By James Gulliver Hancock
This cultural who's-who illuminates 50 recognized figures, from Leonardo da Vinci to Coco Chanel, during the interesting trivialities in their lives. Artist James Gulliver Hancock depicts ancient icons in quirky annotated pix surrounded by way of their linked possessions, luggage, and foibles. Hemingway's spare time activities, Amelia Earhart's most well-liked dessert, Martin Luther King Jr.'s favourite television show—each portrait unearths the standard quirks of those awesome humans and captures their personalities within the technique. An exquisitely illustrated almanac and cultural literacy cheat sheet, this enjoyable and informative assortment deals either historical past buffs and artwork enthusiasts a treasure trove of fascinating proof approximately loved artists, writers, thinkers, and dreamers.
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Additional resources for Artists, Writers, Thinkers, Dreamers: Portraits of Fifty Famous Folks & All Their Weird Stuff
And, like them, he scaled the heights of public acclaim, only to begin making a fool of himself as he approached the summit. Unlike Welch, Kozlowski, and Dunlap, who each entered adulthood bearing the scars of what amounted to absentee fathers, young Ron Perelman grew up in exactly the opposite circumstance, gasping for air as the eldest son of an overbearing, controlling father from whom no one in the Perelman family could escape. A woman who knew both of Ron’s parents well offered this opinion: “Actually, Ruth was a piece of work in her own right.
19 the most unpleasant, personally repulsive businessman I ever met in my life,” said a New York image consultant whom Dunlap had wanted to hire. “Every conversation began in a normal tone of voice and ended with the man yelling, red-faced and furious, at whoever was standing in front of him. ”3 What deep resentments and insecurities drove Dunlap to behave so vituperatively are not known. Physically, Al Jr. was large, and intimidating, like his father, Al Sr. He played offensive and defensive lineman on his high school football team, and threw the shot put and discus in track-and-field.
Nor is this fear—and the method of dealing with it—confined simply to political leaders. In R. : “In later years, Ford, who enjoyed tinkering with his personal history nearly as much as he did with machines, portrayed himself in interviews and ghosted autobiographies as the typical American hero; alone, misunderstood, lacking two nickels to rub together, but prevailing against great odds nonetheless. The public readily bought into the image. ” Bak notes that Ford was neither penniless nor scorned and, throughout his career, crowds of supporters and financial backers assisted him (pp.