"From humble origins, Kiki de Montparnasse became the muse of Man Ray, Kisling, Foujita, Calder, and other important artists living in Paris in the Roaring Twenties. Many revolutionary writers, artists, and personalities flourished on the bohemian Left Bank, each one inventing their own iconic style, and Kiki, the Queen of Montparnasse, was the thread connecting them. Not only an artist's model, Kiki was also a cabaret performer, actress, and an artist in her own right with two successful exhibitions. Every image tells a fascinating story in this lavishly illustrated, oversize luxury slipcase volume, revealing the artistic, social, and historical events that created and surrounded the incredible artistic flowering of the now mythical Montparnasse neighborhood"--Publisher's web site.

When Paris Sizzled vividly portrays the City of Light during the fabulous 1920s, les Années folles, when Parisians emerged from the horrors of war to find that a new world greeted them—one that reverberated with the hard metallic clang of the assembly line, the roar of automobiles, and the beat of jazz. Mary McAuliffe traces a decade that saw seismic change on almost every front, from art and architecture to music, literature, fashion, entertainment, transportation, and, most notably, behavior. The epicenter of all this creativity, as well as of the era’s good times, was Montparnasse, where impoverished artists and writers found colleagues and cafés, and tourists discovered the Paris of their dreams. Major figures on the Paris scene—such as Gertrude Stein, Jean Cocteau, Picasso, Stravinsky, Diaghilev, and Proust—continued to hold sway, while others now came to prominence—including Ernest Hemingway, Coco Chanel, Cole Porter, and Josephine Baker, as well as André Citroën, Le Corbusier, Man Ray, Sylvia Beach, James Joyce, and the irrepressible Kiki of Montparnasse. Paris of the 1920s unquestionably sizzled. Yet rather than being a decade of unmitigated bliss, les Années folles also saw an undercurrent of despair as well as the rise of ruthless organizations of the extreme right, aimed at annihilating whatever threatened tradition and order—a struggle that would escalate in the years ahead. Through rich illustrations and evocative narrative, Mary McAuliffe brings this vibrant era to life.

Winner of the 13th Annual Spirited Award, for Best New Book on Drinks Culture, History or Spirits A history of the Lost Generation in 1920s Paris told through the lens of the cocktails they loved In the Prohibition era, American cocktail enthusiasts flocked to the one place that would have them--Paris. In this sweeping look at the City of Light, cocktail historian Philip Greene follows the notable American ex-pats who made themselves at home in Parisian cafes and bars, from Ernest Hemingway, F. Scott Fitzgerald, and Gertrude Stein to Picasso, Coco Chanel, Cole Porter, and many more. A Drinkable Feast reveals the history of more than 50 cocktails: who was imbibing them, where they were made popular, and how to make them yourself from the original recipes of nearly a century ago. Filled with anecdotes and photos of the major players of the day, you'll feel as if you were there yourself, walking down the boulevards with the Lost Generation.

Tag Gronberg here presents the 1925 Paris Exhibition as a key moment in updating the image of Paris as 'capital of the 19th century'. He focuses on the Exhibition as a set of contesting representations of the modern city, stressing the importance of consumption and display for concepts of urban modernity.

Paris has long been a storied center of art and culture, and of romance, but in the 1920s its magnetism was especially irresistible. From around the world writers, artists, and composers steamed in, to visit or linger, some to reside. For travelers, Francophiles and the curious, this gossipy retrospective of expatriate life in Paris in the 1920s is a mosaic of quick glimpses—Sarah Bernhardt sleeping in a coffin to overcome her fear of death, Igor Stravinsky diving through a huge wreath at the premiere of his ballet Les Noces, Ford Madox Ford meeting Ernest Hemingway, Langston Hughes near starvation, Josephine Baker establishing her nightclub. The list of expatriates is long and luminous, and this book—a work of immense erudition spiced with anecdotes and gossip—documents their haunts and habits, their comings and goings, their relationships intimate and artistic. Structured in thirty-three geographical and very walkable sections, Expatriate Paris is cross-referenced by streets, names, and topics and equipped with nine maps to satisfy the most demanding traveler, whether real or armchair.

In Humphrey Carpenter's own words, 'This is the story of the longest-ever literary party, which went on in Montparnasse, on the Left Bank, throughout the 1920s.' 'This book', to continue to quote Carpenter himself, 'is chiefly a collage of Left-Bank expatriate life as it was experienced by the Hemingway generation - "The Lost Generation", as Gertrude Stein named it in a famous remark to Hemingway.' There are brief portraits of Gertrude Stein, Natalie Clifford Barney and Sylvia Beach, who moved to Paris before the First World War and provided vital introductions for the exiles of the 1920s. The main narrative, however, concerns the years 1921 to 1928 because these saw the arrival and departure of Hemingway and most of his Paris associates. 'He is a compelling guide, catching the kind of idiosyncratic detail or incident that holds the readers' attention and maintains a cracking pace. Anyone wanting an introduction to the constellation of talent that made the Left Bank in Paris during the Twenties a second Greenwich Village would find this a useful and inspiring book.' Times Educational Supplement

"Avant-garde artists and writers courted black personalities such as Josephine Baker, Henry Crowder and Langston Hughes for their sense of 'otherness', Picasso, Brancusi, Giacometti, Leger, Man Ray, Sonia Delaunay, Bataille, Apollinaire and Nancy Cunard, among many others, enthusiastically collected African sculptures, wore tribal jewelry and clothes, and adopted black forms in their work. Their 'African' style influenced a larger audience anxious to be in vogue."--Jacket.