text:
"Playboy" Playmates
sex symbol
1950s
early 1960s
20th Century Fox
publicity stunt
wardrobe malfunction
Theatre World Award
Golden Globe
Broadway version
Hollywood film version
The Girl Can't Help It
The Wayward Bus
Too Hot to Handle
sexploitation film
Promises! Promises!
Robert
John F. Kennedy
Nelson Sardelli
Eastern New Orleans
Bryn Mawr, Pennsylvania
Phillipsburg, New Jersey
Robert B. Meyner
Shirley Temple
ballroom dance
Highland Park High School
high Bs
Jayne Marie Mansfield
Southern Methodist University
acting
dramatics
University of Texas at Austin
nude art model
Curtain Club
Tom Jones
Harvey Schmidt
Rip Torn
Pat Hingle
Camp Gordon
United States Army Reserve
Korean War
Baruch Lumet
Sidney Lumet
Esther Williams
Anything Goes
Arthur Miller
Death of a Salesman
Miss California
General Electric
Paramount Pictures
Warner Bros.
Lux Video Theatre
CBS
Hugh Hefner
Playboy
Marilyn Monroe
Bettie Page
Anita Ekberg
Playmate of the Month
Female Jungle
James Byron
Warner Brothers
bit part
Pete Kelly's Blues
Jack Webb
Hell on Frisco Bay
Alan Ladd
Edward G. Robinson
Illegal
Broadway
Will Success Spoil Rock Hunter?
Orson Bean
Walter Matthau
The Burglar
Paul Wendkos
David Goodis
film noir
Dan Duryea
Martha Vickers
Will Success Spoil Rock Hunter
Twentieth Century-Fox
Bus Stop
Frank Tashlin
The Girl Can't Help It
rock and roll
R&B
Gene Vincent
Eddie Cochran
Fats Domino
The Platters
Little Richard
Gentlemen Prefer Blondes
20th Century Fox
The Wayward Bus
John Steinbeck
Golden Globe
Carroll Baker
Natalie Wood
The New York Times
Will Success Spoil Rock Hunter?
Tony Randall
Joan Blondell
London
Queen Elizabeth II
Kiss Them for Me
Cary Grant
Suzy Parker
Kenneth More
The Sheriff of Fractured Jaw
Connie Francis
Columbia Pictures
James Stewart
Jack Lemmon
Bell, Book and Candle
Paul Newman
Rally 'Round the Flag, Boys!
comedy
lost
gangster film
The Challenge
Too Hot to Handle
It Happened in Athens
Trax Colton
The George Raft Story
Ray Danton
Heimweh nach St. Pauli
L'Amore Primitivo
Panic Button
Einer frisst den anderen
Tommy Noonan
Promises! Promises!
Kiss Me, Stupid
Dean Martin
Mariska Hargitay
Kim Novak
David Attie
Single Room Furnished
Matt Cimber
Mamie Van Doren
Ferlin Husky
The Las Vegas Hillbillys
Woolner Brothers
country and western
Don Bowman
cameo
A Guide for the Married Man
Robert Morse
Inger Stevens
George Axelrod
spoofing
Theatre World Award
Golden Globe Award
Brooks Atkinson
pated
Gentlemen Prefer Blondes
Carousel Theater
Bus Stop
Rabbit Habit
Latin Quarter
Champagne Complex
Pabst Theater
Tropicana Las Vegas
striptease
revue
March of Dimes
Lloyd's of London
Dunes hotel and casino
The House of Love
Fremont Street
Strip
Latin Quarter
Jayne Mansfield Busts Up Las Vegas
burlesque entertainer
show girl
Vic Damone
Juliet Prowse
Constance Moore
Clara Ward
Shakespeare
Hamlet
television dramas
Burke's Law
Alfred Hitchcock Presents
The Red Skelton Hour
Kraft Mystery Theater
Follow the Sun
20th Century Fox Television
Down You Go
The Match Game
What's My Line?
The Jack Benny Program
The Steve Allen Show
The Jackie Gleason Show
NBC
The Perry Como Show
The Bob Hope Show
United States Pacific Command
Bob Hope
United Service Organizations
The Ed Sullivan Show
backup band
Ginger Grant
Gilligan's Island
stereotype
Tina Louise
Academy Awards
To the Virgins, to Make Much of Time
Robert Herrick
The Joey Bishop Show
The Jayne Mansfield Story
CBS
Loni Anderson
Arnold Schwarzenegger
Emmy Awards
A+E Networks
Biography
Emmy Award
inspiration for punk-rock musicians
The Girl Can't Help It
Illegal
Too Hot to Handle
Homesick for St. Pauli
The Challenge
The Sheriff of Fractured Jaw
Promises! Promises!
31st Academy Awards
Jack Benny
Dick Powell
Robert Mitchum
Fred Astaire
Jerry Lewis
The Jack Benny Program
Diamonds Are a Girl's Best Friend
20th Century Fox Records
Jayne Mansfield Busts Up Las Vegas
The House of Love
MGM Records
Shakespeare
Marlowe
Browning
Wordsworth
Tchaikovsky
bouffant
Jimi Hendrix
session musician
45-rpm single
London Records
Ed Chalpin
Polydor Records
Hans Last
Original Sound
The Big Bopper
Chantilly Lace
exploitation movie
Variety
Tour d'Argent
Robert F. Kennedy
John F. Kennedy
Jorge Guinle
Nelson Sardelli
Enrico Bomba
Peter Lawford
date rape
UCLA
public relations
Mickey Hargitay
Latin Quarter
chorus line
Mae West
Mr. Universe
Wayfarers Chapel
flounce
tulle
bit part
leopard-spot bikini
The Loves of Hercules
L'Amore Primitivo
Nelson Sardelli
Jungleland USA
Community Memorial Hospital
Ventura, California
meningitis
Mariska Hargitay
Olivia Benson
Bus Stop
Single Room Furnished
Married... with Children
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Los Angeles Police Department
juvenile court
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celebrity culture
James Parish
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Andrew Nelson
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hair bleached, and colored
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Anita Ekberg
Bettie Page
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M. Thomas Inge
Jane Russell
Judy Holliday
Goldie Hawn
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paradigm shift
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Sheree North
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Bus Stop
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Bus Stop
Columbia Pictures
Cleo Moore
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Carroll Baker
Paramount Pictures
Anita Ekberg
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Los Angeles Herald-Examiner
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Underwater!
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Peter Gowland
Warner Bros.
Playboy
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UPI
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Los Angeles Times
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Will Success Spoil Rock Hunter?
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Kiss Them For Me
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CMG Worldwide
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Playmate of the Year
Anna Nicole Smith
Drag queen
Divine
John Waters
Mondo Trasho
The Hollywood Reporter
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Jayne Mansfield performances
Jayne Mansfield in popular culture
The Jayne Mansfield Story
List of people in Playboy 1953–1959
List of people in Playboy 1960–1969
Michael Feeney Callan

categories: 20th-century American actresses,Burials in Pennsylvania,American stage actresses,American television actresses,American film actresses,American people of German descent,Jayne Mansfield,1967 deaths,American LaVeyan Satanists,20th Century Fox contract players,People from Bryn Mawr, Pennsylvania,People from Phillipsburg, New Jersey,University of Dallas alumni,UCLA Film School alumni,University of Texas at Austin alumni,American people of English descent,1933 births,Road incident deaths in Louisiana,Articles containing video clips,Original Sound artists,New Star of the Year (Actress) Golden Globe winners,Playboy Playmates (1953–59)

paragraph: Jayne Mansfield

paragraph: Jayne Mansfield (born Vera Jayne Palmer; April 19, 1933 – June 29, 1967) was an American film, theater, and television actress. She was also a nightclub entertainer, a singer, and one of the early "Playboy" Playmates. She was a major Hollywood sex symbol during the 1950s and early 1960s, while under contract at 20th Century Fox. She was also known for her well-publicized personal life and publicity stunts, such as wardrobe malfunctions.

paragraph: Although Mansfield's film career was short-lived, she had several box-office successes and won a Theatre World Award and a Golden Globe. She enjoyed success in the role of fictional actress Rita Marlowe, both in the 1955–1956 Broadway version and the 1957 Hollywood film version of "Will Success Spoil Rock Hunter?" Her other major movie performances were in "The Girl Can't Help It" (1956), "The Wayward Bus" (1957), and "Too Hot to Handle" (1960). In the sexploitation film "Promises! Promises!" (1963), she became the first major American actress starring in a Hollywood motion picture to have a nude scene.

paragraph: Mansfield took her professional name from her first husband, public relations professional Paul Mansfield. She was married and divorced three times and had five children. Mansfield was allegedly intimately involved with numerous men, including Robert and John F. Kennedy, her attorney Samuel S. Brody, and Las Vegas entertainer Nelson Sardelli. On June 29, 1967, she died in an automobile collision in Eastern New Orleans at the age of 34.

paragraph: Section::::Early life and education.

paragraph: Jayne Mansfield was born Vera Jane Palmer on April 19, 1933, in Bryn Mawr, Pennsylvania. The "y" in Jayne came sometime after 1940. She was the only child of Herbert William Palmer (1904–1936), who was of German and English ancestry, and Vera Jeffrey Palmer (1903–2000), of English origin. She inherited more than $90,000 from her maternal grandfather Thomas ($ in dollars) and more than $36,000 from her maternal grandmother, Beatrice Mary Palmer, in 1958 ($ in dollars).

paragraph: She spent her early childhood in Phillipsburg, New Jersey, where her father was an attorney practicing with future New Jersey governor Robert B. Meyner. In 1936, her father died of a heart attack. In 1939 her mother married sales engineer Harry Lawrence Peers, and the family moved to Dallas, Texas, where she was known as Vera Jayne Peers.

paragraph: As a child she wanted to be a Hollywood star like Shirley Temple. At age 12, she took ballroom dance lessons. She graduated from Highland Park High School in 1950. While in high school, Palmer took violin, piano, and viola lessons. She also studied Spanish and German. She consistently received grades in the high Bs including in mathematics.

paragraph: At age 17, she married Paul Mansfield on May 6, 1950. Their daughter, Jayne Marie Mansfield, was born six months later on November 8, 1950. Jayne and her husband enrolled in Southern Methodist University to study acting. In 1951, Jayne moved to Los Angeles and attended a summer semester at UCLA. She entered the Miss California contest but was forced to resign after Paul found out. She then moved to Austin, Texas, with her husband, and studied dramatics at the University of Texas at Austin. There she worked as a nude art model, sold books door-to-door, and worked as a receptionist at a dance studio. She also joined the Curtain Club, a popular campus theatrical society that included among its members lyricist Tom Jones, composer Harvey Schmidt, and actors Rip Torn and Pat Hingle. She then spent a year at Camp Gordon, Georgia (a US Army training facility) when Paul Mansfield served in the United States Army Reserve in the Korean War.

paragraph: In 1953, she moved back to Dallas, and for several months was a student of actor Baruch Lumet, father of director Sidney Lumet and founder of the Dallas Institute of Performing Arts. Lumet gave her private lessons and called Mansfield and Rip Torn his "kids". Lumet would eventually help Jayne get her first screen test at Paramount in April 1954.

paragraph: Paul, Jayne, and Jayne Marie moved to Los Angeles in 1954. Jayne worked at a variety of odd jobs including: selling popcorn at the Stanley Warner Theatre, teaching dance, selling candy at a movie theater, modeling part-time at the Blue Book Model Agency, and working as a photographer at Esther Williams' Trails Restaurant.

paragraph: Section::::Early career.

paragraph: While attending The University of Texas at Austin, Mansfield won several beauty contests, including Miss Photoflash, Miss Magnesium Lamp, and Miss Fire Prevention Week. Jayne would commonly say that the only title she refused was Miss Roquefort Cheese, because she believed it "just didn't sound right". Jayne would later also reject "Miss Prime Rib" in 1957. In 1952, while in Dallas, she and Paul Mansfield participated in small local-theater productions of "The Slaves of Demon Rum" and "Ten Nights in a Barroom", and "Anything Goes" in Camp Gordon, Georgia. After he left for military service, she made her first notable stage appearance in a production of Arthur Miller's "Death of a Salesman" on October 22, 1953, with the players of the Knox Street Theater, headed by Lumet. While at UCLA, she entered the Miss California contest (hiding her marital status), and won the local round before withdrawing.

paragraph: Early in her career, some advertisers considered her prominent breasts problematic, which led to her losing her first professional assignment — a commercial for General Electric that depicted young women in bathing suits relaxing around a pool. Emmeline Snively, head of the Blue Book Model Agency, had sent her to photographer Gene Lester, which led to her short-lived assignment in the General Electric commercial. In 1954, she auditioned at both Paramount Pictures and Warner Bros. At Paramount, Jayne performed a sketch she had worked out with Lumet from "Joan of Arc" for casting director Milton Lewis. Lewis informed her that she was wasting her "obvious talents" and had her come back a week later to perform the piano scene from "The Seven Year Itch". Jayne failed to impress but learned she would have to go blonde. She then performed the piano scene for Warner Brothers, but, again, failed to impress. She landed her first acting assignment in "Lux Video Theatre", a series on CBS in the episode "An Angel Went AWOL", aired on October 21, 1954). In it, she sat at a piano and delivered a few lines of dialogue for $300 ($ in dollars).

paragraph: In 1953, editor Hugh Hefner began publishing "Playboy" and the magazine became popular because of its early Playmates, such as Mansfield, Marilyn Monroe, Bettie Page, and Anita Ekberg. In February 1955, Mansfield was the "Playboy" Playmate of the Month, and appeared in the magazine several times. Her February appearance increased the magazine's circulation and helped launch Mansfield's career. Shortly afterward, she posed for the "Playboy" calendar, covering her breasts with her hands. "Playboy" featured Mansfield each February from 1955 to 1958, and again in 1960.

paragraph: In August 1956, Paul Mansfield sought custody of his daughter, alleging that Jayne was an unfit mother because she appeared nude in "Playboy". In 1964, the magazine repeated the 1955 pictorial. "Playboy" reprinted photos from that pictorial issue, with titles such as December 1965's "The "Playboy" Portfolio of Sex Stars", and January 2000s "Centerfolds of the Century".

paragraph: Section::::Film career.

paragraph: Section::::Film career.:Career beginnings (1954–1955).

paragraph: Mansfield's first film part was a supporting role in "Female Jungle", a low-budget drama completed in ten days. Her part was filmed over a span of a few days, and she was paid $150 ($ in dollars). It was released unofficially in early 1955. In February 1955, James Byron, her manager and publicist, negotiated a seven-year contract with Warner Brothers, who was intrigued by her publicity antics. The contract initially paid her $250 a week ($ in dollars) and landed her two films—one with an insignificant role and another unreleased for two years. She filed for separation from Paul Mansfield that January. Mansfield was given bit parts in "Pete Kelly's Blues" (1955), starring Jack Webb, and "Hell on Frisco Bay" (1955), starring Alan Ladd. She acted in one more movie for Warner Brothers—another small but significant role opposite Edward G. Robinson in the courtroom drama "Illegal" (1955).

paragraph: Mansfield's agent, William Shiffrin, signed her to play fictional film star Rita Marlowe in the Broadway play "Will Success Spoil Rock Hunter?" with Orson Bean and Walter Matthau. She accepted the part while working in producer Louis W. Kellman's "The Burglar" (1957), director Paul Wendkos's film adaptation of David Goodis' novel, made in film noir style. Mansfield appeared alongside Dan Duryea and Martha Vickers. It was released two years later, when Mansfield's fame was at its peak. She was successful in this straight dramatic role, though most of her subsequent film appearances were comedic or capitalized on her sex appeal. It was Kellman's first major venture, and he claimed to have "discovered" Mansfield. She was announced for "Will Success Spoil Rock Hunter" in mid-July 1955 and was dropped by Warner Brothers on July 31.

paragraph: Section::::Film career.:Film stardom (1955–1958).

paragraph: Twentieth Century-Fox signed Mansfield to a six-year contract on May 3, 1956 in its New York office to mold her as a successor to the increasingly difficult Marilyn Monroe, their resident blonde bombshell, who had just completed the very difficult "Bus Stop." Mansfield was still under contract to Broadway and continued playing "Will Success Spoil Rock Hunter?" on stage until September 15, 1956.

paragraph: She undertook her first starring film role as Jerri Jordan in Frank Tashlin's "The Girl Can't Help It" (1956). Originally titled "Do-Re-Mi", it featured a high-profile cast of contemporary rock and roll and R&B artists including Gene Vincent, Eddie Cochran, Fats Domino, The Platters and Little Richard. Released in December 1956, "The Girl Can't Help It" became one of the year's biggest successes, both critically and financially, earning more than "Gentlemen Prefer Blondes" had three years before. Soon afterward, Fox started promoting Mansfield as "Marilyn Monroe king-sized", attempting to coerce Monroe to return to the studio and finish out her contract. Mansfield had become one of 20th Century Fox's main sex-symbol actresses.

paragraph: Mansfield next played a dramatic role in 1957's "The Wayward Bus", an adaptation of John Steinbeck's novel of the same name. With this film, she attempted to move away from her "blonde bombshell" image and establish herself as a serious actress. The film enjoyed moderate box office success, and Mansfield won a Golden Globe in 1957 for New Star of the Year, beating Carroll Baker and Natalie Wood for her performance as a "wistful derelict". It was "generally conceded to have been her best acting", according to "The New York Times", in a fitful career hampered by her flamboyant image, distinctive voice ("a soft-voiced coo punctuated with squeals"), voluptuous figure and limited acting range.

paragraph: Tashlin cast Mansfield in the film version of the Broadway show "Will Success Spoil Rock Hunter?" in 1957, reprising her role of Rita Marlowe alongside costars Tony Randall and Joan Blondell. Fox launched its new blonde bombshell with a North American tour and a 40-day, 16-country tour of Europe. She attended the premiere of the film (released as "Oh! For a Man" in the UK) in London, and met Queen Elizabeth II as part of the tour.

paragraph: Mansfield's fourth starring role in a Hollywood film was in "Kiss Them for Me" (1957), for which she received prominent billing alongside Cary Grant. However, in the film itself she is little more than comic relief; Grant's character prefers a sleek, demure redhead played by fashion model Suzy Parker. The film, described as "vapid" and "ill-advised", was a critical and box-office flop, and marked one of the last attempts by 20th Century-Fox to publicize Mansfield.

paragraph: The continuing publicity surrounding Mansfield's physical appearance failed to sustain her career. Fox gave her a leading role opposite Kenneth More in "The Sheriff of Fractured Jaw" (1958), a western comedy filmed on location in England. In the film, Mansfield's three songs were dubbed by singer Connie Francis. Fox released the film in the United States in 1959, and it was Mansfield's last mainstream film success. Columbia Pictures offered her a part opposite James Stewart and Jack Lemmon in the romantic comedy "Bell, Book and Candle" (1958), but she turned it down because she was pregnant. Fox then attempted to cast Mansfield opposite Paul Newman in "Rally 'Round the Flag, Boys!" (1958), his ill-fated first attempt at comedy.

paragraph: Section::::Film career.:Career decline (1959–1963).

paragraph: With decreased demand for big-breasted, blonde bombshells and an increasing negative backlash against her excessive publicity, Mansfield became a box-office has-been by the early 1960s, but she remained a popular celebrity, continuing to attract large crowds outside the United States by way of lucrative and successful nightclub acts.

paragraph: Despite the publicity and her popularity, Mansfield had no good film roles after 1959. She was also unable to fulfill a third of her contract with Fox because of repeated pregnancies. Fox stopped viewing her as major Hollywood star material and started lending her out to foreign productions until the end of her contract in 1962. She was first lent out to English studios and then to Italian studios for a series of low-budget films, many of them obscure, and some considered lost.

paragraph: In 1959, Fox cast her in two independent gangster films shot in the United Kingdom: "The Challenge" and "Too Hot to Handle". Both films were low-budget, and their American releases were delayed. "Too Hot to Handle" was not released in the United States until 1961 as "Playgirl After Dark". "The Challenge" was released in 1963 as "It Takes a Thief". In the United States, censors objected to a scene in "Too Hot to Handle" in which Mansfield, wearing silver netting with sequins painted over her nipples, appears nearly nude.

paragraph: When Mansfield returned to Hollywood in mid-1960, 20th Century-Fox cast her in "It Happened in Athens" with Trax Colton, a handsome newcomer Fox was trying to mold into a heartthrob. She received first billing above the title but appeared in only a supporting role. The Olympic Games-based film was shot in Greece in the fall of 1960 but was not released until June 1962. It was a box-office failure, and 20th Century-Fox dropped Mansfield's contract.

paragraph: In 1961, Mansfield signed on for a minor role but above-the-title billing in "The George Raft Story". Starring Ray Danton as Raft, the film showcased Mansfield in a small part as a glamorous film star. Soon after the film's release, she returned to European films, appearing in low-budget foreign films such as "Heimweh nach St. Pauli" (1963, Germany), "L'Amore Primitivo" (1964, Italy), "Panic Button" (1964, Italy) and "Einer frisst den anderen" (1964, Germany).

paragraph: In 1963, Tommy Noonan persuaded Mansfield to become the first mainstream American actress to appear nude in a starring role, in the film "Promises! Promises!". "Playboy" published nude photographs of Mansfield on the set in its June 1963 issue, resulting in obscenity charges against Hugh Hefner in a Chicago court. "Promises! Promises!" was banned in Cleveland, Ohio but enjoyed box-office success elsewhere. As a result of the film's success, Mansfield landed on the Top 10 list of box-office attractions for that year.

paragraph: Section::::Film career.:Final years (1964–1967).

paragraph: Soon after her success in "Promises! Promises!", Mansfield was chosen from many other actresses to replace the recently deceased Marilyn Monroe in "Kiss Me, Stupid", a 1964 romantic comedy that would also star Dean Martin. She turned down the role because of her pregnancy with daughter Mariska Hargitay, and was replaced by Kim Novak. That same year, Mansfield appeared in a pinup book called "Jayne Mansfield for President: the White House or Bust," which was promoted on billboards; David Attie, a commercial and fine art photographer, took the photographs. In 1966, Mansfield was cast in "Single Room Furnished", directed by then-husband Matt Cimber. The film required Mansfield to portray three different characters, and was her first starring, dramatic role in several years. It was released briefly in 1966, but did not enjoy a full release until 1968, almost a year after her death.

paragraph: After "Single Room Furnished" wrapped, Mansfield was cast opposite Mamie Van Doren and Ferlin Husky in "The Las Vegas Hillbillys" (1966), a low-budget comedy from Woolner Brothers. It was her first country and western film, and she promoted it through a 29-day tour of major U.S. cities, accompanied by Husky, Don Bowman and other country musicians. Before filming began, Mansfield said she would not "share any screen time with the drive-in's answer to Marilyn Monroe", meaning Van Doren. Though their characters did share one scene, Mansfield and Van Doren filmed their parts at different times to be edited together later.

paragraph: Mansfield's wardrobe relied on the shapeless styles of the 1960s to hide her weight gain after the birth of her fifth child. Despite career setbacks, she remained a highly visible celebrity during the early 1960s through her publicity antics and stage performances. In early 1967, Mansfield filmed her last role, a cameo in "A Guide for the Married Man", a comedy starring Walter Matthau, Robert Morse and Inger Stevens. The opening credits listed Mansfield as one of the technical advisers, along with other popular stars.

paragraph: Section::::Film career.:Stage career.

paragraph: Between 1951 and 1953 she acted in "The Slaves of Demon Rum", "Ten Nights in a Barroom", "Macbeth", and "Anything Goes". Her performance in an October 1953 production of Arthur Miller's "Death of a Salesman" attracted Paramount Pictures to audition her. Lumet trained her for the audition. In 1955, she went to New York and appeared in the Broadway production of George Axelrod's comedy "Will Success Spoil Rock Hunter?", also featuring Orson Bean and Walter Matthau. It was her first major stage performance, garnering her critical attention—although not always positive—and public popularity. She starred as Rita Marlowe (a wild, blonde Hollywood starlet à la Monroe) in the musical spoofing Hollywood in general and Marilyn Monroe in particular. Her wardrobe, namely a bath-towel, caused a sensation. She received a Theatre World Award (Promising Personality) for her performance in 1956, as well as a Golden Globe Award (New Star of the year, Actress) in 1957. Brooks Atkinson of the "New York Times" described the "commendable abandon" of her scantily clad rendition of Rita Marlowe in the play as "a platinum-pated movie siren with the wavy contours of Marilyn Monroe". She performed in about 450 shows between 1955 and 1956. At the time, she was considered one of the biggest Broadway-to-Hollywood success stories.

paragraph: In 1964, she performed in stage productions of "Gentlemen Prefer Blondes" at Carousel Theater, and "Bus Stop" at Yonkers Playhouse. Both co-starred Mickey Hargitay and were well-reviewed. Mansfield toured small U.S. towns alternating between the two plays. In 1965, she performed in another pair of plays – "Rabbit Habit" at the Latin Quarter and "Champagne Complex", directed by Matt Cimber, at the Pabst Theater; both received poor reviews.

paragraph: Section::::Film career.:Nightclub.

paragraph: In February 1958, the Tropicana Las Vegas launched Mansfield's striptease revue "The Tropicana Holiday" (produced by Monte Proser, co-starring Mickey Hargitay) under a four-week contract that was extended to eight. The opening night raised $20,000 for March of Dimes ($ in dollars . She received $25,000 per week for her performance as Trixie Divoon in the show ($ in dollars), while her contract with 20th Century Fox was paying her $2,500 per week ($ in dollars). She had a million-dollar policy with Lloyd's of London in case Hargitay dropped her as he whirled her around for the show. In 1959, Jayne returned to the Tropicana and made $30,000 per week, with her show being extended twice. In December 1960, the Dunes hotel and casino launched Mansfield's revue "The House of Love" (produced by Jack Cole, co-starring Hargitay). She received a salary of $35,000 a week ($ in dollars)— the highest in her career.

paragraph: Her wardrobe for the shows at Tropicana and Dunes featured a gold mesh dress with sequins to cover her nipples and pubic region. That controversial sheer dress was referred to as "Jayne Mansfield and a few sequins". In early 1963, she performed in her first club engagement outside Las Vegas, at the Plantation Supper Club in Greensboro, North Carolina, earning $23,000 in a week ($ in dollars), and then at Iroquois Gardens in Louisville, Kentucky. She returned to Las Vegas in 1966, but her show was staged on Fremont Street, away from the Strip where the Tropicana and Dunes were. Her last nightclub act "French Dressing" was at the Latin Quarter in New York in 1966, also repeated at the Tropicana. It was a modified version of the Tropicana show, and ran for six weeks with fair success.

paragraph: Her nightclub career became inspirations for films, documentaries, and a musical album. 20th Century Fox Records recorded "The House of Love" for an album entitled "Jayne Mansfield Busts Up Las Vegas" in 1962. She played the roles of burlesque entertainer Midnight Franklin in "Too Hot to Handle" (1960) and Las Vegas show girl Tawni Downs in "The Las Vegas Hillbillys" (1966). In 1967, an independent documentary "Spree" (alternative title "Las Vegas by Night") on the antics of Las Vegas entertainers was released. The film, narrated as a part of a travelogue of Vic Damone and Juliet Prowse, featured Mansfield, Hargitay, Constance Moore and Clara Ward as guest stars. Mansfield strips and sings "Promise Her Anything" from the film "Promises! Promises!". A court order prohibited using any of the guest stars to promote the film.

paragraph: In her later career she was busier on stage, performing and making appearances with her nightclub acts, club engagements, and performance tours. By 1960, she made personal appearances for everything from supermarket promotions to drug store openings, at $10,000 per appearance ($ in dollars).

paragraph: Section::::Television career.

paragraph: Mansfield played her first leading role on television in 1956 on NBC's "The Bachelor". In her first appearance on British television in 1957, she recited from Shakespeare (including a line from "Hamlet") and played piano and violin. Her notable performances in television dramas included episodes of "Burke's Law", "Alfred Hitchcock Presents", "The Red Skelton Hour" (three episodes), "Kraft Mystery Theater" and "Follow the Sun". Mansfield's performance in her first series "Follow the Sun" ("The Dumbest Blonde"; Season 1, Episode 21; February 4, 1962; produced by 20th Century Fox Television) was hailed as the advent of "a new and dramatic Jayne Mansfield". She appeared on a number of game shows including "Talk it up," "Down You Go" (as a regular panelist), "The Match Game" (one rare episode has her as a team captain), and "What's My Line?" (as a special mystery guest).

paragraph: She performed in a number of variety shows including "The Jack Benny Program" (on which she played violin), "The Steve Allen Show" and "The Jackie Gleason Show" (during the mid-1960s, when the show was the second-highest-rated program in the U.S.). In November 1957, in a special episode of NBC's "The Perry Como Show" ("Holiday in Las Vegas"), one of her nightclub acts was featured, something quite scandalous for the audience according to the broadcaster. She was a guest on three episodes of "The Bob Hope Show" touring team. In 1957, she toured United States Pacific Command areas in Hawaii, Okinawa, Guam, Tokyo and Korea with Bob Hope for the United Service Organizations for 13 days appearing as a comedian; and in 1961, toured Newfoundland, Labrador and Baffin Island in Canada for a Christmas special. Her talk show career includes a large number of appearances which she appreciated for the publicity. One of her more notable appearances on a variety show was on "The Ed Sullivan Show" (Season 10, Episode 35; May 26, 1957) right after her success with "Rock Hunter", where she played violin with a six-person backup band. After the show she exclaimed, "Now I am really national. Momma and Dallas see the Ed Sullivan show!"

paragraph: By 1958, she earned $20,000 per episode for television performances ($ in dollars). In 1964, Mansfield turned down the role of Ginger Grant on the up-and-coming television sitcom "Gilligan's Island". Although her acting roles were becoming marginalized, Mansfield rejected the part as it epitomized the stereotype she wished to rid herself of. The part eventually went to Tina Louise. A widespread rumor that Mansfield had a breast-flashing dress mishap at the 1957 Academy Awards was found baseless by Academy researchers. Ten days before her death, she read "To the Virgins, to Make Much of Time", a poem by Robert Herrick about early death on "The Joey Bishop Show"—her last television appearance.

paragraph: As late as the mid-1980s, Mansfield remained one of the biggest television draws. In 1980, "The Jayne Mansfield Story" aired on CBS starring Loni Anderson in the title role and Arnold Schwarzenegger as Mickey Hargitay. It was nominated for three Emmy Awards. A+E Networks TV series Biography featured her in an episode titled "Jayne Mansfield: Blonde Ambition". The TV series won an Emmy Award in the outstanding non-fiction TV series category in 2001. A&E again featured her life in another TV serial, "Dangerous Curves", in 1999. In 1988, her story and archival footage was a part of the TV documentary "Hollywood Sex Symbols".

paragraph: Section::::Music career.

paragraph: Mansfield had classical training in piano and violin. She sang in film soundtracks, on stage for her theatrical and nightclub performances, and had singles and albums released. After her death, Mansfield became an inspiration for punk-rock musicians.

paragraph: Section::::Music career.:Soundtracks.

paragraph: Mansfield sang in English and German for a number of her films, including "The Girl Can't Help It" ("Ev'rytime" and "Rock Around the Rock Pile"), "Illegal" ("Too Marvelous for Words"), "The Las Vegas Hillbillys" ("That Makes It"), "Too Hot to Handle" ("Too Hot To Handle", "You Were Made For Me", "Monsoon" and "Midnight"), "Homesick for St. Pauli" ("Wo Ist Der Man" and "Snicksnack Snuckelchen"), "The Challenge" ("The Challenge of Love"), "The Sheriff of Fractured Jaw" ("Strolling Down The Lane With Billy" and "If The San Francisco Hills Could Only Talk"), and "Promises! Promises!" ("I'm in Love", alternative title "Lullaby of Love").

paragraph: Section::::Music career.:Live performances.

paragraph: In 1958, an orchestra was recorded for the 31st Academy Awards ceremony with Jack Benny on first violin, Mansfield on violin, Dick Powell on trumpet, Robert Mitchum on woodwind, Fred Astaire on drums and Jerry Lewis as conductor; however, the performance was canceled. She sang "Too Marvelous for Words" for "The Jack Benny Program" ("Jack Takes Boat to Hawaii"; Episode 9, Season 14; November 26, 1963). Her club performances regularly featured songs like "Call Me", "A Little Brains, A Little Talent" ("This Queen has her aces in all the right places"), "Plain Jane", "Quando-Quando", "Besame Mucho", and the song made famous by Marilyn Monroe — "Diamonds Are a Girl's Best Friend".

paragraph: Section::::Music career.:Albums.

paragraph: In 1962, 20th Century Fox Records released the album "Jayne Mansfield Busts Up Las Vegas", a recording of her Las Vegas revue "The House of Love". In 1964 MGM Records released a novelty album called "", in which Mansfield recited Shakespeare's sonnets and poems by Marlowe, Browning, Wordsworth, and others against a background of Tchaikovsky's music. The album cover depicted a bouffant-coiffed Mansfield with lips pursed and breasts barely covered by a fur stole, posing between busts of Tchaikovsky and Shakespeare. "The New York Times" described the album as a reading of "30-odd poems in a husky, urban, baby voice". The reviewer went on to remark that "Miss Mansfield is a lady with apparent charms, but reading poetry is not one of them."

paragraph: Section::::Music career.:Singles.

paragraph: In 1965, Jimi Hendrix played bass and added lead in his session musician days for Mansfield on two songs—"As The Clouds Drift By" and "Suey"—released as a 45-rpm single by London Records in 1966. Ed Chalpin, the record producer, claimed that Mansfield played all the instruments on the singles. According to Hendrix historian Steven Roby ("Black Gold: The Lost Archives Of Jimi Hendrix", Billboard Books), this collaboration occurred because they shared the same manager. "Wo ist der Mann" sung in German and released by Polydor Records in Austria was much in demand immediately after its release in August 1963. The A-side featured Hans Last's "Scnicksnack-Snuckelchen". The Original Sound label released two original songs from the soundtrack of "The Las Vegas Hillbillys"— "That Makes It" (an answer to The Big Bopper's "Chantilly Lace") on the A-side, and "Little Things Mean a Lot" on the B-side— in 1964.

paragraph: Section::::Personal life.

paragraph: In 1967, film critic and exploitation movie expert Whitney Williams wrote of Mansfield in "Variety": "her personal life out-rivaled any of the roles she played". She married and divorced three times and had five children. Mansfield was allegedly intimately involved with many men, including Claude Terrail (owner of the Paris restaurant Tour d'Argent), Robert F. Kennedy, John F. Kennedy, Brazilian billionaire Jorge Guinle, her attorney Samuel S. Brody, Las Vegas entertainer Nelson Sardelli, and producer Enrico Bomba. She met John F. Kennedy through his brother-in-law Peter Lawford in Palm Springs, California, in 1960, before he had his alleged affair with Marilyn Monroe, but their alleged affair did not last. Mansfield and Brody, her lawyer and alleged lover at the time, were both killed in a car crash.

paragraph: She had a daughter with her first husband, public relations professional Paul Mansfield. She was the mother of three children from her second marriage to actor/bodybuilder Mickey Hargitay. She also had a son with her third husband, film director Matt Cimber.

paragraph: Section::::Personal life.:First marriage.

paragraph: Jayne met Paul Mansfield at a party on Christmas Eve in 1949; they were both popular students at Highland Park High School in Dallas. On May 6, 1950, they married in Fort Worth, Texas. At the time of their marriage, Jayne was 17 and three months pregnant; Paul was 20. While most major biographies put the date at May 6, some sources say the marriage was on May 10, 1950. According to biographer Raymond Strait, she had an earlier "secret" marriage on January 28, after which she conceived her first child. On November 8, 1950, Mansfield gave birth to her daughter, Jayne Marie Mansfield. Some sources cite Paul Mansfield as the father of her child, others allege that the pregnancy was the result of date rape.

paragraph: Paul Mansfield hoped the birth of their child would discourage her interest in acting. When it did not, he agreed to move to Los Angeles in late 1954 to help further her career. In 1952, she juggled motherhood and classes at the University of Texas. Early in 1952, Paul was called to the United States Army Reserve for the Korean War. While he served in the army, she spent a year at Camp Gordon, Georgia. Her life became easier with Paul's army allotment. Returning from the Korean War in 1954, he took a job with a small newspaper in East Los Angeles, California, and lived in a small apartment in Van Nuys, Los Angeles, with Jayne and her pets — a Great Dane, three cats named Sabina, Romulus, and Ophelia, two chihuahuas, a poodle dyed pink, and a rabbit. While in California, she left Jayne Marie with her maternal grandparents and spent the summer semester at UCLA.

paragraph: After a series of marital rows around Jayne's ambitions, infidelity, and animals, they decided to dissolve the marriage. It was a long process. In February 1955, Jayne filed for separate maintenance, and in August 1956, Paul filed for custody of their daughter, Jayne Marie. Jayne filed for divorce in California in 1956, Paul filed for divorce in 1957 in Texas citing mental cruelty, and they received their divorce papers on January 8, 1958. After the divorce, she decided to keep "Mansfield" as her professional name. Paul Mansfield remarried, settled into the public relations business and moved to Chattanooga, Tennessee, but failed to win custody suits over Jayne Marie or restrain her from traveling abroad with her mother.

paragraph: Following her 18th birthday, Jayne Marie complained that she had not received her inheritance from the Mansfield estate or heard from her father since her mother's death.

paragraph: Section::::Personal life.:Second marriage.

paragraph: Mansfield met her second husband, Mickey Hargitay, at the Latin Quarter nightclub in New York City on May 13, 1956, where he was performing as a member of the chorus line in Mae West's show. Hargitay was an actor and bodybuilder who had won the Mr. Universe competition in 1955. Mansfield fell for him immediately, which resulted in a squabble with West. In the ensuing row, Mr. California, Chuck Krauser, beat Hargitay up and was arrested and released on a $300 bond ($ in dollars).

paragraph: After Mansfield returned from her 40-day European tour, Hargitay proposed to her on November 6, 1957, with a $5,000 10-carat diamond ring ($ in dollars). On January 13, 1958 (days after her divorce from Paul was finalized), Mansfield married Hargitay at the Wayfarers Chapel in Rancho Palos Verdes, California. The unique glass chapel made public and press viewing of the wedding easy. Mansfield wore a sensational pink, skintight wedding gown made of sequins with a flounce of pink tulle (designed by a 20th Century-Fox costume designer), and at the reception she had Hargitay drink pink champagne.

paragraph: Hargitay made his first film appearance with Mansfield in a bit part in "Will Success Spoil Rock Hunter?". The couple became a popular publicity and performing team who toured widely in stage shows, where Mansfield's leopard-spot bikini became a topic of discussion and newspaper coverage. As a highlight, Hargitay tossed her around his waist and spun her in wide circles as her shows made more headlines. On screen, he was Mansfield's male lead in her Italian ventures—"The Loves of Hercules" and "L'Amore Primitivo", and a major supporting character in "Promises! Promises!". On stage, he was the male lead in "The Tropicana Holiday", "The House of Love", "French Dressing", and other nightclub acts.

paragraph: They were also popular for their personal appearances on television shows such as Bob Hope Christmas Specials. Mansfield and Hargitay had a number of business holdings, including the Hargitay Exercise Equipment Company, Jayne Mansfield Productions, and Eastland Savings and Loan. She co-wrote the autobiographical book "Jayne Mansfield's Wild, Wild World" with Hargitay. The book also contained 32 pages of black-and-white photographs from the film printed on glossy paper.

paragraph: In 1962, she had a well-publicized affair with Enrico Bomba, the Italian producer and production manager of her film "Panic Button". Hargitay accused Bomba of sabotaging their marriage. In 1963, she had another well-publicized relationship with singer Nelson Sardelli, whom she said she planned to marry when her divorce from Mickey Hargitay was finalized. The couple divorced in Juarez, Mexico, in May 1963, where Nelson Sardelli accompanied Mansfield in her legal preparations. She had previously filed for divorce on May 4, 1962, but told reporters "I'm sure we will make it up." During the acrimonious divorce proceedings, the actress attempted to force a more favorable financial settlement by accusing Hargitay of kidnapping one of her children.

paragraph: On November 23, 1966, Mansfield's son Zoltan made news when a lion named Sammy attacked him and bit his neck while he and his mother were visiting the theme park Jungleland USA in Thousand Oaks, California. He suffered from severe head trauma, underwent three surgeries at Community Memorial Hospital in Ventura, California, including a six-hour brain surgery, and contracted meningitis. He recovered, and Mansfield's attorney Sam Brody sued the theme park on the family's behalf for $1,600,000 ($ in dollars). The negative publicity led to closure of the theme park.

paragraph: Section::::Personal life.:Between marriages.

paragraph: After their divorce, Mansfield discovered she was pregnant. Since being an unwed mother would have endangered her career, Mansfield and Hargitay announced they were still married. Mariska Hargitay was born January 23, 1964, after the actual divorce but before California ruled it valid. Mariska later became an actress, best known for her role as Olivia Benson in "". After her birth, Mansfield sued to get the Juarez divorce declared legal and won. The divorce was recognized in the United States on August 26, 1964. A court decree in June 1967 made Hargitay the guardian of Mickey, Zoltan, and Mariska, though they continued to live with their mother. He married airline stewardess Ellen Siano in 1968. She accompanied him to New Orleans when he went to pick up his three children after Mansfield's death. Shortly after her funeral, Hargitay sued his former wife's estate for more than $275,000 ($ in dollars) to support the children he and his third (and last) wife, Ellen Siano, would raise, but he lost the suit. Near the end of her life, and some time after her divorce from Hargitay, Mansfield told her former husband on a television talk show that she was sorry for all the trouble she had given him.

paragraph: Section::::Personal life.:Third marriage.

paragraph: Mansfield became involved with Matt Cimber (a.k.a. Matteo Ottaviano, né Thomas Vitale Ottaviano), an Italian-born film director, when he directed her in a stage production of "Bus Stop" in Yonkers, New York, costarring Hargitay. She married him on September 24, 1964, in Mulegé, Baja California Sur, Mexico. The couple separated on July 11, 1965, and filed for divorce on July 20, 1966. Cimber took over managing her career during their marriage, and guided her through a series of increasingly tawdry projects like "Promises, Promises" and "The Las Vegas Hillbillys". Mansfield's marriage to Cimber began to collapse in the wake of her alcohol abuse, open infidelities, and her disclosure to Cimber that she had been happy only with her former lover, Nelson Sardelli. Work on Mansfield's film, "Single Room Furnished" directed by Cimber (1966), was suspended. The couple had one son, Antonio Raphael Ottaviano (a.k.a. Tony Cimber, born October 18, 1965). Cimber, and his third wife dress designer Christy Hilliard Hanak, whom he married on December 2, 1967, raised Tony, Mansfield's youngest child. Cimber later worked as an announcer for "Married... with Children" and a producer for "Gorgeous Ladies of Wrestling".

paragraph: At the time, Mansfield had degenerated into alcoholism, drunken brawls, and performing at cheap burlesque shows. By July 1966, she started living with her attorney, Sam Brody, who had frequent drunken brawls with her and mistreated her eldest daughter, Jayne Marie. Sam's wife, Beverly Brody, filed a divorce suit naming Mansfield the "41st other woman" in Sam's life.

paragraph: Two weeks before her mother's death in 1967, 16-year-old Jayne Marie accused Sam Brody of beating her. The girl's statement to officers of the Los Angeles Police Department the following morning implicated her mother in encouraging the abuse, and days later a juvenile court judge awarded temporary custody of Jayne Marie to Paul's uncle William W. Pigue and his wife Mary.

paragraph: Section::::Image.

paragraph: Mansfield was a major Hollywood sex symbol of the 1950s and early 1960s and 20th Century Fox's alternative to Marilyn Monroe. She came to be known as the "Working Man's Monroe". She was one of Hollywood's original blonde bombshells, and, although many people have never seen her movies, Mansfield remains one of the most recognizable icons of 1950s celebrity culture.

paragraph: According to Hollywood historian and biographer James Parish, Mansfield's hourglass figure (she claimed dimensions of 40–21–35), unique sashaying walk, breathy baby talk, and cleavage-revealing costumes made a lasting impact on popular culture. Hollywood historian Andrew Nelson said that she was seen as Hollywood's gaudiest, boldest, D-cupped, B-grade actress from 1955 until the early 1960s.

paragraph: Frequent references have been made to Mansfield's very high IQ, which she claimed was 163. In addition to English, she spoke four other languages. She learned French, Spanish, and German in high school, and in 1963 she studied Italian. Reputed to be Hollywood's "smartest dumb blonde", she later complained that the public did not care about her brains saying, "They're more interested in 40–21–35."

paragraph: Section::::Image.:Blonde.

paragraph: A natural brunette, Mansfield had her hair bleached, and colored platinum blonde when she moved to Los Angeles, and became one of the early "blonde bombshells", along with Marilyn Monroe, Betty Grable and Mamie Van Doren. In 1958, she also had her eyebrows dyed platinum. Following Jean Harlow (who started the trend with her film "Bombshell"), Monroe, Mansfield, Van Doren and Diana Dors helped establish the stereotype typified by a combination of curvaceous physique, very light-colored hair, and a perceived lack of intelligence. A review of English-language tabloids shows it to be one of the most persistent blonde stereotypes—along with "busty blonde", and "blonde babe".

paragraph: Mansfield, Monroe and Barbara Windsor have been described as representations of a historical juncture of sexuality in comedy and popular culture. Academics also added Anita Ekberg and Bettie Page to the list of catalysts of the trend of exaggerated female sexuality, along with Mansfield and Monroe. M. Thomas Inge describes Mansfield, Monroe and Jane Russell as personifications of the bad girl in popular culture. Judy Holliday and Goldie Hawn are also identified to have established the stereotype of the "dumb blonde", typified by their combination of overt sexuality, and apparent inability to understand everyday life. Instead of the asexualized and virginal "nice girls" of earlier films, the pneumatic blonde bombshells took over the screen in the 1950s to become a cult that has been consistently emulated from that era on. Social historian Joan Jacobs Brumberg described the 1950s as "an era distinguished by its worship of full-breasted women" and attributes the paradigm shift to Mansfield and Monroe. Patricia Vettel-Becker made that observation more specific by attributing the phenomenon to "Playboy" and Mansfield and Monroe's appearances in the magazine.

paragraph: Section::::Image.:Rivalry.

paragraph: Throughout her career, Mansfield was compared by the media to the reigning sex symbol of the period, Marilyn Monroe. 20th Century Fox groomed her, as well as Sheree North, to substitute for Monroe, their resident "blonde bombshell", while Universal Pictures launched Van Doren as their substitute. The studio launched Mansfield with a grand 40-day tour of England and Europe from September 25 to November 6, 1957. She adopted Monroe's vocal mannerisms instead of her original husky voice and Texan speech, performed in two plays that were based on Marilyn Monroe vehicles — "Bus Stop" and "Gentlemen Prefer Blondes"— and her role in "The Wayward Bus" was strongly influenced by Monroe's character in "Bus Stop".

paragraph: Other studios also tried to find their own version of Monroe. Columbia Pictures tried it with Cleo Moore, Warner Bros. with Carroll Baker, Paramount Pictures with Anita Ekberg, and Metro-Goldwyn-Mayer with Barbara Lang, while Diana Dors was dubbed as England's answer to Mansfield. Jacqueline Susann wrote, "When one studio has a Marilyn Monroe, every other studio is hiring Jayne Mansfield and Mamie Van Doren." The crowd of contenders also included Sheree North, Kim Novak, Joi Lansing, Beverly Michaels, Barbara Nichols and Greta Thyssen, and even two brunettes — Elizabeth Taylor and Jane Russell. Mamie Van Doren, Diana Dors and Kim Novak also acted in various productions of "Gentlemen Prefer Blondes". Even when Mansfield's film roles were drying up she was widely considered Monroe's primary rival. Mansfield considered Mamie Van Doren her professional nemesis. At one point, Monroe, Mansfield, and Mamie were known as "The Three M's".

paragraph: Section::::Image.:Anatomy.

paragraph: Because of her striking figure, newspapers in the 1950s routinely published her body measurements, which once led evangelist Billy Graham to exclaim, "This country knows more about Jayne Mansfield's statistics than the Second Commandment." Mansfield proclaimed a 41-inch bust line and a 22-inch waist when she made her Broadway debut in 1955, though some scholars dispute those figures. She was known as "the Cleavage Queen" and "the Queen of Sex and Bosom".

paragraph: It was said that her breasts fluctuated in size from her pregnancies and nursing her five children. Her smallest bust measurement was 40-D (102 cm), which was constant throughout the 1950s, and her largest was 46-DD (117 cm), measured by the press in 1967. According to "Playboy", her vital statistics were 40D-21-36 (102–53–91 cm) on her 5'6" (1.68 m) frame.

paragraph: It has been claimed that her bosom was a major force behind the development of 1950s brassieres, including the "whirlpool bra", "cuties", the "shutter bra", the "action bra", latex pads, cleavage-revealing designs, and uplifted outlines. R. L. Rutsky and Bill Osgerby have claimed that it was Mansfield, along with Marilyn Monroe and Brigitte Bardot, who made the bikini popular. Drawing on the Freudian concept of fetishism, British science-fiction writer and socio-cultural commentator, J. G. Ballard commented that Mae West, Mansfield and Monroe's breasts "loomed across the horizon of popular consciousness". According to Dave Kehr, as the 1960s approached, the anatomy that had made her a star turned her into a joke. In this decade, the female body ideal shifted to appreciate the slim waif-like features popularized by supermodel Twiggy, actress Audrey Hepburn and others, demarcating the demise of the busty blonde bombshells.

paragraph: Section::::Publicity.

paragraph: Mansfield's drive for publicity was one of the strongest in Hollywood. She gave up all privacy, and her doors were always open to photographers. In 1954, the day before Christmas, she walked into publicist James Byron's office with a gift and asked him to oversee her publicity, which he did, for the most part, until the end of 1961. Byron appointed most of the people on her team — William Shiffrin (press agent), Greg Bautzer (attorney) and Charles Goldring (business manager)— and constantly planted publicity material in the media. She appeared in about 2,500 newspaper photographs, and had about 122,000 lines of newspaper copy written about her between September 1956 and May 1957.

paragraph: Because of the successful media blitz, she quickly became a household name. In 1960, Mansfield topped press polls for more words in print than anyone else in the world, had made more personal appearances than a political candidate, and was regarded as the world's most-photographed Hollywood celebrity. She made news on a regular basis, for malfunctioning dresses and clothing that burst strategically at the seams, to wearing low cut dresses without a bra. Things worsened when she took charge of her own publicity without advice. According to her agent William Shiffrin, "She became a freak." James Bacon wrote in the "Los Angeles Herald-Examiner" in 1973, "Here was a girl with real comedy talent, spectacular figure and looks and yet ridiculed herself out of business by outlandish publicity."

paragraph: Mansfield received her first truly negative publicity after she and Hargitay pleaded poverty when his first wife, Mary Hargitay, whom he divorced on September 6, 1956, requested additional child support for their nine-year-old, first child, Tina, in September 1958. Mansfield said she slept on the floor of her mansion, was unable to buy furniture, and spent only $71 on her daughter Jayne Marie ($ in dollars). During this marriage she had three children, Miklós Jeffrey Palmer Hargitay (born December 21, 1958), Zoltán Anthony Hargitay (born August 1, 1960), and Mariska Hargitay (born January 23, 1964).

paragraph: Section::::Publicity.:Publicity stunts.

paragraph: In January 1955, Mansfield appeared at a Silver Springs, Florida, press junket promoting the film "Underwater!", starring Jane Russell. She purposefully wore a too-small red bikini, lent to her by photographer friend Peter Gowland. When she dove into the pool for photographers, her top came off, creating a burst of media attention. The ensuing publicity led to Warner Bros. and "Playboy" approaching her with offers. On June 8 of the same year, her dress fell down to her waist twice in a single evening —once at a movie party, and later at a nightclub. In February 1958, she was topless at a Mardi Gras party in Rio de Janeiro. She shimmied out of her polka-dot dress in a Rome nightclub in June 1962. In the three years since making her Broadway debut in "Will Success Spoil Rock Hunter?", Mansfield had become the most controversial star of the decade.

paragraph: In April 1957, her breasts were the focus of a notorious publicity stunt intended to deflect media attention from Sophia Loren during a dinner party in the Italian star's honor. Photographs of them were published around the world. The best-known photo showed Loren's gaze falling on the actress's cleavage (she was seated between Loren and her dinner companion, Clifton Webb) when Mansfield leaned over the table, allowing her breasts to spill over her low neckline exposing one nipple. The Jayne Mansfield-Sophia Loren photograph was a UPI sensation, appearing in newspapers and magazines with the word "censored" hiding the actress's exposed nipple.

paragraph: At the same time, the world's media were quick to condemn Mansfield's stunts. One editorial columnist wrote, "We are amused when Miss Mansfield strains to pull in her stomach to fill out her bikini better; but we get angry when career-seeking women, shady ladies, and certain starlets and actresses ... use every opportunity to display their anatomy unasked." By the late 1950s, Mansfield began to generate a great deal of negative publicity because of repeated exposure of her breasts in carefully staged public "wardrobe accidents". Richard Blackwell, her wardrobe designer (who also designed for Jane Russell, Dorothy Lamour, Peggy Lee and Nancy Reagan), dropped her from his client list because of this. In April 1967, the "Los Angeles Times" wrote, "She confuses publicity and notoriety with stardom and celebrity and the result is very distasteful to the public."

paragraph: Section::::Publicity.:Signature color.

paragraph: Mansfield adopted pink as her color in 1954, and was associated with it for the rest of her career. Her original choice was purple, but she thought it too close to lavender, Kim Novak's signature color. "It must have been the right decision," she said, "because I got more column space from pink than Kim Novak ever did from lavender." In November 1957, shortly before their marriage, using money from an inheritance, Mansfield bought the 40-room Mediterranean-style mansion (formerly owned by Rudy Vallée) at 10100 Sunset Boulevard in Beverly Hills, California. Mansfield had the house painted pink, with cupids surrounded by pink fluorescent lights, pink fur in the bathrooms, a pink heart-shaped bathtub, and a fountain spurting pink champagne; she then dubbed it the "Pink Palace". Hargitay (a plumber and carpenter before taking up bodybuilding) built the pink heart-shaped swimming pool. The year after reconstructing the "Pink Palace" as a "pink landmark", she began riding in a pink Cadillac Eldorado Biarritz convertible with tailfins, then the only pink Cadillac in Hollywood.

paragraph: Section::::Publicity.:Religion.

paragraph: In August 1963, Mansfield decided to convert to Catholicism. Although she never converted, she did attend Catholic services when she was in Europe, and followed Catholic practices when she was involved with a Catholic partner (including Hargitay, Sardelli and Cimber). In May 1967, her performance at the Mount Brandon Hotel in Tralee, Ireland, was canceled because Catholic clergy condemned it. She wanted to marry Cimber in a Catholic ceremony, but was unable to find a priest who would perform it. While involved with Brody, she also showed interest in Judaism.

paragraph: In San Francisco for the 1966 Film Festival, Mansfield and Brody visited the Church of Satan to meet Anton LaVey, the church's founder. He awarded Mansfield a medallion and the title "High Priestess of San Francisco's Church of Satan". The media enthusiastically covered the meeting and the events surrounding it, identifying her as a Satanist and romantically involved with LaVey. That meeting remained a much-publicized and oft-quoted event both of her life and of the history of the Church of Satan. Karla LaVey confirmed in a 1992 interview with Joan Rivers that Mansfield was indeed a practicing Satanist and that she had a romantic relationship with Anton LaVey.

paragraph: Section::::Death.

paragraph: In 1967, Mansfield was in Biloxi, Mississippi, for an engagement at the Gus Stevens Supper Club. After two appearances on the evening of June 28, Mansfield, Sam Brody (her attorney and companion), their driver Ronnie Harrison (age 20), and three of her children— Miklós, Zoltán, and Mariska—left Biloxi after midnight in a 1966 Buick Electra 225. Their destination was New Orleans, where Mansfield was to appear on WDSU's "Midday Show" the next day. At about 2:25 a.m., on U.S. Highway 90 west of the Rigolets Bridge, the Buick crashed at high speed into the rear of a tractor-trailer that had slowed behind a truck spraying mosquito fogger shrouded in an insecticide fog. The three adults in the front seat died instantly. The children, asleep in the rear seat, survived with minor injuries.

paragraph: Reports that Mansfield was decapitated are untrue, although she suffered severe head trauma. This urban legend started with the appearance in police photographs of a crashed car with its top virtually sheared off, and what resembled a blonde-haired head tangled in the car's smashed windshield. However, the blonde object was a wig Mansfield was wearing, and possibly parts of her real hair and scalp. Her death certificate stated that the immediate cause of death was a "crushed skull with avulsion of cranium and brain". After her death, the NHTSA recommended requiring an underride guard (a strong bar made of steel tubing) on all tractor-trailers; the trucking industry was slow to adopt this change. In America the underride guard is sometimes known as a "Mansfield bar", or an "ICC bumper".

paragraph: The death car was saved by a private collector in Florida, where it became a roadside attraction in the 1970s. , the car is owned by Scott Michaels and is housed and shown at his Dearly Departed Tours & Artifact Museum in Los Angeles across from Hollywood Forever Cemetery.

paragraph: Section::::Death.:Funeral.

paragraph: Mansfield's funeral took place on July 3 in Pen Argyl, Pennsylvania. The service was conducted by Charles Montgomery, a pastor of the Zion Methodist Church. A private funeral service was held at the chapel of the Pullis Funeral Home. A Methodist minister conducted her funeral ceremony. Mickey Hargitay was the only ex-husband present at the funeral.

paragraph: Mansfield was interred in Fairview Cemetery, southeast of Pen Argyl, beside her father Herbert Palmer. Her heart-shaped gravestone reads "We Live to Love You More Each Day." A cenotaph was placed in the Hollywood Forever Cemetery in Hollywood by the Jayne Mansfield Fan Club, but incorrectly cites her year of birth as 1938 (Mansfield tended to provide incorrect information about her age).

paragraph: In 1968, two wrongful-death lawsuits, were filed on behalf of Jayne Marie Mansfield and Matt Cimber, the former for $4.8 million ($ in dollars) and the latter for $2.7 million ($ in dollars) although the outcome is not known.

paragraph: Section::::Recognition.

paragraph: BULLET::::- Jayne Mansfield received a Theatre World Award (Promising Personality) for "Will Success Spoil Rock Hunter?" in 1956.

paragraph: BULLET::::- She received a Golden Globe Award (New Star of the year, Actress) for "Will Success Spoil Rock Hunter?" in 1957.

paragraph: BULLET::::- She received a Star on the Hollywood Walk of Fame on February 8, 1960 for her contribution to motion pictures.

paragraph: BULLET::::- On Mother's Day of 1960, the Mildred Strauss Child Care Chapter of Mount Sinai Hospital, New York City declared her family as the "Family of the Year".

paragraph: BULLET::::- Italian film, radio and television journalists awarded her the Silver Mask award in 1962.

paragraph: BULLET::::- Mansfield received the Oscar of the Two World award in Italy.

paragraph: BULLET::::- In 1963, Mansfield was voted one of the top-10 box-office attractions by an organization of American theater owners for her performance in "Promises! Promises!" (a film banned in parts of the U.S.).

paragraph: BULLET::::- In 1968, Hollywood Publicists Guild declared a "Jayne Mansfield Award" would be given to the actress who received the most exposure and publicity in a year. Raquel Welch was the first winner of the award in 1969.

paragraph: Section::::Legacy.

paragraph: Mansfield left behind five children, a crumbling estate including the Pink Palace, a large number of followers, and a lasting impact on popular culture. The US top 40 single "Kiss Them For Me" by the group Siouxsie and the Banshees and the L.A. Guns song "The Ballad Of Jayne", are about Mansfield and her untimely death.

paragraph: Her daughter, Mariska Hargitay, became an actress and star of Law & Order: SVU. According to IMDB, Mariska became the highest-paid actress on television.

paragraph: Section::::Legacy.:Estate.

paragraph: After Mansfield's death, Hargitay, Cimber, Vera Peers (Mansfield's mother), William Pigue (Jayne Marie's legal guardian), and Charles Goldring (Mansfield's business manager), as well as Bernard B. Cohen and Jerome Webber (both administrators of the estate) filed unsuccessful suits to gain control of her estate. Mansfield's estate was appraised initially at $600,000 ($ in dollars), including the Pink Palace estimated at $100,000 ($ in dollars), a sports car sold for $7,000 ($ in dollars), her jewelry, and Sam Brody's $185,000 estate left to her in his last will ($ in dollars). In 1971, Beverly Brody sued the Mansfield estate for $325,000 ($ in dollars) worth of presents and jewelry given to Mansfield by Sam Brody; the suit was settled out of court. However, her four eldest children (Jayne Marie, Mickey, Zoltan, and Mariska) went to court in 1977 to find that approximately $500,000 in debt that Mansfield had incurred ($ in dollars), including $11,000 for lingerie ($ in dollars), $11,600 for plumbing of the heart-shaped swimming pool ($ in dollars), and litigation had left the estate insolvent.

paragraph: The Pink Palace was sold. Its subsequent owners included Ringo Starr, Cass Elliot, and Engelbert Humperdinck. In 2002 Humperdinck sold it to developers, and the house was demolished in November of that year. What remained of her estate was subsequently managed by CMG Worldwide, an intellectual property-management company.

paragraph: Section::::Legacy.:Following.

paragraph: Several entertainers have been dubbed the "new Jayne Mansfield", including Italian actress Marisa Allasio.Actress, model, and 1993 "Playmate of the Year" Anna Nicole Smith was called "a Jayne Mansfield for the '90s" because of her physical resemblance, similar desperation, and the mix of glamour and tragedy in her life. Drag queen and actor Divine was selected by film maker John Waters to parody Mansfield in "Mondo Trasho". According to "The Hollywood Reporter" "if it weren't for Mansfield then, there would likely be no Kardashians today".

paragraph: By the mid-1950s, there were many Jayne Mansfield fan clubs in the United States and abroad. The "Los Angeles Daily News" cited the Jayne Mansfield Fan Club, headed by Sabin Gray and very active in the 1980s, as one of the major fan clubs for a Hollywood star. In 1992, Mike DiGiacomo founded a second fan club named Simply Davoon. He lent his picture collection to Jocelyn Faris to illustrate "Jayne Mansfield: A Bio Bibliography". Frank Ferruccio, lent his collection of Mansfield memorabilia to Slate Belt Heritage Center in Bangor, Pennsylvania. He wrote two books about her and organized a large fan gathering at Fairview Cemetery on what would have been her 75th birthday. Since the mid-1990s, Farruccio, and fans have visited her grave in Pen Argyl to commemorate anniversaries of her birth and death. The Jayne Mansfield Online fan club was created by Kim (Kimmie) Rosenthal in the 1990s. Kimmie later added Frank Ferruccio and Damien Santroni to help her with the website which still stands at www.jaynemansfield.net.

paragraph: Section::::See also.

paragraph: BULLET::::- Jayne Mansfield performances

paragraph: BULLET::::- Jayne Mansfield in popular culture

paragraph: BULLET::::- "The Jayne Mansfield Story"

paragraph: BULLET::::- Playboy

paragraph: BULLET::::- List of people in Playboy 1953–1959

paragraph: BULLET::::- List of people in Playboy 1960–1969

paragraph: Section::::Biographies.

paragraph: Section::::Biographies.:Books.

paragraph: BULLET::::- Michael Feeney Callan (1986) "Pink Goddess: The Jayne Mansfield Story". W H Allen.

alias:
Vera Jayne Palmer
Vera Jayne Mansfield

description: American actress, singer, model

enwikiquote_title: Jayne Mansfield

wikidata_label: Jayne Mansfield

wikipedia_title: Jayne Mansfield


text:
painter
naïve
Expressionist
Konstfack
Stockholm
Isaac Grünewald
Henri Matisse
still life
oils
watercolors
Africa
India
West Indies
Mediterranean Sea
Capri
Liljevalchs konsthall
United States
Dag Hammarskjöld
United Nations building
townhouse
Tegnérlunden
Adolf Fredrik Church
Vasaparken
Gustavian
Empire style
Chinese embroideries
East Indian
Ellen Jolin
Konstfack
Karl Nordström
Isaac Grünewald
Leander Engström
Birger Simonsson
croquis
Nils Dardel
Senlis
Baltic Exhibition
Malmö
Albert Engström
Royal Swedish Academy of Arts
Katarina Church
Stockholms ström
sek
Copenhagen
Denmark
Gösta Adrian-Nilsson
Ivar Lo-Johansson
Montmartre
Erik Boheman
Dag Hammarskjöld
Riddarholmen
Tällberg
Dalarna County
Villa San Michele
Capri
Norra Begravningsplatsen
Orient
Musée Guimet
Chinese
Japanese art
Jean-Jacques Rousseau
Séraphine Louis
Wilhelm Uhde
Louvre
Rubens
Watteau
Chardin
Anders Zorn
Bruno Liljefors
Carl Larsson
Djurgården
Herwarth Walden
Der Sturm
Sigrid Hjertén
pastels
Le Corbusier
Purist
Stadsgården
Riddarholmen
Stockholm City Museum
Nationalmuseum
Moderna Museet
chinoiserie
nature
Prince Eugen Medal
Carl XVI Gustaf of Sweden

categories: People from Stockholm,20th-century Swedish painters,Swedish male painters,1976 deaths,1890 births

paragraph: Einar Jolin

paragraph: Einar Jolin (7 August 189029 August 1976) was a Swedish painter best known for his decorative and slightly naïve Expressionist style. After studying at Konstfack, Stockholm in 1906 and at the "Konstnärsförbundet målarskola" (the Artists Association Art School), Jolin and his friend Isaac Grünewald went to Paris for further studies at Henri Matisse's academy from 1908 to 1914.

paragraph: He painted portraits, still lifes and cityscapes, always accentuating what he called "the beautiful" in his motifs. He mainly worked in oils and watercolors, using delicate brush strokes and light colors. His most noted works are his paintings of Stockholm during the 1910s and 1920s in his trademark naïve style.

paragraph: Jolin made numerous travels, collecting impressions and inspiration for his paintings. He journeyed to Africa, India and the West Indies, but favored the countries around the Mediterranean Sea, especially the island of Capri where he also exhibited his works.

paragraph: He had several exhibitions at Liljevalchs konsthall in Stockholm and in 1954, he toured the United States with an exhibition, during which Dag Hammarskjöld purchased a painting for his office in the United Nations building.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life and education.

paragraph: Einar Jolin was born 7August 1890 in Stockholm. He was the son of professor Severin Jolin and grandson of actor Johan Christopher Jolin. He grew up on Kammakargatan 45 in the "Jolinska Huset" (Jolin Residence), a three-story townhouse with a garden, built by his grandfather. Jolin grew up in the middle of Stockholm close to Tegnérlunden, Adolf Fredrik Church and Vasaparken, which may have influenced his depiction of houses, roof tops, and views of Stockholm in his paintings. Jolin loved his house with its exotic furnishings. For interior paintings, he often selected props from things in the house Gustavian and Empire style furniture, Chinese embroideries and East Indian tableware. Other residents in the house were his parents, brother Eric, sisters Ingrid and Signe, grandmother Mathilde Wigert-Jolin and his aunt, artist Ellen Jolin (1854–1939) who was the first to teach Jolin the basic techniques of painting.

paragraph: Jolin's artistic education started at the Technical School (later known as Konstfack) in Stockholm in 1906. The school mainly taught painting techniques and Jolin was more interested in learning about style. Within the year, he started looking for another place to continue his studies. At the beginning of the 20th century, the "Konstnärsförbundet" (The Artist's Association) had a school on Glasbruksgatan in Stockholm. Jolin applied there in the autumn of 1907. His future teacher Karl Nordström reviewed his drawings and Jolin was admitted to the school the same year. Jolin joined the inner circle at the school, a group of Scandinavian artists who would later become known as "De Unga" (The Young Ones) or "1909 års män" (The Men of 1909). Among these were Isaac Grünewald, Leander Engström, Birger Simonsson and Gösta Sandels. Jolin described the pupils at the school as: "... a bunch of individuals with long hair, great muffler scarves and slouch hats worn askew in a way that really impressed me since I was only seventeen and the youngest of the bunch. The most amazing of them all was of course Isaac who had longer and more raven hair than anybody else and a fluttering violet scarf. I had not yet beheld such a creature. We became good friends." Jolin's education at the Artist's Association was curtailed by the school's closure in the spring of 1908.

paragraph: Section::::Biography.:Paris.

paragraph: In 1908, Jolin and Isaac Grünewald left Sweden for the vibrant life in Paris and its art community. The Swedish painter, graphic artist and forester Carl Palme knew Henri Matisse and helped the artist to find a suitable location for the new Matisse Academy. An abandoned nunnery in central Paris became the first home for the academy. Together with Grünewald and Leander Engström, Jolin joined the Matisse Academy, where their friends from Stockholm had already been accepted as pupils. At the Academy, Jolin would develop his sense for a stylish line in combination with bright and clean colours in his paintings.

paragraph: Jolin's time at the Academy proved more educational for him than the schools he had previously attended and the experience he got from having an established artist as mentor, was important for his development as an artist. Even so, the influence of Matisse on his young pupils should not be exaggerated. Jolin learned croquis at the academy and also developed a natural, spontaneous speed in his brushwork. He mostly painted models and still life, and during a visit to the south of France in 1911, he made his earliest landscapes. At the school, Jolin got his first nickname; the other students, as well as Matisse, used to call him "The Puppy" since he was the youngest of the students.

paragraph: During his time in Paris, Jolin became good friends with Nils Dardel. Jolin also spent some time in Senlis where he depicted its street life 1913, before returning to Stockholm the following year.

paragraph: Section::::Biography.:Return to Stockholm.

paragraph: In the spring of 1914, when Jolin and his friends from the Matisse Academy returned to Stockholm, the group became known as "De Unga" (The Young Ones). Their participation and paintings created uproar in the Baltic Exhibition in Malmö. Albert Engström, artist and influential member of the Royal Swedish Academy of Arts as well as other members of the Swedish art world at that time, stated that they were perplexed and unable to understand The Young Ones' works.

paragraph: Jolin had planned to return to Paris the following summer, but the outbreak of World War I on 28July 1914, forced him to reconsider his decision. With the road to France closed, he decided to stay in Stockholm, and managed to obtain a studio workshop on Fiskargatan 9, in the so-called "Scandalous House" near Katarina Church in the southern part of town. From his window he had a wide view of the city, the Stockholms ström and the harbour entrance. In that apartment, during the years 1914–1915, he created some of his best-known vistas of Stockholm.

paragraph: In 1917, Jolin rented a studio at Kungsbroplan in Stockholm and painted diligently. At the end of that year he was visited by Herman Gotthardt, a wholesaler from Malmö, who had recently taken up art collecting as a hobby. He studied Jolin's numerous works and, as at this time the artists sold very few paintings, it came as a surprise to him when Gotthardt bought 16 canvases. Jolin received seven thousand crowns (sek) for the paintings, and at home the same evening he was able to show his parents the money from his first major sales, saying: "Look here, this is what I earned today".

paragraph: Jolin spent most of 1918 in Copenhagen, where he showed his paintings at an art gallery at Nikolaiplads. They sold well enough for him to stay in Denmark almost a year. Jolin enjoyed life in the Danish capital, the social life was more spontaneous than in Stockholm and people from different professions, or social standings, mixed with each other in a way that appealed to him.

paragraph: Section::::Biography.:Travelling.

paragraph: After World War I, traveling was once again possible for the many young artists who had been forced to stay home during the six years of war. In 1920, Jolin went on a journey, first to Italy, North Africa and Spain for new international impressions, and then on to India, Africa and the West Indies. In the spring of 1924, Jolin went to Spain with his first wife, Britt von Zweigbergk. Like many other artists he painted the bullfights, but contrary to the strong, and sometimes bloody, bullfight painted by his colleague and close friend Gösta Adrian-Nilsson (GAN), Jolin's works were created in the calm and orderly manner that had earned him his second nickname: "Eleganten Einar" (Einar, the Elegant).

paragraph: In 1931, Jolins friend, GAN moved to Bastugatan 25, and in 1936, Jolin followed his example and rented an apartment in the same building, where he lived until 1943. At that time the street was home to numerous artists and writers. The Swedish writer Ivar Lo-Johansson, who had a studio apartment at number 21, described life in the area thus: "In a part of a street, no longer than three hundred meters, everything existed. Bastugatan had become a kind of Montmartre to art, a concept." In 1990, Lo-Johansson's apartment was converted into a literary museum by the Ivar Lo-Johansson Society.

paragraph: During the years from 1935 to 1956, Jolin spent much of his time travelling. In 1954, he toured the United States with an exhibition. It was opened in January, by Swedish ambassador Erik Boheman, at Galerie St. Etienne in New York. Secretary-General of the United Nations Dag Hammarskjöld, attended the exhibition and bought a painting depicting Riddarholmen for his study of the United Nations building. The exhibition was shown on national TV in the United States. Jolin also exhibited his works at galleries in several other countries, and in 1957, the Liljevalchs konsthall hosted a retrospective exhibition featuring over 200 of his paintings.

paragraph: Section::::Biography.:Family and later life.

paragraph: With the birth of his first daughter, Michaela, in 1958, Jolin settled down to a more quiet life as a father and family man. His second daughter Angelina was born in 1966. He continued to paint, mostly still life and portraits, at his studio apartment at Stagneliusvägen 34, in Fredhäll. He spent most summers with his family in Tällberg in the Dalarna County or at Villa San Michele on the island of Capri. Although he held some minor exhibitions, his work from the 1960s to his death in 1976, did not receive the same acclaim as his earlier paintings.

paragraph: Jolin married three times and had three children. His first marriage was to Britt von Zweigbergk, 1921–1936, during which time they had a son, Christopher Jolin, born in 1925. He was married secondly to Clorinda Campbell Kissack in the years 1943–1950, and thirdly in 1952–1976 (his death) to singer Tatjana Angelini-Scheremetiew. Einar Jolin died on 29August 1976, and is buried at Norra Begravningsplatsen in Stockholm.

paragraph: Section::::Career.

paragraph: Section::::Career.:Style.

paragraph: Although influenced by Matisse, the Oriental art that Jolin discovered at Musée Guimet was even more important to his style. Chinese and Japanese art became the base for the decorative, slightly naïve style in light colours, that he developed during the 1910s and 1920s. Jolin's style deviates from that of the traditional Expressionists, in that he simplifies his motifs in an almost primitive way, painting an imagined reality rather than raw emotions.

paragraph: Jolin, as well as Dardel, used a naïve style in their paintings before this concept had been introduced into the Swedish art world. Both Jolin and Dardel were inspired by French naïvists, not just by Jean-Jacques Rousseau, but also by Séraphine Louis who lived in Sentis and Wilhelm Uhde, a specialist in naïve painting. Matisse, Jolin's and Dardel's mentor, was no stranger to naïve art but it was not prominent in his work. Jolin also appreciated the cultivated and sophisticated, older painting, and was deeply impressed during his visits to the Louvre, where he was inspired by the works of masters such as Rubens, Watteau and Chardin.

paragraph: Section::::Career.:Expressionism.

paragraph: In 1913 to 1914 Jolin started to paint in his own naïve interpretation of Expressionism. By the end of the 1910s his works became more expressed and the shapes more plastic, but in 1916, Jolin's paintings were still inspired by the years he spent in France. That spring, members of the "Konstnärsförbundet" (The Artists Association) and their young pupils, were invited to present the new style, Expressionism, to the Swedish audience as exhibition number two (number one being Anders Zorn, Bruno Liljefors and Carl Larsson) at the new art venue, the Liljevalchs konsthall, in Djurgården. Participating in the second exhibition were a number of noted Swedish artists at that time, including Leander Engström, Isaac Grünewald, Gösta Sandels, Birger Simonsson and Jolin who exhibited thirteen paintings.

paragraph: Two so dissimilar painters and tempers as Einar Jolin and GAN were both called Expressionists. During most of the 1910s this term was used in a number of contexts in Sweden. In 1915, the Herwarth Walden gallery Der Sturm in Berlin, a venue for Expressionists, presented an exhibition, "Schwedishe Expressionisten" (Swedish Expressionism), with works by Swedish artists. Jolin participated with six paintings, three of these were vistas from Stockholm. The rest of the participants were Isaac Grunewald, Edward Hald, GAN and Sigrid Hjertén. In the autumn of 1915, Jolin and GAN held a joint exhibition in Lund University's art museum. Despite their differences, their friendship continued during GAN's years in Stockholm (1916–1919). Jolin was tired of Isaac Grünewalds increasingly dominant role among the young Swedish artists at that time, a sentiment shared by GAN. Expressionism never became a dominant style for Jolin, not in the way GAN and other members of the group embraced it. GAN always objected to Jolin's choice to include colors such as pearl gray and light purple or violet in his paintings.

paragraph: During the years 1925–35, Jolin's style is characterized by light, soft, grey notes and pastels. Later on, still life featuring Oriental porcelain, preferably displayed on a reflecting mahogany tabletop, became a more common motif. He also painted numerous portraits of the Swedish socialites at that time.

paragraph: In the 1930s, Nils Palmgren, named a group of Swedish painters "The Purists", an expression originally coined by the French artists Amedée Ozenfant and Le Corbusier. Palmgren referred to painters such as Torsten Jovinge, Erik Byström, Wilhelm Wik and Helge Linden. But, according to Palmgren, Einar Jolin could also be called a Purist since he constantly stressed that colors should be kept pure, contours clear and the composition of the motif orderly.

paragraph: During his more than 70-year career, Jolin always followed his own path. Through his motifs, characteristic portrayals, still lifes and pictures of Stockholm, an observer can follow Jolin on his journeys to other cultures, explore the collected artifacts in his house or get acquainted with what Stockholm looked like during the first part of the 1900s. Nils Palmgren ends his 1947 biography on Einar Jolin with the words:

paragraph: Section::::Career.:Depicting Stockholm.

paragraph: Jolin started to depict Stockholm when he moved to Fiskargatan, on the tall cliffs of southern Stockholm in 1914. From his studio he could see most of the city. He divided the view, facing Stadsgården or Riddarholmen, into smaller frames for his painings. Noted works from that time are: "Strömmen mot Kastellholmen" (Over the Strömmen on to the Kastellholmen) 1914, now in the Stockholm City Museum; "Utsikt över Riddarholmen" (View of Riddarholmen) 1914, bought by the Nationalmuseum but kept in the Moderna Museet, and "Utsikt mot Kastellholmen" (View towards the Kastellholmen) 1915, now in the Malmö Konstmuseum. In the "Stockholm från Söders höjder" (Stockholm from the heights of Söder) 1938, elements from Oriental art are present in the naked, branches of the trees and the red buoys looking like Chinese lanterns hanging in the trees. These paintings are defined by swift, flowing brushwork and forceful contours framing fresh, light colours. His composition of the motif involved putting details against big blocks of cool pink, sheer blue, ivory turquoise and emerald, thereby creating a populated setting. There is always an air of teaming citylife along the docks and busy boating on the water of the Strömmen in these paintings.

paragraph: Jolin was a strong advocate for the architectural and aesthetic preservation of the capital, as is written in his draft for a pamphlet called "Mot strömmen" (Against the Tide). According to him, Stockholm had become an ugly town, by insensitive mixing of styles, densification, and centuries of eager renovation. Jolin wanted to bring out the beautiful and the genuine in the cityscape, as well as restore, what he considered to be distorted parts of the city, to their former glory. According to Palmgren, perhaps it was that dream Jolin expressed in his depictions of Stockholm. At the end of the 19th century, and during some decades into the 20th century, artists depicted Stockholm in a variety of ways, each according to his own mind and individualism. Traditionalists worked side by side with Modernists, old with young, seasoned pursuers of the established view of the city and young enthusiastic individuals, such as Jolin. By the middle of the 20th century, his focus shifted from the cityscape to other motifs such as "chinoiserie" settings, but in his youth, he and his friends from his years in Paris found inspiration in Stockholm and its surroundings.

paragraph: Throughout his life he continued to paint romanticized exteriors of Stockholm, whether in spring sunshine or winter haze, the city was always depicted as beautiful and unspoiled. He expressed the idea that only through the emotions of an individual could nature be depicted the right way. In the magazine "Konst" (Art) 1913–14, he writes on "False perspective and exaggerations in modern art etc." that: "Nature is wonderful, but a photo is nothing, because nature becomes wonderful only when it is seen and understood by a great human, and a great human always sees and feels something special in nature, something she wants to reproduce."

paragraph: Section::::Award.

paragraph: In 1957, Jolin received the Prince Eugen Medal from His Majesty King Carl XVI Gustaf of Sweden.

paragraph: Section::::Exhibitions.

paragraph: Some of the exhibitions of his work during his lifetime were:

paragraph: BULLET::::- 1912 Salong Joël, Stockholm

paragraph: BULLET::::- 1914 Baltic Exhibition, Malmö

paragraph: BULLET::::- 1915 Stockholm

paragraph: BULLET::::- 1916 Liljevalchs konsthall, Stockholm

paragraph: BULLET::::- 1918 Liljevalchs konsthall, Stockholm

paragraph: BULLET::::- 1918 Valand, Gothenburg

paragraph: BULLET::::- 1918 Copenhagen, Denmark

paragraph: BULLET::::- 1919 Liljevalchs konsthall, Stockholm

paragraph: BULLET::::- 1922 Svensk-Franska Konstgalleriet, Stockholm

paragraph: BULLET::::- 1931 Galerie Moderne, Stockholm

paragraph: BULLET::::- 1933 Konstakademin, Stockholm

paragraph: BULLET::::- 1945 Galerie Blanche, Stockholm

paragraph: BULLET::::- 1953 Sunset Club, Seattle, USA

paragraph: BULLET::::- 1954 Galerie St Etienne, New York, USA

paragraph: BULLET::::- 1954 Swedish Institute, Minneapolis, USA

paragraph: BULLET::::- 1954 Upsala College, New Jersey, USA

paragraph: BULLET::::- 1955 Swedish-American Historical Museum, Philadelphia, USA

paragraph: BULLET::::- 1957 Liljevalchs konsthall, Stockholm

paragraph: BULLET::::- 1970 Royal Swedish Academy of Arts, Stockholm

paragraph: BULLET::::- 1975 Handelsbanken, Stockholm

paragraph: In 2010–2011, The Liljevalchs art venue held a commemorative exhibition showcasing some of Jolins best works.

paragraph: Section::::Legacy.

paragraph: , Jolin's pictures continue to be popular at art auctions. At Stockholm auctioneer Bukowski's fall auction in 2009, one of Jolin's paintings sold for 2.53 million crowns (about US$390,000).

paragraph: Section::::References.

paragraph: BULLET::::- Bibliography

description: Swedish artist

wikidata_label: Einar Jolin

wikipedia_title: Einar Jolin


text:
racing cyclist
French national road race title

categories: 1945 births,French male cyclists,Sportspeople from Vendée,Living people

paragraph: Roland Berland

paragraph: Roland Berland (born 26 February 1945) is a former French racing cyclist. He won the French national road race title in 1972 and 1979.

description: cyclist

wikidata_label: Roland Berland

wikipedia_title: Roland Berland


text:
Tour de l'Avenir
road race
1972 Summer Olympics
Tour de France

categories: Cyclists at the 1972 Summer Olympics,1949 births,Sportspeople from Essonne,French male cyclists,Olympic cyclists of France,People from Vigneux-sur-Seine,Living people

paragraph: Régis Ovion

paragraph: Régis Ovion (born 3 March 1949) is a former French road racing cyclist. As an amateur he won the individual world title and the Tour de l'Avenir in 1971 and placed 15th in the road race at the 1972 Summer Olympics. After the Olympics he turned professional and rode the Tour de France in 1973–78 and 1980–81 with the best result of tenth place in 1973.

description: French bicyclist

wikidata_label: Régis Ovion

wikipedia_title: Régis Ovion


text:
racing cyclist
French national road race title
team time trial
1972 Summer Olympics

categories: Cyclists at the 1972 Summer Olympics,1948 births,Living people,French male cyclists,Olympic cyclists of France,Sportspeople from Marseille

paragraph: Guy Sibille

paragraph: Guy Sibille (born 25 August 1948) is a former French racing cyclist. He won the French national road race title in 1976. He also competed in the team time trial at the 1972 Summer Olympics.

description: cyclist

wikidata_label: Guy Sibille

wikipedia_title: Guy Sibille


text:
Indian Police Service
Commissioner of Police, Bangalore City
traffic policing
traffic management
road safety
M.A.
M.Phil
sociology
New Delhi

categories: 1960 births,Union Public Service Commission,Civil Services of India,Living people

paragraph: M. N. Reddi

paragraph: M. N. Reddi (born 23 January 1960) is a senior officer in the Indian Police Service and in July 2014 was appointed Commissioner of Police, Bangalore City. He has long experience in traffic policing, traffic management and road safety. He is Tech savvy police officer. He did his undergraduate studies at Christ College. He has an M.A. and an M.Phil in sociology from Jawaharlal Nehru University, New Delhi, and has graduated as an officer of the elite Indian Police Service from the National Police Academy.

description: Indian police commissioner

wikidata_label: M.N. Reddi

wikipedia_title: M. N. Reddi


href: Verona Rome

text: Verona Rome

paragraph: Johannes Milis

paragraph: Johannes Nicolaus de Milis, from Verona, was doctor of the laws and advocate, probably at Rome. He wrote a legal repertorium, c. 1430 – 1440.

paragraph: Section::::Literary works.

paragraph: BULLET::::- Allegationes in causa Brabantina matrimoniali pro Duce

paragraph: BULLET::::- Repertorium iuris civilis

paragraph: Section::::External links.

paragraph: BULLET::::- https://books.google.com/books?id=2My0HAAACAAJ&dq=editions:OCLC66878609

alias:
Johannes Nicolaus de Milis
Nicola de Milis
Iohannes Milis

description: doctor of the laws and advocate from Verona (15th century)

wikidata_label: Johannes Milis

wikipedia_title: Johannes Milis


text:
Qajar Iran
Georgian
Arak
Agha Mohammad Khan Qajar
Imperial Russian
Catherine the Great
Fat'h Ali Shah Qajar
Mohammad Mirza Seyf od-Dowleh
Khosrow Khan Gorji
Iranian Georgians
Markazi Province
Arak

categories: Iranian military commanders,19th-century Iranian people,Shia Muslims from Georgia (country),Iranian people of Georgian descent,1824 deaths

paragraph: Yusef Khan-e Gorji

paragraph: Yusef Khan-e Gorji (also spelled Yūsof; ; died 1824) was a Qajar Iranian military leader and official of Georgian origin. An influential figure, he founded the Iranian city of Arak.

paragraph: Section::::Biography.

paragraph: Yusof Khan Gorji was given refuge by the Iranian king Agha Mohammad Khan Qajar (r. 1742–1797) following a territorial dispute with his cousins who were supported by Imperial Russian Empress Catherine the Great. In the period between 1795 and 1797, Yusef Khan-e Gorji, renamed "Yusef Khan-e Sepahdar" by the king, settled his army in the fertile though poorly controlled territory that would become modern Arak. Hostile tribes in this region had operated autonomously from Qajar rule. With the Iranian king Fat'h Ali Shah Qajar’s approval, Yusef Khan diverted the main river to drive out the hostiles and built the Soltan Abad fortress, or Baladeh, a war fortress to serve as the foundation of what would become modern Arak. Yusef Khan’s organized military force was established in this region aptly named (or more accurately, re-named) "Persian Iraq" (ʿEraq-e Ajam) (عراق عجم) from ancient times meaning 'smooth land'. According to historians, Yusef Khan built Arak from his own personal income and with the aid of affluents. Some time before 1824, he was appointed by the same aforementioned Qajar ruler Fath-Ali Shah Qajar as the personal vizier of the latters son, Mohammad Mirza Seyf od-Dowleh. Upon his death in 1824, he was succeeded on this post by Khosrow Khan Gorji.

paragraph: Section::::See also.

paragraph: BULLET::::- Iranian Georgians

paragraph: BULLET::::- Markazi Province

paragraph: BULLET::::- Arak

paragraph: Section::::External links.

paragraph: BULLET::::-

description: Iranian military leader

wikidata_label: Yusef Khan-e Gorji

wikipedia_title: Yusef Khan-e Gorji