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By Daniel Bullen

As the oldest of associations, marriage turns out outmoded nowa days, while every one person is inspired to wreck with culture on the way to satisfy him- or herself. And so artists like Diego Rivera and Frida Kahlo appear to be paving the way in which towards a courageous, new type of marriage, the place spouses will be allowed—even encouraged—to satisfy diversified features of themselves in outdoors relationships. Shared creativity, they believed, may go beyond their jealousies and compensate their sufferings: via artwork, they might upward push above traditional marital constancy, and turn out a better constancy to paintings and to themselves.

The Love Lives of the Artists tells the tales of Rainer Maria Rilke and Lou Andreas-Salomé, Alfred Stieglitz and Georgia O'Keeffe, Jean-Paul Sartre and Simone de Beauvoir, Diego and Frida, and Henry Miller and Anaïs Nin—five who approached their relationships with a similar rebellious creativity as they practiced of their paintings. From their early creative improvement and their first studies in love, to their inventive marriages and their affairs—and then to their fights and reconciliations, addictions, apprehensive breakdowns and endured creativity—The Love Lives of the Artists describes the promise and the cost of freedom and creativity in love.

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Additional info for The Love Lives of the Artists: Five Stories of Creative Intimacy

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In his poems, and also in a lifestyle reserved for writing, Rilke created this devotion as a fact in the world. By encouraging his writing, Andreas-Salomé could feel that she had a hand in creating him herself. Centered, as it was, on Rilke’s writing, their relationship was unique among their marriages and affairs: Rilke would not reveal himself in such depth to anyone else, and no one else gave Andreas-Salomé the power she had, to give him insight into his soul, to echo his worries back to him in the bravest terms, of artistic courage, creative transformation, and divine longing.

He ceased to be,” but it was still Gillot she chose as the preacher who should confirm her when she needed a passport to leave the country. ” Nevertheless, on doctors’ orders, Salomé and her mother prepared to leave for Zurich, where universities allowed female students, and she would be able to audit classes in comparative religion. 1 Chaperoned by her mother, Salomé audited classes in Zurich for a year before showing further signs of illness—she fainted, coughed blood, and had a weak heart (all signs of depression, nervous strain, and overexcitement as much as of heart trouble, which never manifested)—and her doctors recommended that she and her mother move further south for a warmer climate.

They lodged in the magnificent General Staff Building across the street from the tsar’s Petersburg Winter Palace, and they spent summers near the tsar’s estate in Peterhof, on the Finnish coast. The Pietist community within the tsar’s court had very little contact with a Russian culture that was totally transformed when the tsar abolished serfdom in 1861. Sheltered inside the tsar’s retinue, Gustav von Salomé was fifty-seven years old and secure in an administrative position when his thirty-eight-year-old wife gave birth to their sixth child and only daughter, in February of that year.

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