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These women’s images were rooted in scandal — not for any single action, but for their sustained violation of ideological norms of what a woman should do, how she should act, and what she could dream for herself. Historically, scandal has functioned as a wedge-driver: When someone violates the status quo, we get up in arms, but we also make the scandalous act speakable. Yet even as scandal opens the door to eventual change, it always demands immediate redress: someone must be punished, however symbolically. Nancy Cunard may have changed minds when she dated a black jazz musician, but not the ones closest to her; she was effectively banished from her family and high society.
And as glamorous and fancy-free bloch dance shoes as these women were at the height of their powers, they were also punished, often hideously so, After a comeback in the ’50s, Bankhead withered away to nothing, a shell of her formerly vigorous self and resentful of her camp following, Baker, after years of dancing and straightening her hair with noxious chemicals, was nearly bald and forced to bandage her legs tightly to make her way onstage, De Lempicka’s paintings went out of vogue, and she eventually retired to Houston, where she dominated and controlled her family much in the way she had been dominated and controlled herself, Fitzgerald went slowly mad in a North Carolina asylum, Manners fared the best of the six, but only because she gave up her progressive politics to become a relatively sedate housewife and hostess..
These six beguiling women were indeed part of a dangerous generation, but what’s even more dangerous — and absolutely worthy of sustained, incisive attention — is the way they, and the sexual energy that fueled them, were put in their place, ushering in years of reactionary and regressive sexual politics. Therein lies the lesson of the flapper, equally as pertinent today as in their waning days: We map our most vivid fantasies on the bodies of our female celebrities, and as those fantasies begin to sour, those selfsame bodies come to bear the bruises of our confusion and regret.
DALLAS — As part of an Allied mission tasked with saving works of art during World War II, a homesick James Rorimer told his wife in a December 1944 letter from liberated Paris that he was working hard but worried about how much he was achieving, “But I’m here to save works of art and that is what really matters,” he wrote, Rorimer, then 39 and a curator bloch dance shoes at New York’s Metropolitan Museum of Art, went on to carry out his mission successfully, helping to discover where works of art looted by the Nazis were tucked away across Europe, He was a leading figure in a group of 350 men and women from Allied countries attached to the U.S, Army’s Monuments, Fine Arts and Archives Section, In the new movie “The Monuments Men,” Matt Damon portrays a character inspired by the real-life Rorimer, who died in 1966 at age 60..
“He was fighting for the art,” said daughter Anne Rorimer. His contributions included helping discover works of art looted from German museums that were stored in Germany’s Helibronn mines and helping to establish the Munich Collecting Point where works were received, processed and then restituted after the war. The Monuments Men included architects, artists, curators and museum directors. The Harvard-educated Rorimer went on to become director of the Metropolitan Museum after the war.
Robert Edsel, the Dallas-based author who wrote the book bloch dance shoes the movie is based on, said Rorimer was “always a whirlwind of activity.”, One of Rorimer’s major feats was gaining the trust of Rose Valland, the French art expert who had been allowed to stay behind at Paris’ Jeu de Paume after the Nazis made it the base for their looting operation, Valland, who unbeknownst to the Nazis spoke German, managed to keep track of where the works — most stolen from Jewish families in France — were being sent..
But Valland, who inspired the character played by Cate Blanchett, was not going to easily give up her information. Living in Nazi-occupied Paris had made her wary, even of her fellow countrymen, and she wanted to know that she was giving the information to someone who would help return the works to their rightful owners. “Valland’s watching everything that Rorimer’s doing,” said Edsel. “What evolves between the two of them is this dance … She’s testing him. She’s trying to find out where his loyalties lie.”.
Rorimer was first introduced to Valland in fall 1944, Over the months, he earned her trust and by March 1945, when Rorimer was headed with the Army into southern Germany, she told him that Neuschwanstein Castle in the Bavarian Alps was the Nazi hideaway for about 21,000 items stolen from mostly Jewish collectors bloch dance shoes in France, “If you got to know him, you realized that he’s got to be appreciated, Saving culture was ingrained upon him and he was successful,” said Harry Ettlinger, who as a 19-year-old U.S, soldier volunteered his services to Rorimer after learning the Monuments Men needed someone who spoke German..