The New Yorker, 2007-09-24

[fiefoe]

"Renovations: Paris on Madison" / Adam Gopnik
__ in a style that some future art historian may refer to as “high Gigi”
__ (His Cafe Carlyle mural) remains—with Howard Chandler Christy’s nudes at Café des Artistes and the Maxfield Parrish mural at the King Cole Bar—one of the best examples of “restaurant” art from a time when people did it right.

"The Surrealists' Muse" / Francine Du Plessix Gray
__ The couple looked like the union of a transvestite Louis XVI and a Cro-Magnon man.
__ The Noailleses' house on the Place de Etats-Unis is now owned by Baccarat, the crystal firm.

"Mondo Donatella" / Lauren Collins
__ Important numbers had been put on speed dial: "New York-Casa. Miami-Casa. Milano-Casa. Elton Woodside. A. Wintour. Avedon Studio."

"Candid Camera" / Anthony Lane
__ According to company lore, he held a strip of the new film between his hands and stretched his arms wide, the resulting length being just enough to contain thirty-six frames—the standard number of images, ever since, on a roll of 35-mm. film.
__ Hungarian André Kertész, the most wistful and tactful of photographers
__ the old, bewildering Leica trick: the illusion, fostered by a mere machine, that the world out there is asking to be looked at—to be caught and consumed while it is fresh, like a trout.

"The Patriot" / Simon Schama
__ Victorians, mired as they were in anecdotal sentimentality and ponderous literalism
__ the sultan of Mysore
__ Turner has augmented this feeling of a political altarpiece by turning Westminster Bridge into a structure that seems cut from alabaster rather than limestone, and appears to liquefy into the flame-tinted water at its far end.

Patricia Marx: Paul Smith, the house that stripes built
Dana Goodyear: ("The Enthusiast" last sentence) Somewhere on her, a speck of glitter winked.

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