More than 30 years later, Jones told the Washington Post of her relationship with Selznick: "I felt appreciated right from the beginning. I felt totally at ease. I don't know whether that's love at first sight."
"I had good roles, and I had David to guide me," Jones said.
Selznick's "Duel in the Sun" a 1946 western, earned Jones one of her best-actress Oscar nominations.
Selznick intended "Duel" as a sweeping epic in the tradition of his greatest triumph, "Gone With the Wind."
But the film, in which Jones played a woman of mixed race caught between two brothers (Peck and Cotten), ran into publicity problems when the Catholic Church issued a statement saying the story "tends to throw audience sympathy on the side of sin" and that Jones "is unduly, if not indecently, exposed." The Egyptian Theatre in Hollywood removed posters of her that showed cleavage, and much was made of the difference between Jones' role in "Duel" and her role as the innocent in "Bernadette."
"Duel," although a box-office hit, today is remembered with some humor by critics. Leonard Maltin, writing in his movie guide, called "Duel" a "big, brawling, engrossing, often stupid sex-western."
Among Jones' other major roles were "Portrait of Jennie" (1948), "Madame Bovary" (1949) and, in the 1950s, "Carrie," "Beat the Devil," "Ruby Gentry," "The Man in the Gray Flannel Suit," "Good Morning, Miss Dove," "The Barretts of Wimpole Street" and "A Farewell to Arms." She played Nicole Diver in 1962's "Tender Is the Night."
Starting in the mid-1960s, Jones went through a bleak period. Her film career was on the wane and, in 1965, Selznick died. Two years later, on the day her good friend Charles Bickford died at the age of 78, Jones attempted suicide. She was found by sheriff's deputies in the surf in Malibu, where she had collapsed after taking sleeping pills and, it appeared from evidence at the scene, drinking wine.
"I don't think I wanted to die," she told the Washington Post several years later. "These accidents happen."
Jones' penultimate film, "Angel, Angel, Down We Go" (1969), was so bad that film historian Edward Margulies, co-author of "Bad Movies We Love," referred to the film in labeling Jones "the true standout" among former Oscar winners who "slid into grade-Z trash" in their later careers.
Jones' final film role was a supporting role as Fred Astaire's love interest in the 1974 film "The Towering Inferno." But by then, Jones' life had taken a turn for the better after having met Norton Simon.
He was recently divorced when they met in May 1971 at a reception in Los Angeles for a New York magazine editor. Simon was 64, and Jones was 52.
At that time, Jones had retreated from Hollywood and was raising her daughter by Selznick, Mary Jennifer.
Active for many years with mental-health and charity organizations, Jones was working with the Manhattan Project, a group of Salvation Army residential treatment facilities for young people addicted to narcotics. Simon said later that, of course, he found Jones beautiful but that they connected because of her activism.
Simon by that time had severed his last managerial ties to his business empire and was one of the world's leading art collectors, mostly of old masters. By the end of May, the couple had embarked on a trip to Paris, stopping over in London, where they decided to get married.
Jones said that she had considered museums boring until she met Simon. She changed her mind on a trip to Siena, Italy, with her husband.
Jones, in turn, opened Simon's mind to other cultures. According to Times arts reporter Suzanne Muchnic's 1998 biography of Simon, "Odd Man In," it was Jones, a longtime yoga practitioner, who persuaded Simon to take his first trip to India, where he was "smitten by the art of regions he had scarcely considered before." Simon became a major force in the Indian and Southeast Asian art market.
Jones eventually became an important part of Simon's art empire. When he became incapacitated by Guillain-Barré syndrome, he named his wife president of the Norton Simon Museum. As chairwoman of the Norton Simon Foundation Board, she oversaw the renovation in the late '90s of the museum's interior, designed by museum trustee Frank Gehry, and the gardens, by landscape designer Nancy Goslee Power. She was given emeritus status in 2003.
Jones herself was surprised at the many turns her life had taken.
"Actually," she told the Washington Post in 1977, "every time I stop to think about it, I'm really amazed. I think I've had an extraordinary life. And lots of times I can hardly believe it's me."
Jones is survived by her son Robert Walker Jr., eight grandchildren and four great-grandchildren. Her son Michael Walker died in 2007. In 1975, her daughter with Selznick, Mary Jennifer, committed suicide. Services will be private.
Luther is a former Times staff writer.