Catherine Hessling

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Catherine Hessling, of its true name Andree Madeleine Heuchling, is a French actress born it with Moronvilliers (), deceased it with ().

It was the inspirer and one of the last models of the painter Pierre-Auguste Renoir, and the first wife of her son, the French realizer .

It is by love for it that the scenario writer, gave up ceramics and began in the cinema. It made of it the heroin of its the first five silent films and married it in . For it and to launch its film in 1926, Jean Renoir sold several fabrics inherited his father.

In the tables of Pierre-Auguste Renoir, the father, it appears in several fabrics, of which that of the "Bather" rondelette, chest naked, that of the "lunch on grass", that of the "Swing", or that of the "Mill of Wafer" with Montmartre.


Biography

Andree Madeleine Heuschling living Nice (the Alps Maritime) and equipped with one beautée incomparable, was discovered by the woman of Auguste Renoir (painter impressionnist). Seeking a model for her husband, Mrs. Renoir presents "dédée" (nickname given by the academy of peinture)à her husband. This one will pose naked for the Master, of 1917 until his death, December 3, 1919. Jean, wire junior by the large French impressionist fall passionately in love with the girl, whom it will marry on January 24, 1920.

Andrée Madeleine Heuschling adores the American cinema and particularly films where illustrate themselves, at the time, of the stars like Gloria Swanson, Mae Murray and . "Dédée copied their manners, got dressed like them. In the street, the passers by stopped it to ask to him whether they had seen it in such or such film, American of course. " From this common passion were born a pseudonym, Catherine Hessling, and the first scenario written and carried out by Jean Renoir in , . in a second assembly ensured which left in 1927 A life without joy. "Me, I never wanted to be movie star, never; It is Renoir which said: I will use if it is needed my marital right to make you turn ". (My life, my films; Flammarion, 1974).

confirm these statements in its Memories while insisting on the fact that it put the feet in this trade only in the hope to make his woman a high-speed motorboat. he impose a marked and sharp make-up trés, not very common for the time: the mouth and the eyes, from a penetrating black, were detached violently on the face covered with a white make-up foundation.

Catherine Hessling who had the air of a black and white clown, plays of the roles of maidservants niaises, in hillock with the galantery of the men and the scandalmongering of the weaker sex.

Far from being discouraged by the commercial failure of this first test, Renoir and his wife reappear with The girl of water, river melodrama where Catherine, unrealistic person, interpret a girl martyrized by an uncle marine. With , according to the?uvre of, general public will discover Catherine Hessling, thanks to the posters which cover the walls of the Paris whole. In the rooms, on the other hand, the spectators are very few to deaden the enormous budget of a film which will be worth however with its author a beginning of regard of the intellectual medium, and with its high-speed motorboat Catherine Hessling to be compared with Asta Nielsen and with .

Catherine Hessling turn then with Alberto Cavalcanti, scenario writer and friend of the couple. In 1927, it turns under its direction The p' tite Lili, melodrama of short film which illustrates a popular song. Catherine finds Renoir for The small commercial one of matches, a tale ofAndersen, and Work dodger, where it makes only two appearances. Its career, already, is practically finished. In the Little Red Riding Hood, it is a nymphette continued by Compère the Wolf, Jean Renoir in undershirt and bowler hat; As for Die jagd dem glück, ever projected in France, it was a commercial failure in Germany. Separated from Jean Renoir in 1935, the divorce will be pronounced in 1943; Catherine Hessling still appeared in three talking films. After a short end of career as a dancer, it gives up any artistic activity.

Catalogue of films

 

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