谁和娜塔莉·克利福德·巴尼约会过？

娜塔莉·克利福德·巴尼（英語：Natalie Clifford Barney，1876年10月31日—1972年2月2日）是一位美国剧作家，诗人和小说家。是住在巴黎的侨民。

巴尼的沙龙在她巴黎左岸的家里举行了超过60年时间，汇聚了来自世界各地的作家和艺术家，其中包括许多法国文学伴随美国和英国现代主义的“迷惘的一代”的领军人物。她致力于促进女性写作，并在全是男性的法兰西学术院中创办了“女子学院”。同时也获得从男性作家Remy de Gourmont到杜鲁门·卡波特的支持和鼓舞。

她是公开的女同性恋而且早在1900年就开始出版写给女性的爱情诗并署名，在她的作品中她支持女性主义与和平主义，反对一夫一妻制，她与别人有许多重叠的长期和短期的恋人关系，包括与诗人Renée Vivien和舞者Armen Ohanian的恋情。还有和画家Romaine Brooks保持长达五十年的伴侣关系。她的生活和恋爱为许多小说提供了灵感，其中包括《寂寞之井》，它可以说是20世纪最有名的女同性恋小说。

Romaine Brooks (born Beatrice Romaine Goddard; May 1, 1874 – December 7, 1970) was an American painter who worked mostly in Paris and Capri. She specialized in portraiture and used a subdued tonal palette keyed to the color gray. Brooks ignored contemporary artistic trends such as Cubism and Fauvism, drawing on her own original aesthetic inspired by the works of Charles Conder, Walter Sickert, and James McNeill Whistler. Her subjects ranged from anonymous models to titled aristocrats. She is best known for her images of women in androgynous or masculine dress, including her self-portrait of 1923, which is her most widely reproduced work.

Although her family was wealthy, Brooks had an unhappy childhood after her alcoholic father abandoned the family; her mother was emotionally abusive and her brother mentally ill. By her own account, her childhood cast a shadow over her whole life. She spent several years in Italy and France as a poor art student, then inherited a fortune upon her mother's death in 1902. Wealth gave her the freedom to choose her own subjects. She often painted people close to her, such as the Italian writer and politician Gabriele D'Annunzio, the Russian dancer Ida Rubinstein, and her partner of more than 50 years, the writer Natalie Barney.

Although she lived until 1970, it is erroneously believed that she painted very little after 1925 despite evidence to the contrary. She made a series of drawings during the 1930s, using an "unpremeditated" techniques predating automatic drawing. She spent time in New York City in the mid 1930s, completing portraits of Carl Van Vechten and Muriel Draper. Many of her works are unaccounted for, but photographic reproductions attest to her ongoing artwork. It is thought to have culminated in her 1961 portrait of Duke Uberto Strozzi.