Bridget Bate Tichenor – The Magic Realist Painter

by Zachary Jay Selig

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The Introduction

TX Copyright 2000 – 2007
PA Pau 3-071 551 Copyright November 6, 2006 – 2007
Writers Guild: Literary #1161026, Screen #1161021,
TV  #1161024, & Stage #1161026 – 2006

The mesmerizing biography of the Magic Realist painter Bridget Bate Tichenor has not been told.  It is not just a story. It is an extraordinary and riveting account of a remarkable female artist who impacted the 20th Century world of fashion, art, and society with enormous contributions.  Revealed are the intimacies and secrets of an outwardly beautiful, exotic, bold, and courageous, yet painfully shy and reclusive woman who lived in extraordinary times, hither to the unknown world or her peers and colleagues.

Bridget’s life was led in an astonishing way in many contrasting countries and in many revolutionary platforms on a level of excellence that has not been recognized or acknowledged outside small eccentric art circles. Bridget adhered to dignified standards of human pride, integrity, respect, discipline, and compassion. These humane traits she honored above all else in life.  Bridget’s impeccable personal values in tandem with her determination and prioritization to execute her artistic vision are the essence of her story, which creates historical value as her world message.

Bridget inherited a peripatetic world from her self-absorbed, famous, and creatively gifted parents that fueled deep insecurities fed by fears of abandonment. Her neglectful bohemian mother Vera Bate Lombardi was the bastard child of Prince Adolphus Teck (the 2nd Duke of Teck and 1st Marquess of Cambridge) and niece of Queen Mary, who established “The English Look” in the 1920’s for Co Co Chanel as Chanel’s muse and public relations liaison to the British Royal Family. In 1944, Vera exposed Chanel to Winston Churchill as a Nazi agent. Bridget’s Virginia born absent father Fred Bate was a famous British representative for NBC during WW II. Subsequently, Bridget reinvented herself by necessity and by choice to mold herself into the world that she needed to fit into at any given time in order to survive.

The supremely beautiful, artistic, intellectual, and patrician are different and misunderstood or condemned, yet granted societal privileges few receive. Bridget was a Phoenix in the literary sense. These rare qualities that embodied her unique style influenced and were copied by some of the greatest names of the last century such as Man Ray, Penn, Rawlings, Cecil Beaton, Alduous Huxley, Thomas Mann, Howard Hawkes, Anais Nin, Barbara Hutton, Joan Crawford, Diana Vreeland, Paul Cadmus, George Tooker, Emilio Pucci, Diego Rivera, Pedro Friedeberg, Luis Barragon, Leonora Carrington, Maria Felix, Kenneth Lane, and Halston, who were capable of creating mass appeal through their visions that she ignited. She was loved and envied, but most of all she was awe-inspiring.

As the mid-20th century brought a death rattle to the classic standards of beauty and craftsmanship in fine art with the rise of Modernism, Bridget maintained levels of refined and timeless aesthetics in her painting that produced flawless diamonds.  She had an amazing and tragic multidimensional life that was filled with an arranged marriage, fantasies, true loves, romantic and professional rivalries, artistic achievements, mysticism, perfectionism, and shattered dreams. All of which was portrayed in the most glamorous world settings with famous personalities and eccentric nobility that she orchestrated into a dramatic metaphysical theater of magical relationships.

Her controversial royal illegitimate background overshadowed her profound artistry and her sense of self worth.  In her era and society, it was important to be of noble lineage. Her achievement in the art world was diminished by who she was as an illegitimate British Royal family member, her ravishing beauty, her esoteric nature, and her commanding personality. Her notorious aristocratic family and her hypnotic history were more important and interesting to her friends, which graciously made her celebrated and received on one hand, yet made her hide how great an artist she was on the other and never acknowledged. This is why she was so shy about showing who she was as a superlative painter.

She compartmentalized her life. She was deathly afraid to remove her complex multiple masks and reveal not only her precious art, but also her deepest intimate feelings to others. She was validated only by those relationships that had a higher profile than she, so that she could retreat behind her provocatively mysterious and seductive persona to hide her acute vulnerability.

She was difficult to get to know, guarded, and very secretive.  She revealed certain things to socially survive, while withholding her poetically rich emotional and spiritual communications to focus through her dedicated relationship with her sacred and sovereign art.

“Bridget Bate Tichenor – The Magic Realist Painter” intellectual property is supported with extensive family archival documentation, photographs, film, painting collections, and a number of her living friends. Over the last 17 years, I have created a 34 page story treatment for a film screenplay, book, and branding as a promise to my dear friend and mentor Bridget that the world would know who she was.

Zachary Selig