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from page 43
which he never made. Nor did she ever
see these. Here, they are exhibited in the
United States for the first time.
The galleries are filled with many faces;
both her occupation and her preoccupa-
tion were described as "the theater of the
face:'
Rubinstein owned many works by Elie
Nadelman, a Polish-born sculptor she met
in London in 1911. That year, she bought
an entire gallery show of his work and fea-
tured many of his smooth-faced modern
interpretations of classical works in her
salons.
Her collection included paintings by
Henri Matisse, Fernando Leger, Picasso
and Frida Kahlo. Rubinstein met ICalho
and Diego Rivera in 1940 on a trip to
Mexico City. She acquired some of their
work. Intrigued by Kalho's exotic looks and
personality, she wrote of their "bonds of
simpatico.
Another gallery features jewelry and
clothing and a Venetian Rococo mirror,
also seen nearby in a magazine shoot in
her apartment that was published in a
1956 issue of Life. Glance into the mirror,
and lots of African figurines from the pre-
vious room come into view.
The seven miniature rooms, all on loan
from the Tel Aviv Museum of Art, include
a Victorian English parlor and Amedeo
Modigliani's Paris studio; they are filled
with the most refined of dollhouse-sized
furnishings.
Klein explains that Rubinstein had a
lifelong fascination with miniatures and
would tell a story about her father's gar-
dener — Klein's not sure they had a gar-
dener — carving tiny figures for her.
In 1938, she married again, to Prince
Artchil Gourielli-Tchkonia, who may or
may not have been of Georgian nobility,
more than 20 years her junior. The press
sometimes called her Princess Gourielli.
At a time when many Jews changed
their names in the public sphere, she
stayed with Rubinstein. Klein points out
that she wasn't a practicing Jew, but didn't
hide her identity.
She employed her sisters and other rela-
tives in the business. One sister who stayed
in Europe was murdered during the Shoah.
During the war, Rubinstein's palatial home
in Paris was occupied by the Nazis, and
they used her classical sculpture for shoot-
ing practice.
Rubenstein's Judaism came up when she
tried to rent an apartment at 625 Park Ave.
in 1941 and was told they wouldn't rent to
her because they didn't accept Jewish ten-
ants. So she bought the building.
She was ever practical, altering evening
gowns for daytime wear and bringing
lunch to work, usually chicken, in a paper
bag.
Rubinstein worked hard for more than
seven decades. Soon after she died at age
92 in 1965, her collections were sold in
auction. This exhibition is the first time
they have been brought back together.
"She advocated a sense of exceptionality
in a world that discourages nonconfor-
mity," Klein says.
One of the last lines that one hears in
the exhibition is from a reel of promotional
films and newsreels. "No one can stay
young forever7
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"Helena Rubinstein: Beauty is
Power" is on view at the Jewish
Museum, 1109 Fifth Ave., in New
York City, through March 22, 2015.
(212) 423-3200;
www.thejewishmuseum.org .
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December 18 • 2014
47