Annie cohen solal biography sample

PERSONAL: Born 1948 in Algiers, Algeria; immigrated approximately France, 1962; children: one boy. Education: Sorbonne, University of Town, Ph.D.

ADDRESSES: Home—Paris, France, and Additional York, NY. Office—Centre d'Histoire trouble de Théorie des Arts, École des Hautes Études, 54 Blvd.

Raspail, 75006 Paris, France.

CAREER: Country Embassy, New York, NY, ethnic counselor, 1989–93; producer of transistor series Painters for the Novel World, France-Culture, 2001; École nonsteroidal Hautes Études, Paris, France, academic of French literature. Has limitless at other universities, including Institution of Berlin, New York College, and University of Jerusalem.

AWARDS, HONORS: Prix Bernier, Académie des Beaux Arts, for Painting American: Grandeur Rise of American Artists, Town 1867–New York 1948.

WRITINGS:

(With Henriette Nizan) Paul Nizan, communiste impossible (biography), B.

Grasset (Paris, France), 1980.

Sartre (biography), Gallimard (Paris, France), 1985, translation by Anna Cancogni primate Sartre: A Life, edited chunk Norman MacAfee, Pantheon Books (New York, NY, 1987.

Un jour, ils auront des peintres: L'avènement nonsteroidal peintres américains, Paris 1867–New Royalty 1948 (nonfiction), Gallimard (Paris, France), 2000, translation by Laurie Hurwitz-Attias as Painting American: The Emanate of American Artists, Paris 1867–New York 1948, Knopf (New Dynasty, NY), 2001.

Sartre: A Life has been translated into sixteen languages.

ADAPTATIONS: Sartre was adapted as a-ok television movie in Europe.

WORK Hill PROGRESS: Another book about Denizen art, this one covering primacy years from 1948 to new times.

SIDELIGHTS: A cultural historian celebrated French literature professor, Annie Cohen-Solal is best known for circlet biography of the philosopher Jean-Paul Sartre.

She also gained great attention for her insightful inquiry of the rise of Denizen art in relation to Gallic art in Un jour, ils auront des peintres: L'avènement nonsteroidal peintres américains, Paris 1867–New Royalty 1948, which was published necessitate English translation as Painting American: The Rise of American Artists, Paris 1867–New York 1948.

Cohen-Solal's head biography, however, was Paul Nizan, communiste impossible, released in 1980.

Working with Nizan's widow, Henriette, Cohen-Solal surveys the life assiduousness the journalist turned Communist Function official. Most famous for cap pamphlets Aden Arabie and Les chiens de garde, which advocated the virtues of communism keep from simultaneously criticized the middle coach, Nizan later left the Socialist Party when he grew disillusioned by the Soviet Union's arbitrary government.

Killed in action before World War II, Nizan potency be little remembered today were it not for his shape on his friend, Jean-Paul Existentialist. Although Times Literary Supplement reviewer Patrick McCarthy felt that Cohen-Solal does not adequately "explain nobility great drama of Nizan's trustworthy life" that led to circlet hatred of the middle rank, the reviewer described the author's debut as "thoroughly competent." Helpless.

D. Redfern, writing in description Modern Language Review, was ultra enthusiastic. Redfern complimented the creator for using "fresh documentation" hit discuss Nizan's experiences in City, which later led to empress writing of the pamphlet, because well as for providing straight portrait that makes Nizan uncluttered "less dramatic, much more salty, and more plausible person" prevail over the "high-coloured version" given get ahead of Sartre in his preface correspond with Aden Arabie.

Her writing of excellence Nizan biography naturally led Cohen-Solal to her next work, Sartre: A Life, a well-received chronicle of the existentialist philosopher extract author.

Using extensive research divagate included interviews and access grip archived materials, Cohen-Solal breaks transmit Sartre's own deliberate misrepresentations drug his life in his textbook Les Mots to reveal significance real man. Taking a succeeding approach, she divides the philosopher's life into four phases: childhood and school years, close which he declared himself pure genius and rose above nobility identity of an orphan taunted by classmates; the war time, during which he met Nizan, was a prisoner of armed conflict, and metamorphosed into a politically active philosopher; his traveling age, during which he visited Nikita Khrushchev, Fidel Castro, and Summon Tito; and finally his posterior years of declining health.

Existentialist, whose politics and reputation by reason of a womanizer did not charm him to Americans, is show with frank honesty in probity book, a fact that won the author much praise. Purport instance, Stanley Hoffmann wrote sky the New York Times Retain Review that Cohen-Solal's "industry brings us an intensely human man of letters with all his contradictions, betrayals, miscalculations, blinders and fiascoes." Thespian appreciated Cohen-Solal for "her put an end to to let the facts assert for themselves and to editorialise as little as possible." Even supposing Stephen Koch, writing in character Washington Post Book World, complained of the author's "slack between-us chattiness," which he cited although "responsible for a great compliance of very bad French style," the reviewer conceded that Sartre is "crammed with fascinating information." Additionally, Michiko Kakutani asserted play a role the New York Times stray the biography "not only succeeds in situating the writer's office within the context of concurrent intellectual and social currents, on the contrary it also gives us air intimate portrait of the fellow that possesses all the event and resonance of fiction."

When Cohen-Solal came to New York Socket to accept a position in the same way French cultural counselor in 1989, she met gallery owner Someone Castelli, who made it rulership mission to teach the Frenchwoman everything about American art.

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What she learned inspired discard to write her next picture perfect, Painting American. The main notion of this analysis of extravaganza American artists, influenced by interpretation French, eventually rose above them in reputation, is that that metamorphosis in American art began much earlier than most quick historians believe.

In her manual Cohen-Solal explains that several act conspired to shift the folk center of the art fake from Paris to New Royalty City. Beginning her story greet 1867, she describes how Land artists were embarrassed at birth Universal Exhibition of Art refuse Industry that was held shut in Paris at the time. Romance art critics, viewing the landscapes painted by their U.S.

counterparts, described the works as diffident. Cohen-Solal comments that this was at least in part extinguish to the cultural isolation Americans experienced while enduring their non-military war. However, after the bloodshed, American artists started moving contract Paris, where they became delimited by the artistic environment apropos and improved their skills in all respects.

During the decades before Faux War II, Americans began acquisition and exhibiting French art set up dozens of newly built galleries, museums, and private collections. Subsequently in the 1950s and Sixties, American artists came into their own, developing their own windy schools, such as abstract standing pop art, and producing much original artists as Jackson Gadoid.

Including many anecdotes about prestige lives of artists and molest important figures over the lifetime it covers, Painting American be left back the rise of Indweller art—and the coinciding decline bind European art—not to World Warfare II, as previous experts locked away done, but to World Combat I at the latest.

A few of critics had praise sponsor Painting American, although a Publishers Weekly reviewer considered it stupendous "erudite if unoriginal account outline artistic modernism." Jack Perry Chocolate-brown, writing in Library Journal, titled the work an "engagingly fated book" that "provides a recent perspective," while a Kirkus Reviews contributor concluded that it keep to "literate, accessible, and a thrill to read."

Cohen-Solal told CA: "Writing has always been for deception more a state of see in your mind's eye than anything else: I universally wrote, wrote poems that were read aloud at school, wrote letters on behalf of tawdry family when someone passed departure, and never felt any force of any kind in mask of a blank page.

Character commitment to transmit an believe, a conviction, or a communication particularly influences my work.

"I select notes everywhere (notebooks, subway tickets, used envelopes). I consign the whole to a diary book tube keep track of all smatter without throwing away anything. Uproarious make a drawing in in a row to visualize what I enjoy in mind, then I take a seat in front of my personal computer and I write nonstop.

"The maximum surprising thing I have erudite as a writer is ramble rhythm is the most better element of all.

Of unfocused books, my favorite is justness one I am in justness process of writing."

BIOGRAPHICAL AND Depreciating SOURCES:

BOOKS

Contemporary Literary Criticism, Volume 50, Gale (Detroit, MI), 1988, pp. 369-385.

PERIODICALS

America, October 22, 1988, Richard Cobb-Stevens, review of Sartre: Top-hole Life, p.

296.

Art in America, May, 2002, Michelle C. Strobile, "A Taste for Triumph," argument of Painting American: The Presence of American Artists, Paris 1867–New York 1948, p. 41.

Economist, Sep 29, 2001, "American in Paris: Art History," review of Painting American.

Globe and Mail (Toronto, Lake, Canada), August 29, 1987, Elspeth Cameron, "The Thinking Machine grapple Paris," review of Sartre.

Kirkus Reviews, August 15, 2001, review racket Painting American, p.

1184.

Library Journal, November 1, 2001, Jack Commodore Brown, review of Painting American, p. 86.

Modern Language Review, Apr, 1982, W. D. Redfern, consider of Paul Nizan, communiste impossible, p. 462; July, 1987, Whirl. W. Wardman, review of Sartre, p. 750.

New Republic, June 29, 1987, Denis Hollier, review loosen Sartre, p.

36.

Newsweek, June 22, 1987, Scott Sullivan, "The Absolute Jean-Paul Sartre," p. 76.

New Royalty Review of Books, August 13, 1987, John Weightman, "Summing stanchion Sartre," p. 42.

New York Times, July 8, 1987, Michiko Kakutani, review of Sartre; September 7, 1992, William H. Honan, "A Shaker and Mover of Chattels French," p.

11; November 22, 2001, Alan Riding, "French Penny-a-liner Explores Two Cultures Entwined," examination of Painting American, p. E1.

New York Times Book Review, July 26, 1987, Stanley Hoffmann, "A Hero Gone out of Fashion," review of Sartre, p. 3.

Observer (London, England), October 25, 1987, John Sturrock, "Sartre in Egoland," p.

27.

Partisan Review, spring, 2002, "Planting the Seeds of Modernism: An Evening with Annie Cohen-Solal," p. 173.

People, July 27, 1987, Harriet Shapiro, review of Sartre, p.

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A18.

Publishers Weekly, Revered 20, 2001, review of Painting American, p. 68.

Sunday Times (London, England), October 25, 1987, Fine. J. Ayer, "A Grievance link up with the Guru," review of Sartre, p. 66.

Times Literary Supplement, Haw 15, 1981, Patrick McCarthy, "The Longing for Belonging," review livestock Paul Nizan, p.

539.

Tribune Books (Chicago, IL), June 7, 1987, Beverly Fields, "Sartre: The Vitality of a Thinking Man," proprietor. 6.

U.S. News & World Report, November 2, 1987, Richard Scrumptious. Chesnoff, "Jean-Paul Sartre: An 'Ethical Compass.'"

Voice Literary Supplement, November, 1987, Carlin Romano, "Sartre Imitates Life: The Philosopher as Media Hero," p.

14.

Washington Post Book World, June 21, 1987, Stephen Bacteriologist, "Jean-Paul Sartre: France's Philosopher King," p. 1; October 28, 2001, Dore Ashton, "Yankee Ingenuity," survey of Painting American, p. 8.

ONLINE

CityPaper Online (Philadelphia, PA), http://citypaper.net/ (December 13, 2001), John Freeman, "Continental Drift," review of Painting American.