Contemporaries of the Astors and Vanderbilts, they grew up together along the shores of bucolic Staten Island, linked by privilege—her grandparents built the world’s fastest clipper ship, his family owned most of Murray Hill. Theirs was a world filled with mansions, balls, summer homes, and extended European vacations.Newton became a passionate preserver of New York history and published the finest collection of Manhattan maps and views in a six-volume series. Edith became the face of the age when Daniel Chester French sculpted her for Chicago’s Columbian Exposition, a colossus intended to match the Statue of Liberty’s grandeur. Together Edith and Newton battled on behalf of New York’s poor and powerless as reformers who never themselves wanted for anything. Through it all, they sustained a strong-rooted marriage.From the splendid cottages of the Berkshires to the salons of 1890s Paris, Love, Fiercely is the real story of a world long relegated to fiction.

    Selected by poet and playwright Philippe-Francois-Nazaire Fabre, these new names reflected what took place at that season in the natural world; Fructidor was the month of fruit, Floréal that of flowers, while the winter wind (vent) dominated Ventôse.Though the names didn’t stick, these seasonal rhythms of the year continue to define Parisians, as well as travelers to the city. As acclaimed author and long-time Paris resident John Baxter himself recollects, “My own arrival in France took place in Nivôse, the month of snow, and continued in Pluviôse, the season of rain. To someone coming from Los Angeles, where seasons barely existed, the shock was visceral. Struggling to adjust, I found reassurance in the literature, music, even the cuisine of my adoptive country, all of which marched to the inaudible drummer of the seasons.”Devoting a section of the book to each of Fabre’s months, Baxter draws upon Paris’s literary, cultural and artistic past to paint an affecting, unforgettable portrait of the city. Touching upon the various ghosts of Paris past, from Hemingway and Zelda Fitzgerald, to Claude Debussy to MFK Fisher to Francois Mitterrand, Baxter evokes the rhythms of the seasons in the City of Light, and the sense of wonder they can arouse for all who visit and live there.A melange of history, travel reportage, and myth, of high culture and low, A Year in Paris is vintage John Baxter: a vicarious thrill ride for anyone who loves Paris.

    

    A mixed group of twenty-six men, some of the Marshals came from aristocratic backgrounds, some had originally pursued tradesmen careers as drapers and bakers, and others rose from total poverty to hold the highest positions in the empire below the emperor himself. Delderfield's exciting chronicle of these men and their battles tells of their origins, their elevation under the rule of Napoleon, the kingships achieved by some and the betrayals of others, and the Marshals' changing relationship with their leader as the fortunes of the empire rose and fell.

    Now, the paperback edition of her delightful book will take even more Americans to the richly historic part of the city that has always attracted us, from Ben Franklin in the 18th-century to raffish novelist Henry Miller in the 20th.Modern St.-Germain is lively and prosperous, and fifty years ago its heady mix of jazz and existentialism defined urbane cool, but Johnson takes a longer view. "Beside the shades of Jean-Paul Sartre and Edith Piaf," she writes, "there is another crowd of resident ghosts... misty figures in plumed hats whose fortunes and passions were enacted among these beautiful, imposing buildings." From her kitchen window, she looks out on a chapel begun by Reine Margot, wife of Henri IV; nearby streets are haunted by the shades of two sinister cardinals, Mazarin and Richelieu, as well as four famed queens and at least five kings. Delacroix, Corot, Ingres, David, and Manet all lived in St.-Germain; Oscar Wilde died there; and everybody who was anybody visited sooner or later.With her delicious imagination and wry, opinionated voice, Diane Johnson makes a companionable and fascinating guide to a classic neighborhood as cosmopolitan as it is quintessentially French.

    Now, in the hands of the superb biographer Hilary Spurling, the unknown Matisse becomes visible at last.Matisse was born into a family of shopkeepers in 1869, in a gloomy textile town in the north of France. His environment was brightened only by the sumptuous fabrics produced by the local weavers--magnificent brocades and silks that offered Matisse his first vision of light and color, and which later became a familiar motif in his paintings. He did not find his artistic vocation until after leaving school, when he struggled for years with his father, who wanted him to take over the family seed-store. Escaping to Paris, where he was scorned by the French art establishment, Matisse lived for fifteen years in great poverty--an ordeal he shared with other young artists and with Camille Joblaud, the mother of his daughter, Marguerite. But Matisse never gave up. Painting by painting, he struggled toward the revelation that beckoned to him, learning about color, light, and form from such mentors as Signac, Pissarro, and the Australian painter John Peter Russell, who ruled his own art colony on an island off the coast of Brittany. In 1898, after a dramatic parting from Joblaud, Matisse met and married Amélie Parayre, who became his staunchest ally. She and their two sons, Jean and Pierre, formed with Marguerite his indispensable intimate circle.From the first day of his wedding trip to Ajaccio in Corsica, Matisse realized that he had found his spiritual home: the south, with its heat, color, and clear light. For years he worked unceasingly toward the style by which we know him now. But in 1902, just as he was on the point of achieving his goals as a painter, he suddenly left Paris with his family for the hometown he detested, and returned to the somber, muted palette he had so recently discarded.Why did this happen? Art historians have called this regression Matisse's "dark period," but none have ever guessed the reason for it. What Hilary Spurling has uncovered is nothing less than the involvement of Matisse's in-laws, the Parayres, in a monumental scandal which threatened to topple the banking system and government of France. The authorities, reeling from the divisive Dreyfus case, smoothed over the so-called Humbert Affair, and did it so well that the story of this twenty-year scam--and the humiliation and ruin its climax brought down on the unsuspecting Matisse and his family--have been erased from memory until now.It took many months for Matisse to come to terms with this disgrace, and nearly as long to return to the bold course he had been pursuing before the interruption. What lay ahead were the summers in St-Tropez and Collioure; the outpouring of "Fauve" paintings; Matisse's experiments with sculpture; and the beginnings of acceptance by dealers and collectors, which, by 1908, put his life on a more secure footing.Hilary Spurling's discovery of the Humbert Affair and its effects on Matisse's health and work is an extraordinary revelation, but it is only one aspect of her achievement. She enters into Matisse's struggle for expression and his tenacious progress from his northern origins to the life-giving light of the Mediterranean with rare sensitivity. She brings to her task an astonishing breadth of knowledge about his family, about fin-de-siècle Paris, the conventional Salon painters who shut their doors on him, his artistic comrades, his early patrons, and his incipient rivalry with Picasso.In Hilary Spurling, Matisse has found a biographer with a detective's ability to unearth crucial facts, the narrative power of a novelist, and profound empathy for her subject.From the Hardcover edition.

    Don’t miss it.”—Thomas  Fleming) and Civil War Wives (“Utterly fresh . . . Sensitive, poignant, thoroughly fascinating.”—Jay Winik), here is the remarkable life of Elizabeth Patterson Bonaparte, renowned as the most beautiful woman of nineteenth-century Baltimore, whose marriage in 1803 to Jérôme Bonaparte, the youngest brother of Napoleon Bonaparte, became inextricably bound to the diplomatic and political histories of the United States, France, and England.In Wondrous Beauty, Carol Berkin tells the story of this audacious, outsized life. We see how the news of the union infuriated Napoleon and resulted in his banning the then ­pregnant Betsy Bonaparte from disembarking in any European port, offering his brother the threat of remaining married to that “American girl” and forfeiting all wealth and power—or renouncing her, marrying a woman of Napoleon’s choice, and reaping the benefits.Jérôme ended the marriage posthaste and was made king of Westphalia; Betsy fled to England, gave birth to her son and only child, Jérôme’s namesake, and was embraced by the English press, who boasted that their nation had opened its arms to the cruelly abandoned young wife. Berkin writes that this naïve, headstrong American girl returned to Baltimore a wiser, independent woman, refusing to seek social redemption or a return to obscurity through a quiet marriage to a member of Baltimore’s merchant class. Instead she was courted by many, indifferent to all, and initiated a dangerous game of politics—a battle for a pension from Napoleon—which she won: her pension from the French government arrived each month until Napoleon’s exile. Using Betsy Bonaparte’s extensive letters, the author makes clear that the “belle of Baltimore” disdained America’s obsession with moneymaking, its growing ethos of democracy, and its rigid gender roles that confined women to the parlor and the nursery; that she sought instead a European society where women created salons devoted to intellectual life—where she was embraced by many who took into their confidence, such as Madame de Staël, Madame Récamier, the aging Marquise de Villette (goddaughter of Voltaire), among others—and  where aristocracy, based on birth and breeding rather than commerce, dominated society.                                                 Wondrous Beauty is a riveting portrait of a woman torn between two worlds, unable to find peace in either—one a provincial, convention-bound new America; the other a sophisticated, extravagant Old World Europe that embraced freedoms, a Europe ultimately swallowed up by decadence and idleness. A stunning revelation of an extraordinary age.

    This honor catapulted her into contact with both high society and the greatest artists and writers of the day. Marie Antoinette, Catherine the Great, Benjamin Franklin, and Lord Byron were only a few of her vast and prestigious clientele. While describing her life as an artist, Vigee Lebrun also provides an exciting account of the dramatic events of her day, particularly the French Revolution and the Terror, from which she barely escaped.

    A courtesan, she became Louis XV's official mistress and was fêted as one of France's most beautiful women. On Louis XV's death she became vulnerable to those secretly longing for her downfall. Marie Antoinette had her imprisoned for a year, and in 1793 she was executed by the Revolutionary Tribunal for her aristocratic associations. Joan Haslip's classic biography shares the extraordinary and ultimately tragic story of du Barry's life and, in turn, illustrates the dazzling world of the eighteenth century royal court of France and the horrors of the Revolution.

    An inveterate gambler who coined the dictum "if your pictures aren't good enough, you're not close enough," Capa risked his life again and again, most dramatically as the only photographer landing with the first wave on Omaha Beach on D-Day, and he created some of the most enduring images ever made with a camera. But the drama in Capa's life wasn't limited to one side of the lens. Born in Budapest as Andre Freidman, Capa fled political repression and anti-Semitism as a teenager by escaping to Berlin, where he first picked up a Leica and then witnessed the rise of Hitler. By the time his images of D-Day appeared in Life Magazine, he had become a legend, the first photographer to make his calling appear glamorous and sexy, and the model for many of the most intrepid photographers to this day. In 1947, after a decade covering war, he founded a cooperative agency-Magnum-and in the process revolutionized the industry. For the first time, photographers would retain their own copyrights and negatives, and nearly half a century later, Magnum remains the most prestigious agency of its kind. By the time he died, at just forty-one in 1954, Capa was not only the greatest adventurer in photographic history. He had become a colleague and confidant to writers Irwin Shaw, John Steinbeck, and Ernest Hemingway and director John Huston, and a seducer of several of his era's most alluring icons, including Ingrid Bergman. From Budapest in the twenties to Paris in the thirties, from post-war Hollywood to Stalin's Russia, and from New York in the fifties to Indochina, Blood and Champagne is a wonderfully evocative account of Capa's life and times. Based on extensive interviews with Capa's friends and contemporaries, as well as FBI and Soviet files and other previously unpublished materials, Alex Kershaw's biography is every bit as compelling as its charismatic subject.

    When the Nazis invade the city in the summer of 1940, Kitty and Etta begin working with the French Resistance to help British soldiers, left behind in France after its surrender, escape to freedom.

    . . deeply, intimately, totally violated" by a music community that had fundamentally misinterpreted his work. As a profound admirer of Chopin's "promenade of discoveries," Gide intersperses musical notation throughout the text to illuminate his arguments, but most moving is Gide's own poetic expression for the music he so loved.

    A legendary figure in history, Vidocq is known as the first detective and an inspiration to great writers such as Honore de Balzac, Victor Hugo and Edgar Allen Poe. As a player in the criminal underworld, Vidocq is a master of disguises and an accomplished thief, eventually turning his unlawful talents toward catching criminals as the first French chief of secret police. Playing both sides of the law, Vidocq’s life highlights the blurry line between law enforcement and the criminals they pursue. Vidocq has a knack for finding trouble throughout his topsy-turvy life, getting into one hot situation after another, often finding himself behind bars, only to escape the first chance he gets. This book will take you on a whirlwind tour of 1830s France, including the circus stage, pirate ships, prison cells and beautiful women’s boudoirs. Vidocq’s life story is unforgettable and includes some of the best crime stories and juicy tales ever written. Last year, Gerard Depardieu starred in the French film adaptation of the memoirs, -titled Vidocq."He preferred the tumultuous life of danger to the contentment of security. His story is one long swashbuckling adventure as he breaks out of jails, pursues actresses, duels to the death, raids the hells of criminals and stalks the Paris night in a thousand disguises."—Philip John Stead, Vidocq, Picaroon of Crime

    His distinctive brand of architecture, usually moulded around local building traditions (especially those of Kerela, his adopted home state in south India), is instantly identifiable and has, unsurprisingly, revolutionized traditional concepts of architecture in India. Baker's architecture is responsive, uses local materials and lays stress on low-cost design.This biograpy of Laurie Baker, like his work, is direct, simple and comprehensive; further embellished with sketches, plans, photographs and some of Baker's own writings, the book offers the professional architect view of the life, methods and thoughts of an unorthodox genius.

    The result is a brilliant, lively, intimate exchange of letters, sharing of opinions on past and contemporary culture, and Bernhardt's reflections on her career, friends, motherhood, lovers, money and fans. Though the letters are imaginary, the real woman, Sarah Bernhardt dominated the stage not only in her native France, but throughout the world for sixty years, literally until the week she died in 1923.