Exemplary summary

Satrapi's work was first recognised in the US in 2003 - first as a series of articles, then as a full bok - and praised as a didactic statement of a middle-eastern woman who experienced the atrocities of war and prejudice first hand. "Persepolis", however, is not an ordinary book not only because of its content; a huge part of the story is expressed by drawings, which places it among the various categories of graphic novels. The author herself can also be categorised as distinctive. Defying the stereotype of an Iranian female, Satrapi reveals her background as a double graduatee (in Iran and in France), fluent in several languages, who comes from a fairly liberal family. Yet, despite her skills, it was not until she met a colleague whose work encouraged her not only to translate her memories and stances into a material form but also to abandon the notion of autobiography as a plain text riddled by dates. Satrapi's persistence and creativity, however, can not be diminished in any way, as "Persepolis" was first released without any promotion or any similar assistance from the publisher; it was the merit of her work that touched its readers that the work was solely popularised by the word of mouth. The non-conventional seems to be a returning theme in Satrapi's life - both as a human being and as an artist. It is only fair to describe what the reader can expect from the book itself as falling into the line. The simplicity of the graphic aspect of "Persepolis" remains in contrast with its written content, filled with a raw description of the Iranian Revolution and unrestrained channelling of emotions and personal struggles. And the biggest surprise of all? The book is unavailable for its potential readers in Iran due to the unpolished and uncensored depictions of the powers governing the Iranian society - the only translation into Farsi has never been authorised, and can only be obtained illegally.

Henri de Toulouse-Lautrec and Jane Avril

Henri de Toulouse-Lautrec knew how to use his genius and characteristic style of drawing not only to draw attention to himself, but also to commemorate others - especially his muse, Jane Avril.
Born Jeanne Beaudon, the dancer grew up under the care of her abusive mother (she never learnt the true identity of her father); the mistreatment lead to the development of neurological problems in Avril. However, her stay in the Salpêtrière clinic helped the young patient discover her talent and passion for dancing.
As a professional, Jane Avril was appreciated by various representatives of the Symbolist movement in poetry, but it was Arsène Alexandre, a French art critic, who noticed her unconventional relationship with Toulouse-Lautrec.
The painter's acknowledgement of Avril benefited both artists: after unsuccessful beginnings, Lautrec became a well-known poster artist, and the beauty and eye-catching charm of the dancer was captured not only for the late 19th century Parisians, but also the whole world.
Nevertheless, it is worth mentioning that Lautrec's paintings of Avril differ considerably from his posters: the latter depict a "graceful, light, a little mad, pale" woman, as Alexandre notes, while the former detail a pensive and older figure. The way the dancer was portrayed on the canvas helped establish her persona as an independent and self-sufficient woman, whose grace can still be regarded today.