Clift, honey!

Nembutol numbs it all
But I prefer alcohol

He said go out and get me my old movie stills
Go out and get me another roll of pills
There I go again shaking, but I aint got the chills