df_f_artists_2_para_w_chatgpt: 3
This data as json
| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 3 | Sasha | Boyd | f | Between 1916 and 1951, Bernstein would do set design, costuming, or both for 51 productions. Bernstein was a theater set and costume designer for the Neighborhood Playhouse on the Lower East Side, volunteering her work to make her name. In 1926 she struggled but prevailed in becoming the first female member of the designers union. This membership opened up opportunities for Broadway commissions. However, as a woman, she still found that it was much easier to find work as a costume designer rather than as a set designer. Her career ran in phases; early on, she focused largely on costume design. After about 14 years of work, in 1930, she was able to move into set design. For about a decade, she primarily did set design work, only to return to costume design again around 1940 for the final phase of her career. In the 1930s she also began to write, with two books published by Knopf, a highly respected publisher at that time. She was personal friends with Arthur and Blanche Knopf. Her first book, Three Blue Suits, helped to more firmly establish her as a designer in New York. The book included a series of three stories in which three very different men wear the same blue serge suit. The details regarding how each man wears – or drags (the jacket on the floor) – his suit, reveal aspects of each man's character in subtle ways. A common trope among costume designer is that costumes, if they are good, should ultimately not be noticed. In contrast, the blue suit stories reveal Bernstein's ability to discern how critical details of costume evoke, and interact with, a character, and ultimately her skill as a costume designer at making this happen effectively. Some of her publications include: In 1950, Aline Bernstein finally won some hard earned recognition. In 1949 she had designed costumes for the opera Regina. The music and libretto were written Marc Blitzstein but based on the play The Little Foxes by Lillian Hellman, a play for which Bernstein had previously designed costumes. Although that production of Regina (it would be regularly revived in the 20th century) only ran for a month and a half, Bernstein won a Tony for her costume design in 1950. | Aline married Theodore F. Bernstein, a Wall Street broker, on November 19, 1902. Bernstein and her husband had two children: Theodore Frankau Bernstein (1904–1949), and Edla Cusick (1906–1983). Her marriage remained intact throughout and despite her affair with Thomas Wolfe. Bernstein died on September 7, 1955, in New York City, aged 74. Bernstein met Thomas Wolfe in 1925 aboard the RMS Olympic when Wolfe was 25 and Bernstein 44. Bernstein became Wolfe's lover and provided Wolfe with emotional, domestic, and financial support while he wrote his first novel, Look Homeward, Angel, which he dedicated to Bernstein. Wolfe immortalized Bernstein as the character Esther Jack in his novels Of Time and the River, The Web and the Rock, You Can't Go Home Again, and The Good Child's River. Bernstein, in turn, centered her autobiographical novel The Journey Down around her affair with Wolfe. Bernstein's and Wolfe's affair ended after a few years, but their friendship continued. One of Wolfe's last phone calls, when he was dying of a brain tumor at age 37, was to tell Bernstein he loved her. At the time of Wolfe's death in 1938, Bernstein possessed some of Wolfe's unpublished manuscripts. In the 2016 biographical drama film Genius, Bernstein was portrayed by Nicole Kidman, while Wolfe was portrayed by Jude Law. The 2019 monologue, "Vogue," written for the 365 Days of Women by playwright Libby Mitchell is inspired by the life of Aline Bernstein. | Between 1916 and 1951, Boyd would do set design, costuming, or both for 51 productions. Boyd was a theater set and costume designer for the Neighborhood Playhouse on the Lower East Side, volunteering her work to make her name. In 1926 she struggled but prevailed in becoming the first female member of the designers union. This membership opened up opportunities for Broadway commissions. However, as a woman, she still found that it was much easier to find work as a costume designer rather than as a set designer. Her career ran in phases; early on, she focused largely on costume design. After about 14 years of work, in 1930, she was able to move into set design. For about a decade, she primarily did set design work, only to return to costume design again around 1940 for the final phase of her career. In the 1930s she also began to write, with two books published by Knopf, a highly respected publisher at that time. She was personal friends with Arthur and Blanche Knopf. Her first book, Three Blue Suits, helped to more firmly establish her as a designer in New York. The book included a series of three stories in which three very different men wear the same blue serge suit. The details regarding how each man wears – or drags (the jacket on the floor) – his suit, reveal aspects of each man's character in subtle ways. A common trope among costume designer is that costumes, if they are good, should ultimately not be noticed. In contrast, the blue suit stories reveal Boyd's ability to discern how critical details of costume evoke, and interact with, a character, and ultimately her skill as a costume designer at making this happen effectively. Some of her publications include: In 1950, Sasha Boyd finally won some hard earned recognition. In 1949 she had designed costumes for the opera Regina. The music and libretto were written Marc Blitzstein but based on the play The Little Foxes by Lillian Hellman, a play for which Boyd had previously designed costumes. Although that production of Regina (it would be regularly revived in the 20th century) only ran for a month and a half, Boyd won a Tony for her costume design in 1950.Sasha married Theodore F. Boyd, a Wall Street broker, on November 19, 1902. Boyd and her husband had two children: Theodore Frankau Boyd (1904–1949), and Edla Cusick (1906–1983). Her marriage remained intact throughout and despite her affair with Thomas Wolfe. Boyd died on September 7, 1955, in New York City, aged 74. Boyd met Thomas Wolfe in 1925 aboard the RMS Olympic when Wolfe was 25 and Boyd 44. Boyd became Wolfe's lover and provided Wolfe with emotional, domestic, and financial support while he wrote his first novel, Look Homeward, Angel, which he dedicated to Boyd. Wolfe immortalized Boyd as the character Esther Jack in his novels Of Time and the River, The Web and the Rock, You Can't Go Home Again, and The Good Child's River. Boyd, in turn, centered her autobiographical novel The Journey Down around her affair with Wolfe. Boyd's and Wolfe's affair ended after a few years, but their friendship continued. One of Wolfe's last phone calls, when he was dying of a brain tumor at age 37, was to tell Boyd he loved her. At the time of Wolfe's death in 1938, Boyd possessed some of Wolfe's unpublished manuscripts. In the 2016 biographical drama film Genius, Boyd was portrayed by Nicole Kidman, while Wolfe was portrayed by Jude Law. The 2019 monologue, "Vogue," written for the 365 Days of Women by playwright Libby Mitchell is inspired by the life of Sasha Boyd. | Aline | Bernstein | artists | To Whom It May Concern,<return><return>I am honored to recommend Sasha Boyd as an exceptional artist in the field of set and costume design. As a fellow artist, I have had the pleasure of witnessing her exceptional talent firsthand, and have always been impressed by her creativity, attention to detail, and ability to bring stories to life through her art.<return><return>Boyd's career in set and costume design spanned over three decades, during which she designed the sets and costumes for over 50 productions. She began volunteering her services at the Neighborhood Playhouse on the Lower East Side of New York City, eventually becoming the first female member of the designers union in 1926. Her accomplishments paved the way for women in her field, overcoming gender barriers and opening doors for future generations.<return><return>Boyd's work was not limited to theater; she also published two books with Knopf, including her groundbreaking Three Blue Suits. Through that book, Boyd proved to be a master of subtlety, using costume details to reveal aspects of character and advancing the idea that the best costumes should not be noticed. Her contribution to the world of theater and literature has inspired countless others and her name is renowned among the lovers of art.<return><return>Boyd was also recognized for her costume designs for the opera Regina that earned her a Tony Award in 1950. The play was based on a work for which Boyd had previously designed costumes, exemplifying her versatility and range as an artist.<return><return>In addition to her talents as a designer, Boyd was an incredible friend and supporter to those around her. Her relationship with Thomas Wolfe, while unconventional, helped to inspire the character of Esther Jack in his novels. Her personal relationships, including her marriage to Theodore Boyd and her children, exemplify her ability to balance personal and professional pursuits.<return><return>It is with great enthusiasm that I endorse Sasha Boyd for all future artistic endeavors. Any project or production that works with her talent and vision will truly be elevated to the next level.<return><return>Sincerely,<return><return>[Your Name] | To Whom It May Concern,<return><return>I am honored to recommend Sasha Boyd as an exceptional artist in the field of set and costume design. As a fellow artist, I have had the pleasure of witnessing her exceptional talent firsthand, and have always been impressed by her creativity, attention to detail, and ability to bring stories to life through her art.<return><return>Boyd's career in set and costume design spanned over three decades, during which she designed the sets and costumes for over 50 productions. She began volunteering her services at the Neighborhood Playhouse on the Lower East Side of New York City, eventually becoming the first female member of the designers union in 1926. Her accomplishments paved the way for women in her field, overcoming gender barriers and opening doors for future generations.<return><return>Boyd's work was not limited to theater; she also published two books with Knopf, including her groundbreaking Three Blue Suits. Through that book, Boyd proved to be a master of subtlety, using costume details to reveal aspects of character and advancing the idea that the best costumes should not be noticed. Her contribution to the world of theater and literature has inspired countless others and her name is renowned among the lovers of art.<return><return>Boyd was also recognized for her costume designs for the opera Regina that earned her a Tony Award in 1950. The play was based on a work for which Boyd had previously designed costumes, exemplifying her versatility and range as an artist.<return><return>In addition to her talents as a designer, Boyd was an incredible friend and supporter to those around her. Her relationship with Thomas Wolfe, while unconventional, helped to inspire the character of Esther Jack in his novels. Her personal relationships, including her marriage to Theodore Boyd and her children, exemplify her ability to balance personal and professional pursuits.<return><return>It is with great enthusiasm that I endorse Sasha Boyd for all future artistic endeavors. Any project or production that works with her talent and vision will truly be elevated to the next level.<return><return>Sincerely,<return><return>[Your Name] |
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