Chapter 53 III Montparnasse, the open city (1) - 4

Like many French artists, Russian ballet astonished me with its beauty, so it was only natural that it had some influence on me. Paul Poiret Competition in the Parisian fashion industry is also fierce.Soon, Doucet's supremacy was replaced by a number of younger dressmakers.Ducet sold his fashion house in 1924.Among these young people, the most striking is Paul Puvale.He introduced more vivid and beautiful colors-green, red and blue into fashion, completely changing the staid tradition of lavender and rose red that his predecessors had long adopted.He completely freed women from the corset, introduced the bra, and developed the more form-fitting dress.

Paul Puvale, who once worshiped Jacques Doucet as a teacher and was trained by Jacques Doucet, also contributed money to the cause of literature and art.His achievements are also comparable to those of his predecessors, and he has also made outstanding contributions to French literature and art. Paul Poiré first made his name on the French fashion scene when he made Reiana a black coat in silk mesh eyeball tulle.Puvale designed some clothing styles for his fiancée, but his fiancée took the drawings he designed to another female dressmaker to make clothing.Jacques Doucet would never forgive Paul Puvale for this practice, so Puvalet completely left his master Jacques Ducey.

Poiret took off quickly after his freedom.He bought a beautiful villa in the Saint-Honoré district and began to make high fashion for the upper classes, especially for the ladies, ladies and ladies of the upper class. Paul Poiret was by no means indifferent to the art of his time.Between cubist works and ballet, he loves ballet more, and his artistic creation is also influenced by ballet art to a certain extent.Paul Poiret, however, was naturally vain and boastful, and he never forgot to point out that he was famous long before Mr. Baxter. When Montmartre was in its heyday of art, Paul Poiret began to frequent the "laundry boat" where artists lived.It was he who encouraged the beautiful female customers who came to him to go to Max Jacob's shabby room.Jacob used cards to tell fortunes for famous ladies in the shabby room.And Poiret himself?He invited some disheveled artists to a lavish extravaganza he organized.He also used similar opportunities to hype his theory: fashion and other arts, as much an art.And Apollinaire gave him the answer: If fashion is art, it can only be a low-end art.

The two of them reached an agreement verbally, but Puvale was very dissatisfied in his heart. However, Paul Puvale was very affectionate to Max Jacobs, and there was a very special feeling between them.For everything, for all decisions: what color tie to choose, what color socks to choose, how to organize the time of the day, etc., Paul consulted Max.He suggested to Max Jacobs that a play he had written be staged at his private mansion on the Rue d'Antin.During the First World War, Picasso's "The Maiden of Avignon" has been exhibited in the mansion.Paul Poiret wove this upper social web around himself.This provided Max Jacob with the convenience of knowing whom to turn to when he was penniless and in a desperate situation.

Among his friends, the poet (Max Jacobs) does not think very highly of Paul Poiré.He criticized the fashion designer for not liking his friends and being too reserved artistically.This is an irrefutable fact.There is a curious phenomenon in which he admires what he sees in the Laundry Boat without joining Cubism: I am no stranger to Picasso's explorations, but I always regard his studies as exercises and explorations of ideas confined to the studio.These researches and explorations should neither go beyond the circle of artists, nor should they go to the society and meet the public. [Excerpt from "Arming the Age with Art" published by Paul Poiret in 1930]

Paul Poiré's great strength comes from bringing the arts together. Paul was close to dancer Isadora Duncan.After the death of her two children, Isadora Duncan confided to Poiret a plan that had been conceived in her head: she hoped to have a male heir, who should have the strong and graceful temperament of a gifted poet. Physique and superior intellect. "Maeterlinck!" Maurice Maeterlinck (1862-1949), a Belgian French writer, won the Nobel Prize for Literature in 1911.Exclaimed Poiret, because he had just read one of his works the night before. Isadora Duncan immediately ran to find Maeterlinck and asked him point-blank if he would agree to have a child with her.The writer flatly refused because he was married and doing so would cause a lot of trouble.

Poiret also thought of Max Jacobs, but he did not tell Isadora his name. After Fernand Olivier cut off contact with Picasso, he worked in Paul Puvale's fashion house for a while.She revealed to Paul Leoto that Poiret's shop also received prostitutes and clients during the day, and complained that Paul Poiret was very amiable to the outside world, but he treated his employees very viciously.His only advantage is that his collection of avant-garde paintings is indeed the most beautiful in Paris. A young American photographer admires his collection. One day in the autumn of 1921, holding a cardboard box containing his photographic works, he came to the front entrance of Poiret's villa on the Rue d'Antin.It was Gabriel Biffet-Picabia who had sent him to the house of the master of costumes.

A man in the uniform of a guard stood at the gate of the garden, obviously the guard who had been waiting for a long time.The photographer spoke his name to the doorman.He was led into the gate, and walked slowly along the winding path carved out of the lawn while watching.He saw many crocuses planted on the green lawn in front of him, and some colorful tables and chairs were scattered here and there in the middle of the garden, as if he had entered a royal palace—the Palace of Versailles. Visitors ascend the three steps of stone steps and see two bronze doe on either side of the steps.This was transported from the ruins of the Roman monuments in Pompeii at the foot of Mount Vesuvius near Naples, Italy.He entered through one of the ten doors that opened inwards, and stepped onto a maroon carpet lit by numerous crystal chandeliers lining either side.At the end of the carpet was a stout, generous, carefully carved stone step.

A young waiter led him up the elevator to the second floor.The American photographer walked along a corridor flanked by numerous fitting rooms.At the end of the corridor, he entered a hall.In the center of the hall stands a statue carved by Brancusi.Some ladies and wives were chirping about a new dress a mannequin was wearing. The photographer approached a herald, explained to him that he had an appointment with Mr. Poiré, and asked how he could be seen.The other party replied, "Please follow me." They walked through one hall after another, through one corridor after another, and slowly finally came to the door of an office.And there is a sign on the door that reads:

Please note!Danger! Before knocking on the door, you must think twice and carefully consider: "Do I have to disturb him?" After being briefed, the American photographer was led into a room.There stood a man in a canary-yellow shirt and striped trousers, with a spiky beard and sparse, thinning hair on top of his head.American photographer puts a cardboard box on his desk.The costumer opened the box, looked at it carefully, and said to the guest: "Okay. What can I do for you?" "I do not know either." "Have you ever taken a fashion photoshoot?"

"Never, but I'd love to. I just don't have a studio." "Whoever works with me does it with me." Puvale waved his hand, pointing to his office, all the gardens and the second villa in the distance, and replied coldly. "The cameraman has to be on set... Do you have the equipment you need?" "I need a darkroom." "We'll lend you one for your use." Photographers were allowed to take pictures of some of the mannequins after they got off work. He came back to take some photos after others got off work.Then he went back to a dark hotel in Paris where he was staying, developed the photographs and sent them to Poiret at once. The costumer exclaimed, "It's so beautiful!" The American photographer seized the moment and boldly asked: "How much do you pay me?" Hearing this, Poiret grimaced in surprise, and replied: "I never pay photographers! ... It's the business of the pictorial agency!" "But I just arrived in France, and I don't know anyone!" The photographer almost shouted. At this time, Puvale also behaved quite generously.He bought several pictures of the American and paid him 200 francs. At that time, his wealth had begun to dry up, and it took only a few years to exhaust it all.He was actually a victim of banks, tax officials and the "socialist threat". In the mid-1920s, the Poire empire collapsed completely, so he had to leave Paris and live a hermit life in a small house in the outer suburbs of Paris.He complains about everything around him, even the whole planet, and considers taking his case to the World League for Human Rights.In the end, he gave up because he was worried that "this institution would be stained with freemasonry and lose its independence". Poiret has always retained a friend, his doctor.One day, the doctor came to the American photographer and asked him to accompany him to the house of Paul Puvalet.A photo is urgently needed as a memoir by a desperate fashion guru is about to be published. To express his gratitude for his generosity of 200 francs, the photographer went out of his way to make a trip for him.Puvale received him graciously.Take out all the things he has to entertain the photographer.They ate together, drank together, and went for walks together.When they returned after dark, it was impossible to take pictures because the lights in his room were too dim.They had no choice but to break up with infinite regret. A few days later, the doctor who had acted as their go-between came to the American photographer's house.It strikes the photographer that there are certain similarities between the doctor and Poiret in his prime.He casually took a picture of him. When Poiret died twenty years later, paralyzed in bed after years of rancor and extreme paranoia, a weekly magazine asked the photographer if he could find a photograph of the deceased in his archives.The photographer sent the photo of the doctor to the magazine.The doctor's photograph was published as an illustration for an article about Paul Poiré—his life, his achievements.No one, except American photographers and doctors, has discovered the mystery. People have never been able to learn the doctor's name.And what about the photographer?He has been living in Montparnasse, Paris, France since the summer of 1921, and his name is Man Ray. Man Ray and the Woman Without a Hat I made the acquaintance of an American with great photography skills... He said to me: "Kiki, please don't look at me like that! Your eyes make me flustered!" kiki On the day of shooting the mannequins at Paul Poiré's house, Man Ray returned to his shabby hotel room, closed all the curtains in the small room, turned on a dull red light, and began to develop the negatives. .At that time, he had very few raw materials, only a few necessary chemicals, two pots, some photo paper and small utensils. He soaked the paper in a developer solution.Due to carelessness, a piece of unsensitized photo paper slipped into the medicine in the basin around the corner of the clothes.He took the sheet of paper out of the tub, unconsciously placed a glass funnel on it, and turned on the light.He was surprised to find that a miracle occurred: Before my eyes, an image gradually appeared.This image is not just a simple outline of the surrounding objects: the surrounding objects are projected onto the photo paper through the refraction of each glass surface on the funnel that is in contact with the photo paper or not. The image formed is completely deformed, and the part directly facing the light Protruding from the black background, it resembles a relief. [Excerpt from Man Ray's "Automatic Image", published in 1986] Man Ray immediately dismissed the photographs taken at Poiret's home.He grabs whatever is at hand: keys, handkerchiefs, pencils, and thread, lays it out on developer-soaked or even unsoaked photo paper, and holds it all up to the light.He developed the paper so treated and let it dry. The next day, he hung the results of these experiments on his bedroom wall.That same evening Tristan Chara (who had come to Paris a year before) knocked at his door.Man Ray let him in, and showed him the fruits of the night before.The young Romanian was immediately thrilled.The two of them immediately started to arrange a large number of objects on the photo paper in various ways, illuminated them with lights, developed them, illuminated them again, developed them again, and repeated them in turn until midnight.And thus the folding line photography was born.The discovery of this technology made camera-less video possible.A year later, Man Ray published his first series of zig-zag photography, "Wonderful Pictures", which was inscribed by Tristan Tzara. Man Ray's father was a Jewish seamstress by profession.Before taking up photography, Man Ray was a painter.He took Ferrer classes.A class is named after an educator because it was created by supporters of the anarchist cause for which Francisco Ferrer, whom Picasso always admired, died.Before Man Ray came to Paris, he often went to the places where the avant-garde artists in New York State were active.His first visit was the Alfred Stiglitz Gallery at 291 Fifth Avenue.It was in this gallery that he met Francis Picabia and Marcel Duchamp, and the relationship between them has always been very close. Man Ray owned a camera himself and used it to photograph his works.Long-term photography practice led him to discover the rich technique of duplicating black-and-white photos, and finally he developed to "destroy the original and keep only the copy" [from the "Man Ray" part of the National Photographic Technology Center archives].Before long, he believed that "painting is only an outdated means of expression" [from Man Ray's "Automatic Image"], which would inevitably be replaced by photography sooner or later.Later on other occasions, he expressed his point of view many times. In New York, he looked everywhere for models, not only for his paintings, but also for his photography.One day, he met the female sculptor Berenice Abbott in a bar. In Paris, she worked as an assistant for Man Ray for three years. , and took a photo of her.Man Ray's "For the Sculptor" won the Photography Award, which was Man Ray's first photography award.Over the course of several months, Man Ray photographed quite a few people: Edgar Varese, French composer. , Marcel Duchamp, writers Dejuna Barnes and Mina Loy, among others. Marcel Duchamp was the first to leave New York and return to Paris.After collecting enough travel expenses, Man Ray packed his oil paintings and some Dada things in a wooden box, took it on board the ferry across the Atlantic, followed his friend Duchamp, and also came to Arrived in Paris.Duchamp rented a room for him in a hotel in the Passy district of Paris.Later Tristan Chara also stayed at the hotel.In this way, Man Ray had frequent contacts with the Dadaists and Surrealists in Paris, and with Breton, Aragon, Éluard, Su Bo, Desnos and other surrealists. Realists form deep friendships. One day, Su Bo suddenly came up with an idea: to organize a photography exhibition for the photography works brought by Man Ray from New York.In the promotional materials issued for this photo exhibition, Dada introduced Man Ray as a coal merchant and chewing gum king, and a rich man who was very good at photography.People don't identify with photographers with those titles, and the show didn't sell any work.So Man Ray changed his strategy and began to photograph Picabia's oil paintings, and then photographed Cocteau and other famous paintings.So, he immediately became famous all over the world. Man Ray met a young woman in 1921.She became his first photography model.She even brought great enlightenment and inspiration to the entire art world of Montparnasse for many years to come.At that time, the photographer Man Ray, accompanied by the Russian Marie Vasilyev, was chatting in a pub next to the Dome and Rotonde pub on Vawan Street.There were many people in the tavern, and it was very crowded.After the war, almost all the regular customers of the tavern came: painters who were not very poor, American writers, Swedish dancers, a large number of models, Poles, Japanese, Russians, Cocteau, Jules who came back from the United States Parsons, an Indian dressed as a shepherd boy with colorful feathers on his head, a Bulgarian mute with a curtain ring on his nose, and others in disguise, the men barefoot and the women naked, all ready to dance.At a table in the distance, two women with heavy makeup and jewels were chattering loudly.One of them is Kiki, who is furious at the tavern waiter for refusing to serve her because she wasn't wearing a hat.The waiter was gentle, but very firm and decisive.She argued that the tavern was not a church, and that anyone who wanted to come, and whoever came, should serve.She went on: "Give me a glass of strawberry wine, and my friend one too." The waiter backed down and went to fetch the boss. "Without a hat, there is a possibility of confusion," said the boss. "With whom, with an American woman?" American women have the right to enter pubs, even without hats. "That was not what I meant." "Then what do you mean?" "Without a hat, people risk thinking you're a..." "A what?" "A bitch!" When Kiki heard this, he jumped up angrily.With one foot (barefoot) on the chair and the other on the table, she argued aloud in a high-pitched voice with a mocking tone that no one else could imitate, that she was born in Burgundy, France, French through and through, she was bastard and charming, but she never paid for her charm.Then she swore that neither she nor her friends would ever come to the tavern again.After finishing speaking, he jumped off the table, shook off the surrounding curtains with his hands, and yelled angrily: "No hat, no shoes, and no pants!" and walked out of the tavern. At this moment, Man Ray held out a hand in the direction of the waiter, and Mary Vasiliev told the two women to stay.Man Ray said, "Serve the ladies two glasses of wine, please." "Come and sit with us, please," Mary said to the two women. Kiki sat obediently beside them. "Are they with you?" asked the waiter. "Yes," replied Man Ray. "Because I have no right to serve a single woman." "...unless they're wearing hats," Kiki corrected him. What followed was a few of them clinking glasses from time to time, drinking and chatting unhurriedly.After drinking in this pub, I went to another pub.Then went to a restaurant for dinner.At the dinner table, they proceeded to drink heartily. "You're our American friend!" shouted drunken Mary and Kiki hysterically. "Our American friend is a millionaire! A millionaire!" Next, they went to the cinema, and the film that was being played was. Two women sat on either side of the monopoly.Kiki stared at the screen intently, obsessed like a child.And Man Ray was looking for her hand.He found it, and held on to it tightly.But she didn't respond, but she didn't take her hand away either. When leaving the movie theater, Man Ray told Kiki that he really wanted to be able to draw her portrait, but because he was very flustered, he might not be able to draw it well.She replied: She was used to it, and all the painters who painted her portraits were in the same state of mind for the first time. "Then I have a separate suggestion for you. Let me take your picture." "That's absolutely impossible," Kiki shouted. However, the next day, she herself came to the hotel where Man Ray was staying, went straight to his room, and stripped naked as soon as she entered: she asked him to take nude photos of her. After Man Ray took a few shots, they went downstairs to the tavern together.He asked Kiki to come back and take another shot, so that he could see how the first photo was taken.The next day, she came again.Together they looked at the results of the previous day's work.Then, Man Ray prepares the camera and Kiki undresses.He sat motionless on the bed, and she threw herself on him.He took her hand and she stretched out her lips to him.Since then, the two of them have been together for six years and have never been separated. He only painted women and cats, and hardly anything else: lo and behold, his own mistress was about to stalk up the stage like a beautiful, well-behaved child, her movements slow and rhythmic, her eyes vacant, Look. Roger Wayan Just as Kiki fell into a blissful sleep for the first time after falling in love with Man Ray, a young girl in her twenties opened the door and entered the apartment she lived alone in Rue Cardine.She has a round face, a plump figure, chestnut hair, and black eyes.Her parents died three years ago, and she became an orphan, but the inheritance left by her parents was enough for her living needs, so she didn't work.Her name was Lucy Badour. Lucy Badour put the large package of books she had just bought on a table, went into the bathroom, and carefully removed her lipstick and powder.After removing her makeup, she picked up the pile of books and went into the bedroom.A kitten with reddish-brown fur followed her into the bedroom.The girl got under the covers, picked out a book "The Sitting Woman" with a title that interested her from those books, and read it hungrily.Before reading that book, she neither knew the author of the book-Guillaume Apollinaire, nor the area he described in the book-Montparnasse.After reading it, she felt that the bar was wonderful, the people living there were so free, and the atmosphere there was very different from the atmosphere that Lucy Badour was familiar with.Suddenly she felt an uncontrollable passion and longing. She jumped out of bed, dressed, reapplied, hugged her kitten, and left Rue Cardine, direction: Metro station. She got off the subway at Montparnasse station and walked out.Go straight along a boulevard towards Luo Tongde, the incredible tavern described by Apollinaire.The tavern was full of people, whether it was the first floor or the second floor, there were no empty seats.She was completely disappointed, and when she was about to retreat, a group of Spaniards left, leaving a seat vacant.She quickly sat down and observed everything around her curiously.She has never seen such a lively scene anywhere, and the relationship between those who are constantly coming in and out is so tacit and harmonious.It can be seen that they are all regular visitors here, and there is a deep friendship between them.Lucy was stunned, intoxicated, and fascinated by everything in front of her. She stayed there until late at night before returning home.The next day, she came to Luo Tongde again without hesitation.This time, there were slightly fewer people in the hall than the day before, and not only people's shadows could be seen, but a person's face could also be seen. For example, the person who just walked in the door.An Asian man, who came in alone, with bangs on his forehead, tortoiseshell glasses, and a cloth belt tied to his hips, the hem of a red and white checked cotton shirt sticking out from under the coat.Lucy watched the man carefully through the veil.She knew very well in her heart that she was conquered by that unknown person, because when she saw him just now, a feeling of electric shock spread all over her body.However, the man turned and walked away.The girl still sat there motionless.She yelled at the waiter, asked for a drink for her, and then asked for a second drink, a third drink... until she drank the sixth drink, she had enough courage to ask others, which made her fascinated and unaware. Who is that person at a loss.She stood up, stood in the middle of the tavern hall, and asked if anyone knew the Japanese who had just left.Someone she didn't know stood up and replied, "Come with me, please." This man is a painter.He led the girl to his house.In just a few moments, he had drawn a portrait of the Asian in charcoal. "is it him?" "Yes." Lucy replied. The painter rolled up his painting, handed it to her, and said: "His name is Fujita. Do you want to know him?" "Of course! Please give him my address." Lucy begged. Then she wrote a note to the painter, and went home.She hung that portrait of Fujita on the wall.She waited at home for a week, but she never saw Fujita.Lucy couldn't bear it anymore and went to Montparnasse again.The painter who had painted portraits of Japanese led her to No. 5 Delambe Street, where Fujita's studio was located.After seeing Lucy, Fujita gave her a Japanese fan and agreed to have a date at Luo Tongde Tavern that night. Lucy showed up for the appointment on time.After the two of them had dinner together, he took her back to his lodgings.They stayed behind closed doors for three whole days.On the fourth day, when they returned to Luo Tongde, Lucy was no longer called Lucy.Fujita gave her the Japanese name Yoki, which means "rose snow" (Lucy retained the nickname Yoki until 1931, when she fell into the arms of Robert Desnos). How was her life with Fujita?It could be called a nightmare, that was obvious.Because Fujita's legal wife is Fernand.Although she had followed others away a long time ago, she still would not give up her position easily and give her her place.When Fujita exhibited "Angel in the Snow—Yaoji" at the Independent Art Exhibition, Fernand came to the exhibition to openly provoke her husband's lover and viciously attack Lucy with impunity. Montparnasse in the 1920s was a world of sound and light.A large number of friends gather there, often twenty or thirty people, sometimes two or three times, or even more.Everyone drank, sang, danced, recited poems and painted pictures, talked about the past and the present, and it was very lively. Different people treat guests, the number of guests is different, and the classes are also different. When the Count of Beaumont entertained guests at his private residence in the Rue du Roque, all the reception rooms, corridors, and staircases were filled with people, and the upper and lower floors became ballrooms.Most of the guests came in disguise and masks, and Yaoji often could not recognize them: Malgussi disguised as a farmer, Van Dongen as Neptune, Kisling as a southern prostitute... Women wore peaked caps and chests. The front is tied with an officer's bar belt; the men wear wigs, some disguise themselves as white-faced clowns or matadors, and some wear navy uniforms and disguise themselves as soldiers.Disguised as King Fujita, he often comes in Japanese robes.One night, he was seen disguised as a porter, naked, with a cage on his back and a woman sitting in the cage.He sometimes wore many hoops, sometimes huge earrings, and his head was either wrapped in cloth or a folded top hat.Everyone laughed heartily, drank big cups, sometimes with this and sometimes with that, dancing smartly, carefree, and dripping with joy. If not on Rue du Roque, then at Watteau's home on Rue Jules-Shaplin.That's Scandinavian territory.They organize at least one grand ball every year.Whenever there is such a dance, almost the whole of Montparnasse participates.Similar dances are often held in Montparnasse, and even if they are not here, there are other places.People chose some workshops to be arranged as dance halls, and painters were responsible for the decoration of these places, and posted advertisements on the streets to expand publicity.The Union of Artists of Russia often gave up their clubhouse in Birier to the Aide Amicale Aux Artistes (AAA - Aide Amicale aux Artistes), which organized evenings for impoverished artists.People also participate in a dance called the Four "Z" Art.Participants start from the courtyard of the museum, and end at the Place de la Concorde or the Luxembourg Gardens late at night or even early in the morning, where the closing ceremony is held.Every weekend, people who like to be lively choose one of Saturday or Sunday, sometimes on Saturday and Sunday, and gather in the "black ballroom" to participate in the dance.Crowds of people - many blacks, mulattos, large numbers of soldiers returning from the colonies and a growing number of poets and painters - frantically danced the "binina" (a dance originating in the Antilles) ), playing drums and clarinets, and swigging punch and rum.They sang and danced, and drank and yelled. Sometimes, they also go to the Moulin Rouge or the Pompier Ballroom in the Montmartre district to dance. After the dance, they go to a quieter place nearby to rest and entertain. Yaoji and Fujita sometimes stop at the Chameleon restaurant at the intersection of Avenue Montparnasse and Avenue 1 Champagne.In the past, there was no one there during the day, and they used to go there to eat some sauerkraut, which was not much more expensive than spaghetti; some itinerant vendors sold some small commodities such as mattresses or silk stockings to pitifully few customers there.Since the sculptor Alexandre Messereau decided to invest in this old tavern, the Chameleon Restaurant has been transformed into the Open University of Montparnasse.After giving it new vitality, it is always full of customers from morning to night, and it is a prosperous scene, especially at night.As soon as it gets dark, painters and poets from various countries and speaking different languages ​​gather here. Some recite poems, some paint, some give lectures, and some compile their own works into dramas and dramas. The live performance is so lively.Every Sunday, they come to watch humorous and lively programs in large numbers.Some high-society figures come here from time to time, such as Cocteau and the Countess of Noailles, Comtesse Mathieu de Noailles (1876-1933), a new romantic poet. . This lady has admired Fujita for a long time. Rather than saying that she appreciates his superb painting skills, it is better to say that what makes her more admire is the perseverance of this Japanese who never gives up the position of high society princesses and wives. indomitable spirit.He had already painted portraits of the Countesses of Clermont-Tonner, Canet and Montebello, so why not one for the Countess of Noailles? When Yaoji and Fujita were living the warmest period of their relationship in Montparnasse, the Countess of Noaille happened to be their neighbor.When I painted her for the first time, I asked her to come to Fujita's studio to do it. The Countess of Noailles is small and exquisite, but she wears a huge necklace, because this necklace can help her keep her body upright at all times.She doesn't appreciate the painters who painted her before, because she only appreciates herself, and appreciates all aspects of herself, especially she is very satisfied with her insistence on poetry creation.She is not only an excellent poet, but also has delicate features, natural beauty, bright eyes, shrewdness and wisdom overflowing from her broad forehead, and she exudes charming charm all over her body.Her angelic limbs require careful protection.Sometimes she said to Fujita: "My dear Fujita, you should understand me, when I need to lie in bed and let my muscles, shin bones and mind rest, I have to ask you to come to my house to take a portrait of me .” Under such circumstances, the loyal Fujita obediently entered her house through the side door, because the janitor did not want the disheveled little Japanese to come to the home of the Countess de Noailles, who had status, status, and wealth.The Countess of Noyers, lounging on a bed covered in silk and satin, was waiting for him in a dress made to order at Poiret.Her body was constantly twisting at the junction of light and dark, and she was chirping and talking endlessly, while Fujita drew silently.He painted for a long time, and when it was finally over, Mrs. Noaille saw it, and she was on fire: she couldn't see her radiant appearance, deep thoughts and excellent character from the portrait at all.However, the painting has been completed, there is no way to save it, it can only be like this.So, the painter signed his name and walked away. Life with Fujita is like a dream, because his career itself is a soaring dream.Since the day when Xie Long exhibited Fujita's watercolors in 1922, the Japanese has been to almost all countries in Europe and the United States in response to people's repeated requests.His paintings are very popular and expensive.In just a few months, he became the leading rich man in the painting world of Montparnasse.在纪念露西成为他的未婚妻二十一年之际（她不久将要成为他的妻子了），他决定为她更换一个司机。因为在这之前，她一直有一辆固定的出租车供她使用。无论她去餐馆就餐或者到夜总会消遣，那辆出租车总在门前等候着她。 藤田赠送给他的心上人的礼物是一辆过去的画家们做梦都奢望得到的汽车。那不是一辆普通的汽车，而是一辆黄色巴洛特，散热器的盖上加印有罗丹字样。为她开车的专职司机是若泽·拉若——晋升为专职司机的巴斯克赛车冠军。 藤田不再亲自动手写信，而是向他的打字员秘书口授。他向该秘书赠送了一件水貂皮大衣，也只是他长年累月积累的财富中的沧海之一滴而已。 藤田无处不在，他时而在圣特罗佩，时而在戛纳的夸塞特码头，时而又到了波尔多附近的多维尔海上滑水。从1927年起，藤田和瑶基住在巴黎蒙苏里公园街3号。那座房子的结构为：底层，上面三层，另加一个大平台。他向朋友们凑了一些家具。一位年轻作家卖给了他一块地毯、几把椅子和一个古香古色的美国吧台。他的名字叫乔治·西姆农。他也经常参加藤田组织的晚会，也常去多姆和罗童德酒馆消磨时间，常常一直泡到受不了那里的烟熏和酒呛之时，才回到塞纳河右岸布瓦西-当格拉街28号的住处。让·科克托也住在那里。由于实现了莫里斯·萨克斯的预言，让·科克托成为最出色的活动家。