She walks in beauty - Lord Byron
She walks in beauty, like the night
Of cloudless climes and starres skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes;
Thus mellowed to that tender light
Which heaven to gaudy day denies
One shade the more, one rady the less
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.
And on that cheek, and o’er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
”Anthony and Audrey developed a really good relationship, and he brought out a facet of her personality I had never seen before. At times, they acted like two young kids. I would say Tony seemed like a brother to Audrey and watched over her. If he saw her sitting by herself on the set, maybe looking a little sad, he would jump in, shaking her chair until he had her laughing, or getting her a cup of tea, telling her a joke - anything that would perk up her spirits.”- Bob Willoughby
Watch out! It’s Audrey Hepburn’s birthday! (May 4, 1929)
”Her beauty has proved timeless — should we be surprised? Equally graceful whether moving or standing still, blessed with a balletic poise, luminous dark eyes, and an exquisite profile a queen might envy, Audrey Hepburn would no doubt have become famous in her youth even if the movies hadn’t found her — simply because no self-respecting camera could resist her. What sets her iconic beauty apart now, for us, more than a decade after she’s quit the stage of this life, is that her physicality is oddly secondary. Her extraordinary good looks merely halo a still-living smile.”
Audrey Hepburn and Albert Finney on the set of Two for the road, 1967.
Marc Chagall (French; b. Byelorussia, present-day Belarus, 1887-1985) first conceived of the idea for the America Windows in 1974 when he visited Chicago for the unveiling of his mosaic in the First National Bank Plaza. At that time, Chagall learned that a gallery in his honor was being planned as part of the Art Institute’s 1970′s expansion program and offered to create the windows for the gallery. After working on the windows’ design, Chagall announced that the theme for the windows would be the American Bicentennial, and, when he learned of Mayor Richard J. Daley’s death in 1976, he decided that the windows would also serve as a memorial to the late mayor. Chagall designed the America Windows expressly for the Art Institute and created them in collaboration with the French stained-glass artist Charles Marq. Marq fabricated 36 colored glass panels to Chagall’s specifications, and Chagall himself painted his design onto the glass using metallic oxide paints that were permanently fused to the glass through a subsequent heating process. The windows, measuring more than eight feet in height and more than 30 feet in width, are each made up of three parts, each with 12 separate sections. The images on the panels are unmistakably from the hand of Chagall, who infused his landscape of familiar American icons, references to Chicago, and symbols of the fine arts with an ethereality that suggests the creative expansiveness made possible by American freedom and liberty.