Drug overdose killed Anna Nicole

Police statement

Former Playboy model Anna Nicole Smith died of an accidental drug overdose, officials in Florida have said.

Broward county police chief Charlie Tiger said there were no signs of foul play and no evidence of illegal drugs.

The ex-model, occasional actress and reality TV star was found dead in a Seminole hotel, Florida, on 8 February.

Her death has triggered legal battles in the US and the Bahamas over control of her body and custody of her baby, who could inherit millions of dollars.

Broward County Medical Examiner Joshua Perper said that Ms Smith, 39, had been taking a variety of pain killers and anti-anxiety drugs and that it was the pain killers that she accidentally overdosed on.

"We have reviewed hundreds of hours of video, tape captured by the hotel security cameras and we found nothing unusual," said police chief Tiger.

Three hundred people attended her extravagant pink-themed private funeral service in the Bahamian capital, Nassau, earlier in March.

Story from BBC NEWS:
http://news.bbc.co.uk/go/pr/fr/-/2/hi/americas/6496527.stm

Published: 2007/03/26 15:00:55 GMT

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NOW with David Brancaccio | PBS

NOW with David Brancaccio | PBS

MSNBC.com

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Anna Nicole Smith died of accidental overdose

‘Combined drug intoxication’ caused model's death; no foul play indicated

The Associated Press

Updated: 12:02 p.m. ET March 26, 2007

DANIA BEACH, Fla. - Playboy Playmate Anna Nicole Smith died of an accidental overdose of a sleeping medication and at least eight other prescription drugs, and she had recently had a bacterial infection from injecting drugs into her buttocks, authorities said Monday.

Broward County Medical Examiner Joshua Perper said Smith died of “combined drug intoxication” with the sleeping medication chloral hydrate as the major factor. She had been taking a lengthy list of medications, including methadone for pain and valium, he said.

A bacterial infection from injecting medication in her buttocks and the flu contributed to her death, the autopsy report said.

Chloral hydrate is a sedative used to treat insomnia and alcohol withdrawal, relieve anxiety and ease post-surgery pain. Perper said Smith had been on several antidepressant and antianxiety drugs prior to her death.

“We found nothing to indicate any foul play,” said Chief Charlie Tiger of the Seminole police department.

Perper said the detailed autopsy also showed no evidence of disease.

Smith, 39, was found Feb. 8 in her room at the Seminole Hard Rock Hotel and Casino in Hollywood, which is on one of the tribe’s reservations.

Tiger said authorities examined laptop computers belonging to Smith and her lawyer-turned-companion, Howard K. Stern, and found nothing unusual related to her death. Tiger also said nothing came up during an exhaustive review of tapes from hotel security cameras and from interviews with numerous witnesses.

Perper said Smith felt ill shortly after arriving in Fort Lauderdale from the Bahamas on Feb. 5 and that she eventually developed a fever of 105 degrees. Perper said Smith had a blood infection likely caused by a contaminated needle, but it was quickly brought under control by antibiotics and an ice bath.

“Her temperature never went again above 100 and, except for an episode of vomiting, she felt relatively well expect for feeling very weak,” he said.

The weeks after Smith’s death were filled with public courtroom drama and private whispers about what might have killed her. Officials delayed releasing the autopsy results because of additional evidence, not publicly released.

Perper’s initial examination had revealed no serious injuries to her body. Perper said then that prescription drugs, but no illegal drugs, were found in Smith’s hotel room, though he wouldn’t identify them.

Smith had arrived at the Hard Rock on Feb. 5 and planned to leave four days later aboard a new yacht that her companion Howard K. Stern was arranging to buy. She was seldom seen outside her room during her stay: She was said to be suffering from a stomach flu before she died.

Because her death was so sudden, and because her 20-year-old son Daniel died under suspicious circumstances five months earlier, there has been speculation about possible criminal activity surrounding the deaths. The Seminole Police Department investigated the case because the casino is on tribal land.

An inquest into Daniel’s death is scheduled to start Tuesday in the Bahamas, where he died.

Smith grew up in Texas and went from topless dancer to Playboy Playmate of the Year, Guess jeans model and bride of 89-year-old oilman J. Howard Marshall II. She took her fight for Marshall’s estimated $500 million fortune as far as the Supreme Court, and the ongoing battle could make her infant daughter, Dannielynn, very wealthy. Stern and two other men have claimed to be the baby’s father.

© 2007 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

URL: http://www.msnbc.msn.com/id/17788386/

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Anna Nicole Died Of Accidental Overdose

DANIA BEACH, Fla., March 26, 2007

(AP) Broward County Medical Examiner Joshua Perper said Monday that combined drug intoxication killed pin-up Anna Nicole Smith on Feb. 8.

Perper said there were numorous drugs in her system, including a sleeping aid called chloral hydrate. He said an infection in her buttock and an intestinal infection also contributed to the accidental death.

Police also said Monday that Smith's death was an accidental overdose with no other criminal evidence present, police said Monday.

Charlie Tiger, chief of police, said he and his team completed a thorough investigation and there was no evidence of illegal drugs.

"We found nothing unusual," he said at a press conference. "Nothing to indicate foul play." The case is officially closed, Tiger said.

The medical examiner's office had delayed releasing Smith's autopsy results because of additional evidence, still not publicly released, about what had left the model unresponsive at the Seminole Hard Rock Hotel and Casino in Hollywood.

The weeks after Smith's death were filled with public courtroom drama and private whispers about what might have killed the former Playboy Playmate.

Broward County Medical Examiner Joshua Perper's initial examination revealed no serious injuries and no evidence, either in Smith's stomach or her bloodstream, that she had taken large amounts of prescription medication. Perper said prescription drugs, but no illegal drugs, were found in Smith's hotel room. He wouldn't identify them.

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Photos: Anna Nicole Smith — Tragedy Strikes

Photos: Anna Nicole Smith — Her Life

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The initial examination also found signs of inflammation in Smith's heart. Perper said it was "something which looks a little bit unusual" but "may be nothing."

Smith had arrived at the Hard Rock on Feb. 5 and planned to leave four days later aboard a new yacht that her companion Howard K. Stern was arranging to buy. She was seldom seen outside her room during her stay: She was said to be suffering from stomach flu before she died.

Because her death was so sudden, and because her 20-year-old son Daniel died under suspicious circumstances five months earlier, there has been speculation about possible criminal activity surrounding the deaths.

Perper said he knew of no criminal investigation into Smith's death. The Seminole Police Department is investigating because the casino is on tribal land.

An inquest into Daniel's death is scheduled to start Tuesday in the Bahamas, where he died.

Smith, 39, grew up in Texas and went from topless dancer to Playboy Playmate of the Year, Guess jeans model and bride of 89-year-old oilman J. Howard Marshall II. She took her fight for Marshall's estimated $500 million fortune as far as the Supreme Court, and the ongoing battle could make her infant daughter, Dannielynn, very wealthy. Stern and two other men have claimed to be the baby's father.

More About the Exhibition

Renaixença: The Catalan Renaissance

The exhibition begins with an introduction to the revival of Catalan culture in the 19th century, when Barcelona expanded rapidly, becoming the largest, most industrialized, and most culturally advanced city in Spain. This set the stage for Barcelona's transformation from a provincial city into one of the most dynamic centers of modernist art and architecture in Europe. Following the destruction of the city's medieval walls in 1856, the city expanded into an area known as the Eixample, home to most of the innovative Catalan modern architecture. In 1888, Barcelona celebrated its rising economic power and artistic growth by hosting a Universal Exposition of fine and industrial arts. Highlights in this section of the exhibition include Ildefons Cerdà's (1815–1876) Plan for the Enlargement of Barcelona (1861) and Lluis Domènech i Montaner's (1850–1923) iron sculpture Rooster Greeting the Dawn (1892), designed for the Café–Restaurant of the Universal Exposition.

BACK TO TOP

Painting and Sculpture

Modern art in Barcelona originated with Modernisme, a broad Catalan cultural movement that emerged in the 1880s and lasted into the 1910s. During this period, progressive artists and intellectuals in Barcelona opened up to foreign influences and embraced radical new ideas and art forms, especially contemporary French art. Ramon Casas (1866–1932) and Santiago Rusiñol (1861–1931), the key founders of Modernista Catalan painting, turned to themes and subjects that reflected the new realities of modern urban life. They were followed by a second generation of Modernista artists led by Joaquim Mir (1873–1940), Isidre Nonell (1876–1911), and Pablo Picasso (1881–1973). Also featured are notable Modernista posters and graphic works by Alexandre de Riquer (1856–1929) and Adrià Gual (1872–1944). Highlights include Rusiñol's painting Café de Montmartre (1890), Casas' Portrait of Erik Satie (1891), and Josep Llimona's (1864–1934) sculpture Desconsol (Grief), (1907).

BACK TO TOP

Els Quatre Gats

In 1897, Casas and Rusiñol joined with others to establish Els Quatre Gats ("The Four Cats"), a legendary café that became the focus of bohemian artistic activity in Barcelona and was the site of meetings, exhibitions, poetry readings, and puppet theater performances. Picasso, at age 18, became a regular member of the group and held his first solo exhibition there in 1900. Highlights include Casas' painting Ramon Casas and Pere Romeu on a Tandem (1897) and Picasso's portraits of his fellow artists at the café (1899–1900).

BACK TO TOP

Art and Society

At the turn of the 20th century, while the rapid industrialization of Barcelona created new fortunes and allowed for wide patronage of the city's artists and designers, poor immigrants worked in harsh and unjust conditions, leading to social conflict, labor strikes, and anarchist bombings. Although artists rarely made overtly political statements, they did look closely at both the wealthy bourgeoisie and the working poor. Paintings and drawings by Isidre Nonell and Picasso's Blue Period depictions of beggars, prostitutes, and the disenfranchised reflect on the striking differences between Barcelona's economic and social classes. Highlights include Ramon Casas' The Garroting (1894), Nonell's Two Gypsies (1903), and Picasso's 1903 oil paintings La Vie (Life) and The Blindman's Meal.

BACK TO TOP

Architecture and Design

Modernisme also found expression in architecture, design, and the decorative arts. Lluís Domènech i Montaner, Josep Puig i Cadafalch (1867–1957), Josep Jujol (1879–1949), Gaspar Homar (1870–1953), and Antoni Gaudí (1852–1926) designed Modernista buildings and interiors, which, while concurrent with Art Nouveau in northern Europe, were of considerable originality, often expressing aspirations towards a Catalan national style. A renewed interest in local traditions was responsible for remarkable works in wrought iron, stained glass, and ceramics. Among the masterpieces of the period are Domènech's Palace of Catalan Music (1905–1908); Gaudí's Casa Milà (1906–1910); and Gaudi's iconic church, the Expiatory Temple of the Sagrada Família (begun 1883), which has since become a symbol for the city itself. These and other buildings are represented by drawings, models, and original fixtures and furnishings. Highlights include Puig i Cadafalch's Ceiling Lamp from Casa Amatller (1898–1900) and Gaudí's Dressing Table from Palau Güell (c. 1899) and Two-Seat Sofa from Casa Batlló (c. 1907).

BACK TO TOP

Noucentisme: The New Classicism

During the 1910s and 1920s, art and design in Catalonia was characterized by a return to order known as Noucentisme or "Nineteen-hundreds Style." Reacting against the perceived aesthetic excesses of Modernisme, Noucentista artists sought to revive the spirit of Catalonia's classical past through forms and themes infused with the timeless values of Mediterranean civilization. Joaquím Torres-García (1874–1949), Joaquim Sunyer (1874–1956), and Feliu Elias (1878–1948) led the way in Noucentista painting. The movement also influenced decorative art and architecture, encouraging a revival of interest in traditional handcraftmanship, especially in ceramics, such as those by Josep Artigas (1892–1980). Works by Picasso (1881–1973) and Salvador Dalí (1904–1989) are featured in this section as well. Highlights include Torres-García's Project for the Fresco "The Eternal Catalonia" (1912) and Enric Casanovas' (1882–1948) sculpture Persuasion (1912–1913).

BACK TO TOP

Avant–Gardes for a New Century

Barcelona's Dalmau Gallery, established in 1912, was crucial in introducing avant–garde art to Catalonia. Beginning around 1916, international artists flocked to Barcelona and began to pursue inventive new art forms influenced by Cubism and Surrealism. Torres–García (1874–1949), Pablo Gargallo (1881–1934), and Joan Miró (1893–1983) were Barcelona's leading avant–garde artists. Paintings by Picasso, Miró, Dalí, and Francis Picabia (1879–1953) and sculptures by Julio González (1876–1942) are featured in this section of the exhibition. Original manifestos, calligrams, and magazines are also on view. Highlights include Miró's paintings Self–Portrait (1919) and The Hunter (Catalan Landscape) (1923–1924), and Dalí's 1931 painting The Dream.

BACK TO TOP

The Rational City

In the late 1920s a new movement emerged in architecture and design that rejected historically rooted styles in favor of starkly minimalist rationalism. The innovative group GATCPAC (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture) dedicated itself to relieving social problems, such as overcrowding and unsanitary living conditions, through architecture and functional objects designed for the masses. The German architect Ludwig Mies van der Rohe (1886–1969) also graced the city with one of the most celebrated buildings in the history of modern architecture, his pavilion for the Barcelona International Exposition of 1929. Architectural models are the centerpiece of the section, supplemented with drawings, period photographs, and period journals. Highlights include models of Casa Bloc (1932–1936) by GATCPAC and the Central Antituberculosis Clinic (1934–1938) by Josep Lluís Sert, Joan B. Subirana, and Josep Torres Clavé; and the BKF Chair Prototype by Grupo Austral.

BACK TO TOP

The Spanish Civil War

Artists in Barcelona reacted to the crisis of the Spanish Civil War (1936–1939) with a powerful wave of paintings, sculptures, posters, films, and photographs. This section of the exhibition features important works created in response to the horrors of the conflict, including paintings by Dalí and Miró, sculptures by González, and Picasso's studies for Guernica, his famous painting commissioned by the Spanish Republican government. Josep Lluís Sert's Pavilion of the Spanish Republic for the Paris International Exposition of 1937—at which Guernica was first shown publicly—is represented with a large architectural model. Highlights from this section include Dalí's 1936 painting Soft Construction with Boiled Beans (Premonition of Civil War), Miró's 1937 painting Still Life with Old Shoe, and prints from Miró's Black and Red Series (1938).

BACK TO TOP

Exhibition Organizers

"Barcelona and Modernity" has been organized by William H. Robinson, Curator of Modern European Art, and Jordi Falgàs, Cleveland Fellow in Modern Art, of The Cleveland Museum of Art; Magdalena Dabrowski, Special Consultant, and Jared Goss, Associate Curator, of The Metropolitan Museum of Art's Department of Nineteenth-Century, Modern, and Contemporary Art; and Carmen Belen Lord, independent scholar.

BACK TO TOP

Related Programs

A variety of programs are scheduled in conjunction with this exhibition, including gallery talks, lectures, family programs, films and concerts. Search the online calendar for upcoming events.

BACK TO TOP

Exhibition Catalogue

The exhibition is accompanied by 540–page catalogue by William H. Robinson, Jordi Falgàs, and Carmen Belen Lord. The publication features 600 illustrations, a preface by Robert Hughes, and essays by Magdalena Dabrowski, Jared Goss, and 27 other scholars. The catalogue is published by The Cleveland Museum of Art in association with Yale University Press ($65 hardcover, $40 paperback). Visit the Met Store to learn more about the catalogue.

BACK TO TOP

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Barcelona and Modernity: Gaudí to Dalí Back to main page for this exhibition More About the Exhibition Renaixença: The Catalan Renaissance The exhibition begins with an introduction to the revival of Catalan culture in the 19th century, when Barcelona expanded rapidly, becoming the largest, most industrialized, and most culturally advanced city in Spain. This set the stage for Barcelona's transformation from a provincial city into one of the most dynamic centers of modernist art and architecture in Europe. Following the destruction of the city's medieval walls in 1856, the city expanded into an area known as the Eixample, home to most of the innovative Catalan modern architecture. In 1888, Barcelona celebrated its rising economic power and artistic growth by hosting a Universal Exposition of fine and industrial arts. Highlights in this section of the exhibition include Ildefons Cerdà's (1815–1876) Plan for the Enlargement of Barcelona (1861) and Lluis Domènech i Montaner's (1850–1923) iron sculpture Rooster Greeting the Dawn (1892), designed for the Café–Restaurant of the Universal Exposition. BACK TO TOP Painting and Sculpture Modern art in Barcelona originated with Modernisme, a broad Catalan cultural movement that emerged in the 1880s and lasted into the 1910s. During this period, progressive artists and intellectuals in Barcelona opened up to foreign influences and embraced radical new ideas and art forms, especially contemporary French art. Ramon Casas (1866–1932) and Santiago Rusiñol (1861–1931), the key founders of Modernista Catalan painting, turned to themes and subjects that reflected the new realities of modern urban life. They were followed by a second generation of Modernista artists led by Joaquim Mir (1873–1940), Isidre Nonell (1876–1911), and Pablo Picasso (1881–1973). Also featured are notable Modernista posters and graphic works by Alexandre de Riquer (1856–1929) and Adrià Gual (1872–1944). Highlights include Rusiñol's painting Café de Montmartre (1890), Casas' Portrait of Erik Satie (1891), and Josep Llimona's (1864–1934) sculpture Desconsol (Grief), (1907). BACK TO TOP Els Quatre Gats In 1897, Casas and Rusiñol joined with others to establish Els Quatre Gats ("The Four Cats"), a legendary café that became the focus of bohemian artistic activity in Barcelona and was the site of meetings, exhibitions, poetry readings, and puppet theater performances. Picasso, at age 18, became a regular member of the group and held his first solo exhibition there in 1900. Highlights include Casas' painting Ramon Casas and Pere Romeu on a Tandem (1897) and Picasso's portraits of his fellow artists at the café (1899–1900). BACK TO TOP Art and Society At the turn of the 20th century, while the rapid industrialization of Barcelona created new fortunes and allowed for wide patronage of the city's artists and designers, poor immigrants worked in harsh and unjust conditions, leading to social conflict, labor strikes, and anarchist bombings. Although artists rarely made overtly political statements, they did look closely at both the wealthy bourgeoisie and the working poor. Paintings and drawings by Isidre Nonell and Picasso's Blue Period depictions of beggars, prostitutes, and the disenfranchised reflect on the striking differences between Barcelona's economic and social classes. Highlights include Ramon Casas' The Garroting (1894), Nonell's Two Gypsies (1903), and Picasso's 1903 oil paintings La Vie (Life) and The Blindman's Meal. BACK TO TOP Architecture and Design Modernisme also found expression in architecture, design, and the decorative arts. Lluís Domènech i Montaner, Josep Puig i Cadafalch (1867–1957), Josep Jujol (1879–1949), Gaspar Homar (1870–1953), and Antoni Gaudí (1852–1926) designed Modernista buildings and interiors, which, while concurrent with Art Nouveau in northern Europe, were of considerable originality, often expressing aspirations towards a Catalan national style. A renewed interest in local traditions was responsible for remarkable works in wrought iron, stained glass, and ceramics. Among the masterpieces of the period are Domènech's Palace of Catalan Music (1905–1908); Gaudí's Casa Milà (1906–1910); and Gaudi's iconic church, the Expiatory Temple of the Sagrada Família (begun 1883), which has since become a symbol for the city itself. These and other buildings are represented by drawings, models, and original fixtures and furnishings. Highlights include Puig i Cadafalch's Ceiling Lamp from Casa Amatller (1898–1900) and Gaudí's Dressing Table from Palau Güell (c. 1899) and Two-Seat Sofa from Casa Batlló (c. 1907). BACK TO TOP Noucentisme: The New Classicism During the 1910s and 1920s, art and design in Catalonia was characterized by a return to order known as Noucentisme or "Nineteen-hundreds Style." Reacting against the perceived aesthetic excesses of Modernisme, Noucentista artists sought to revive the spirit of Catalonia's classical past through forms and themes infused with the timeless values of Mediterranean civilization. Joaquím Torres-García (1874–1949), Joaquim Sunyer (1874–1956), and Feliu Elias (1878–1948) led the way in Noucentista painting. The movement also influenced decorative art and architecture, encouraging a revival of interest in traditional handcraftmanship, especially in ceramics, such as those by Josep Artigas (1892–1980). Works by Picasso (1881–1973) and Salvador Dalí (1904–1989) are featured in this section as well. Highlights include Torres-García's Project for the Fresco "The Eternal Catalonia" (1912) and Enric Casanovas' (1882–1948) sculpture Persuasion (1912–1913). BACK TO TOP Avant–Gardes for a New Century Barcelona's Dalmau Gallery, established in 1912, was crucial in introducing avant–garde art to Catalonia. Beginning around 1916, international artists flocked to Barcelona and began to pursue inventive new art forms influenced by Cubism and Surrealism. Torres–García (1874–1949), Pablo Gargallo (1881–1934), and Joan Miró (1893–1983) were Barcelona's leading avant–garde artists. Paintings by Picasso, Miró, Dalí, and Francis Picabia (1879–1953) and sculptures by Julio González (1876–1942) are featured in this section of the exhibition. Original manifestos, calligrams, and magazines are also on view. Highlights include Miró's paintings Self–Portrait (1919) and The Hunter (Catalan Landscape) (1923–1924), and Dalí's 1931 painting The Dream. BACK TO TOP The Rational City In the late 1920s a new movement emerged in architecture and design that rejected historically rooted styles in favor of starkly minimalist rationalism. The innovative group GATCPAC (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture) dedicated itself to relieving social problems, such as overcrowding and unsanitary living conditions, through architecture and functional objects designed for the masses. The German architect Ludwig Mies van der Rohe (1886–1969) also graced the city with one of the most celebrated buildings in the history of modern architecture, his pavilion for the Barcelona International Exposition of 1929. Architectural models are the centerpiece of the section, supplemented with drawings, period photographs, and period journals. Highlights include models of Casa Bloc (1932–1936) by GATCPAC and the Central Antituberculosis Clinic (1934–1938) by Josep Lluís Sert, Joan B. Subirana, and Josep Torres Clavé; and the BKF Chair Prototype by Grupo Austral. BACK TO TOP The Spanish Civil War Artists in Barcelona reacted to the crisis of the Spanish Civil War (1936–1939) with a powerful wave of paintings, sculptures, posters, films, and photographs. This section of the exhibition features important works created in response to the horrors of the conflict, including paintings by Dalí and Miró, sculptures by González, and Picasso's studies for Guernica, his famous painting commissioned by the Spanish Republican government. Josep Lluís Sert's Pavilion of the Spanish Republic for the Paris International Exposition of 1937—at which Guernica was first shown publicly—is represented with a large architectural model. Highlights from this section include Dalí's 1936 painting Soft Construction with Boiled Beans (Premonition of Civil War), Miró's 1937 painting Still Life with Old Shoe, and prints from Miró's Black and Red Series (1938). BACK TO TOP Exhibition Organizers "Barcelona and Modernity" has been organized by William H. Robinson, Curator of Modern European Art, and Jordi Falgàs, Cleveland Fellow in Modern Art, of The Cleveland Museum of Art; Magdalena Dabrowski, Special Consultant, and Jared Goss, Associate Curator, of The Metropolitan Museum of Art's Department of Nineteenth-Century, Modern, and Contemporary Art; and Carmen Belen Lord, independent scholar. BACK TO TOP Related Programs A variety of programs are scheduled in conjunction with this exhibition, including gallery talks, lectures, family programs, films and concerts. Search the online calendar for upcoming events. BACK TO TOP Exhibition Catalogue The exhibition is accompanied by 540–page catalogue by William H. Robinson, Jordi Falgàs, and Carmen Belen Lord. The publication features 600 illustrations, a preface by Robert Hughes, and essays by Magdalena Dabrowski, Jared Goss, and 27 other scholars. The catalogue is published by The Cleveland Museum of Art in association with Yale University Press ($65 hardcover, $40 paperback). Visit the Met Store to learn more about the catalogue. BACK TO TOP Home | Works of Art | Permanent Collection | Features | Timeline of Art History | Explore & Learn | The Met Store | Membership | Ways to Give | Visitor Information | Calendar | The Cloisters | Concerts & Lectures | Educational Resources | Events & Programs | FAQs | Special Exhibitions | My Met Museum | Press Room | Site Index | Now at the Met | MuseumKids Photograph Credits Copyright © 2000–2007 The Metropolitan Museum of Art. All rights reserved. Terms and Conditions | Privacy Policy.