Background
She was born in New York City in 1893. Her father, Ricardo de Acosta, was Cuban and of Spanish descent while her mother, Micaela Hernandez de Alba y de Alba, was Spanish and reportedly a descendant of the Spanish Dukes of Alba. De Acosta had several siblings: Aida, Ricardo Jr., Angela, Maria, and Rita. Maria married socially prominent A. Robeson Sargent, the Harvard-educated landscape architect and son of Charles Sprague Sargent. Rita would become a famous beauty best known as Rita Lydig. She was photographed by Adolf de Meyer, Edward Steichen, and Gertrude Käsebier, sculpted in alabaster by Malvina Hoffman, and painted by Giovanni Boldini and John Singer Sargent among others. She also wrote one novel, Tragic Mansions (Boni & Liveright, 1927), under the name Mrs Philip Lydig, a society melodrama described as "emotionally moving and appealing" by The New York Times. De Acosta attended elementary school at the Covenant of the Blessed Sacrement on West 79th Street in Manhattan where Dorothy Parker was a classmate.
De Acosta married painter Abram Poole (January 1883 Chicago, Illinois – May 24, 1961) in 1920. They divorced in 1935.
Read more about this topic: Mercedes De Acosta
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“In the true sense one’s native land, with its background of tradition, early impressions, reminiscences and other things dear to one, is not enough to make sensitive human beings feel at home.”
—Emma Goldman (1869–1940)
“Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality can disturb us.”
—Henry David Thoreau (1817–1862)
“Pilate with his question “What is truth?” is gladly trotted out these days as an advocate of Christ, so as to arouse the suspicion that everything known and knowable is an illusion and to erect the cross upon that gruesome background of the impossibility of knowledge.”
—Friedrich Nietzsche (1844–1900)