tag:blogger.com,1999:blog-11839997949432838302024-03-05T03:24:11.669-05:00the smallest colorMeghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comBlogger197125tag:blogger.com,1999:blog-1183999794943283830.post-63345384890932696142016-10-19T13:21:00.003-04:002016-10-19T13:23:26.862-04:00painting of the month<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Keo_nPRcyTK2auy-6bDJgAIHS66Fd_3FDCbxWVfmI7foHUmdEV2mMvXMDVprkXfZqRUHZHUArxiz8cdnvKXNxxV6mACYxSl1Mqul6TAZcMDryOVgr1atT3OGlnV6rzpFWlBytG2cXXWm/s1600/dream+book+alice+pike+barney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Keo_nPRcyTK2auy-6bDJgAIHS66Fd_3FDCbxWVfmI7foHUmdEV2mMvXMDVprkXfZqRUHZHUArxiz8cdnvKXNxxV6mACYxSl1Mqul6TAZcMDryOVgr1atT3OGlnV6rzpFWlBytG2cXXWm/s400/dream+book+alice+pike+barney.jpg" width="323" /></a></div>
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<b><span style="color: #073763;"><i>Dream Book </i>-- Alice Pike Barney, painted ca. 1900</span></b></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-90529645364308805052016-10-15T21:58:00.000-04:002016-10-16T22:19:28.734-04:00tissot 180A mini-exhibit in honor of the elegant work of French artist James Tissot, born 180 years ago in Nantes, on October 15, 1836 (d. 1902).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUUcvGmzXZaUsfHjN6MxWLe-yZl-H8lppRaNAFzlop7rdrLo5rik7W0SV6eRJZZHom9ZC_fttqvxNpjN-6F6ONuXDMlQi4IRyd7H9h0oCAu8iwaJarHpApi4A77UggJACSbKINzK_oJitE/s1600/Tissot+Self+Portrait+1865.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUUcvGmzXZaUsfHjN6MxWLe-yZl-H8lppRaNAFzlop7rdrLo5rik7W0SV6eRJZZHom9ZC_fttqvxNpjN-6F6ONuXDMlQi4IRyd7H9h0oCAu8iwaJarHpApi4A77UggJACSbKINzK_oJitE/s320/Tissot+Self+Portrait+1865.jpg" width="182" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG702uwMPz4XgG1hvRHUvkkjo38-v3X4Qbrm3EZFFm_s9gEAS_WxPcLMru6mIT_qD3Fa8i3yeqLCkJUDD_ZdhsvtJuyOJjBF9WezZ8ckQ0e3XlOeei_DaB23P50eF4rRm56lCjunkNh-vv/s1600/a+passing+storm+1876+tissot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG702uwMPz4XgG1hvRHUvkkjo38-v3X4Qbrm3EZFFm_s9gEAS_WxPcLMru6mIT_qD3Fa8i3yeqLCkJUDD_ZdhsvtJuyOJjBF9WezZ8ckQ0e3XlOeei_DaB23P50eF4rRm56lCjunkNh-vv/s400/a+passing+storm+1876+tissot.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbVip6pMia9qd0kw12E70HB3RS-Pu9fzXhfB60-KSu_RWWXc9SqArayAEgfyBU9u2ODmokwsRjJ6CZjXyTp0eXZk_kvgUXoubkfBlldjpdfBlXqx94EWZiggk0AP42CRlO3IsxsAgw_JU1/s1600/young+ladies+looking+at+japanese+objects+1869.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbVip6pMia9qd0kw12E70HB3RS-Pu9fzXhfB60-KSu_RWWXc9SqArayAEgfyBU9u2ODmokwsRjJ6CZjXyTp0eXZk_kvgUXoubkfBlldjpdfBlXqx94EWZiggk0AP42CRlO3IsxsAgw_JU1/s400/young+ladies+looking+at+japanese+objects+1869.jpg" width="280" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw0xfYzZIR-yjct9i2_JcgveyQLSr_psKt8J050mFu4mvtfriEie6t39Wm9KHj4275VhoaNp7llP9eVTW0xstmZ0tMWwGqeooDw_Q8ob1XR7-BOCfE6XA0EjnlBeQ98cogtpd9_31hcpCe/s1600/the+thames+tissot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw0xfYzZIR-yjct9i2_JcgveyQLSr_psKt8J050mFu4mvtfriEie6t39Wm9KHj4275VhoaNp7llP9eVTW0xstmZ0tMWwGqeooDw_Q8ob1XR7-BOCfE6XA0EjnlBeQ98cogtpd9_31hcpCe/s400/the+thames+tissot.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxOonQBmpVf1PFYxD33hdQQBnVz04TFgJcfffI2HSNCfNmf_MdnPFbH3fAB5-aFkkMGgr5TbAb09A1i-wABdvV5FP5k7relDDUfKFViln85MTtDQEYxuR3IVPSqTRV6mstU8h-shy-YwXi/s1600/Mary+Magdalene+before+Conversion+Tissot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxOonQBmpVf1PFYxD33hdQQBnVz04TFgJcfffI2HSNCfNmf_MdnPFbH3fAB5-aFkkMGgr5TbAb09A1i-wABdvV5FP5k7relDDUfKFViln85MTtDQEYxuR3IVPSqTRV6mstU8h-shy-YwXi/s400/Mary+Magdalene+before+Conversion+Tissot.jpg" width="200" /></a></div>
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<span style="color: #660000;"><b><u>Pictured</u> </b></span></div>
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<span style="color: #660000;"><b><i>Self-Portrait</i> -- 1865<i> </i></b></span><br />
<span style="color: #660000;"><b><i>A Passing Storm </i><i>--</i></b> <b>1876 </b></span></div>
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<span style="color: #660000;"><b><i>Young Ladies Looking at Japanese Objects</i> -- 1869 </b></span></div>
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<span style="color: #660000;"><b><i>The Thames</i> -- 1867 </b></span></div>
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<span style="color: #660000;"><b><i>Mary Magdalene Before Her Conversion</i> -- ca. 1886-1894</b></span></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-21076969323309220682016-04-22T18:49:00.001-04:002016-04-22T19:10:46.157-04:00sibling poetryIn honor of National Poetry Month, just a quick artistic spotlight on the Victorian brother and sister poetic pair of Dante Gabriel Rossetti (1828-1882) and Christina Georgina Rossetti (1830-1894). D.G. Rossetti is well-known for both his paintings and his poetry, and he was a founding member of the rebellious and prolifically creative Pre-Raphaelite Brotherhood. Christina's poetry is highly regarded in England and beyond, and she was also her brother's model in his 1848/49 painting <a href="http://www.tate.org.uk/art/artworks/rossetti-the-girlhood-of-mary-virgin-n04872"><i>The Girlhood of Mary Virgin</i></a>. The pictured portraits of Rossetti were done by fellow artists William Holman Hunt and George Frederic Watts, while the portraits of Christina Rossetti were done by Dante Gabriel.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrqHwI8kFtG2_HsxTn7h2XaK4c7J-_x9RGZGh8EltJm4_Yq-kTy7mtKGRfVDUAzfb5J4014zVRBShKMuFY14AtCuAnJI6yhXgRibDmRjNPrvSq7H7SJv_p2n7A45stmTW9z9JmKbAm7Hw/s1600/rossetti+dg+hunt+1853.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrqHwI8kFtG2_HsxTn7h2XaK4c7J-_x9RGZGh8EltJm4_Yq-kTy7mtKGRfVDUAzfb5J4014zVRBShKMuFY14AtCuAnJI6yhXgRibDmRjNPrvSq7H7SJv_p2n7A45stmTW9z9JmKbAm7Hw/s320/rossetti+dg+hunt+1853.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Portrait of Dante Gabriel Rossetti at 22 Years of Age </i>-- William Holman Hunt</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeHSaA-VU2cshivbChFYQw8ncw4RphPubU4j7f9OTU6zSPkhxs5nWnIt3kILh6GpZIAvmXPdDzSdSVhIBByo7BoJrEHDdmjM5zpS0DofJAt0hX_JgaYd8aPAvKyv43sqGQaK0lFkHevNc5/s1600/rossetti+dg+watts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeHSaA-VU2cshivbChFYQw8ncw4RphPubU4j7f9OTU6zSPkhxs5nWnIt3kILh6GpZIAvmXPdDzSdSVhIBByo7BoJrEHDdmjM5zpS0DofJAt0hX_JgaYd8aPAvKyv43sqGQaK0lFkHevNc5/s320/rossetti+dg+watts.jpg" width="259" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Portrait of Dante Gabriel Rossetti</i> -- George Frederic Watts (ca. 1871)</td></tr>
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Look in my face; my name is Might-have-been;
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I am also call'd No-more, Too-late, Farewell;
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Unto thine ear I hold the dead-sea shell
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Cast up thy Life's foam-fretted feet between;
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Unto thine eyes the glass where that is seen
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Which had Life's form and Love's, but by my spell
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Is now a shaken shadow intolerable,
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Of ultimate things unutter'd the frail screen . . . .</div>
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<i>The House of Life: 97. A Superscription </i>(excerpt) -- D.G. Rossetti </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcapQ4eQYERXEAAQPWMqVokrdFgcFa04ePm56Y88OHyqMEGH0tOUbqpPZ3yPIhWJFuLKm6yrZhUbTZUnAxlo811CZ7JQ3H2UfVG-iJmg0gs87Dt3SanKPU2pc4mDWMFRLbIev00rNt83z/s1600/rossetti+christina.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcapQ4eQYERXEAAQPWMqVokrdFgcFa04ePm56Y88OHyqMEGH0tOUbqpPZ3yPIhWJFuLKm6yrZhUbTZUnAxlo811CZ7JQ3H2UfVG-iJmg0gs87Dt3SanKPU2pc4mDWMFRLbIev00rNt83z/s1600/rossetti+christina.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrfzhoDB6zqbzdYOPn8f0SPgGTqdii3ccBRsaWWI0PglotjVAKM6RiovYfk4jPK7z9TQZRorDVoakn7W2wP2ibqu3Dj7GhjqaNj6P6kPG5NSmlZpRe3GdDdqtmFxC8R2XrSZ4wfM-1QpU4/s1600/rossetti+christina+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrfzhoDB6zqbzdYOPn8f0SPgGTqdii3ccBRsaWWI0PglotjVAKM6RiovYfk4jPK7z9TQZRorDVoakn7W2wP2ibqu3Dj7GhjqaNj6P6kPG5NSmlZpRe3GdDdqtmFxC8R2XrSZ4wfM-1QpU4/s1600/rossetti+christina+2.jpg" /></a></div>
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Somewhere or other there must surely be
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The face not seen, the voice not heard,
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The heart that not yet—never yet—ah me!
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Made answer to my word.
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Somewhere or other, may be near or far;
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Past land and sea, clean out of sight;
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Beyond the wandering moon, beyond the star
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That tracks her night by night.
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Somewhere or other, may be far or near;
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With just a wall, a hedge, between;
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With just the last leaves of the dying year
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Fallen on a turf grown green.
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<i>Somewhere or Other -- </i>Christina Rossetti</div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-89410865105762015542016-04-13T18:04:00.004-04:002016-04-13T18:06:38.605-04:00purple majesty<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7-qFY6_OrWkhd1NW7cMaXiKZOLFbwqs_Pms3VX03d1iNicu4FqXX3V04TIvFB5mAJSSoK3nIVYlsjTKqrwIGpt9asgk8NB9C-p2YYGgXAvPlIpHoNeeGUwV2s31RE39_KmJ4rDGcZJJlL/s1600/purple+haze.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7-qFY6_OrWkhd1NW7cMaXiKZOLFbwqs_Pms3VX03d1iNicu4FqXX3V04TIvFB5mAJSSoK3nIVYlsjTKqrwIGpt9asgk8NB9C-p2YYGgXAvPlIpHoNeeGUwV2s31RE39_KmJ4rDGcZJJlL/s400/purple+haze.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs2pPVifjg9vf3gEhyphenhyphen6wF2QnApukQ6JLfYH7yF-9v2pMkPqWN5dPc9y2PrApNarnV20n5iIzk7XOX_CThKUJ59Be12tMG6MuEF37cTznQfuZ34Y-8EBg_4u41Zh8wO3THwBNmPlMJVS3wp/s1600/purple+mountains+nolde.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs2pPVifjg9vf3gEhyphenhyphen6wF2QnApukQ6JLfYH7yF-9v2pMkPqWN5dPc9y2PrApNarnV20n5iIzk7XOX_CThKUJ59Be12tMG6MuEF37cTznQfuZ34Y-8EBg_4u41Zh8wO3THwBNmPlMJVS3wp/s400/purple+mountains+nolde.jpg" width="295" /> </a></div>
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<span style="color: #674ea7;"><b><u>Pictured</u></b></span></div>
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<span style="color: #674ea7;"><b><i>Purple Haze</i> -- William Trost Richards (1864) </b></span></div>
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<span style="color: #674ea7;"><b><i>The Purple Dress </i>-- William Glackens (ca. 1910) </b></span></div>
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<span style="color: #674ea7;"><b><i>Model in a Purple Hat</i> -- Edouard Vuillard (1912) </b></span></div>
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<span style="color: #674ea7;"><b><i>Purple Petunias</i> -- Georgia O'Keeffe (1925) </b></span></div>
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<span style="color: #674ea7;"><b><i>Purple Mountains </i>-- Emil Nolde (ca. 1935)</b></span></div>
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<br />Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-48132519744291898562016-03-01T10:40:00.000-05:002016-03-01T10:40:42.582-05:00marchIn like a lion, out like a lamb...or sometimes vice versa.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWu4qWUW6OpcQVHHqA1uhW6YSWtRcOyZYbYHRkbZJKGgct7UP2_8fei9KZ4uQ2BF2vAT3ziONrEVJXF7wGVT7ecBhsd1N6wiVV3iIr9v2ZxmuUQYH8zm8DziRDsH_1RAtltFe4ZP1emMwv/s1600/lion+drinking+henry+ossawa+tanner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWu4qWUW6OpcQVHHqA1uhW6YSWtRcOyZYbYHRkbZJKGgct7UP2_8fei9KZ4uQ2BF2vAT3ziONrEVJXF7wGVT7ecBhsd1N6wiVV3iIr9v2ZxmuUQYH8zm8DziRDsH_1RAtltFe4ZP1emMwv/s320/lion+drinking+henry+ossawa+tanner.jpg" width="320" /></a></div>
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<div style="text-align: center;">
<b><u>Pictured</u> </b></div>
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<b><i>Study of a Lion</i> -- Rosa Bonheur (Private collection)</b></div>
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<b><i>Lion Drinking </i>-- Henry Ossawa Tanner, 1897 (Private collection) <i> </i></b></div>
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<b><i>Lion and Lioness </i>-- George Stubbs, 1771 (Museum of Fine Arts, Boston)</b></div>
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<b><i>Blue Lamb </i>-- Franz Marc, 1913 (Private collection)</b></div>
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<b><i>Sheep and Lambs </i>-- Richard Ansdell, 1874 (Walker Art Gallery, Liverpool UK)</b></div>
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<b><i>The Pretty Baa-Lambs</i> -- Ford Madox Brown, 1852 (Ashmolean Museum - University of Oxford UK)</b></div>
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<br />Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-25942249082040348452016-02-24T21:12:00.002-05:002016-02-24T21:22:05.065-05:00painting of the month<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7LWvekysSBa55W7cBISp1YZfpti0hyphenhyphen9touFyfKRG2O1uyTF45x0DsHUDSROj_59K0-CAj81pYZkT37fFprqlWy-m4hU53oh5OOUPPAGCWVDssBeml1_GdPE4dEBYoy7XIvOAyAinOA0bG/s1600/mars+and+venus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7LWvekysSBa55W7cBISp1YZfpti0hyphenhyphen9touFyfKRG2O1uyTF45x0DsHUDSROj_59K0-CAj81pYZkT37fFprqlWy-m4hU53oh5OOUPPAGCWVDssBeml1_GdPE4dEBYoy7XIvOAyAinOA0bG/s400/mars+and+venus.jpg" width="400" /></a></div>
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<b><span style="color: #20124d;"><i>Mars and Venus -</i>- Mabel Frances Layng (circa 1918),</span></b><br />
<b><span style="color: #20124d;">Nuneaton Museum & Art Gallery, U.K.</span></b></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-35068969321812850342016-02-10T23:27:00.001-05:002016-02-10T23:30:37.374-05:00wild strokes and tinny figures<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_QpCM6F-_fuP4hvOyo3E0pmUhoRanZQLlk1Ca7vlTYfvgcT5CIo2fKtbI_vdz7w2zJPTMh2FPTE7fh_siO4UG2VuCFkBj7GC08WiBUcf8JkiKA_ittXvBfZkKdo1RWlVDIDhRSPSFKc_S/s1600/allegory+raphael.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_QpCM6F-_fuP4hvOyo3E0pmUhoRanZQLlk1Ca7vlTYfvgcT5CIo2fKtbI_vdz7w2zJPTMh2FPTE7fh_siO4UG2VuCFkBj7GC08WiBUcf8JkiKA_ittXvBfZkKdo1RWlVDIDhRSPSFKc_S/s320/allegory+raphael.jpg" width="320" /></a></div>
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<i>To many such in this country modern art is still a closed
book; its point of view is so different from that of the art they
have been brought up with, that they refuse to have anything to do
with it. Whereas, if they only took the trouble to find out
something of the point of view of the modern artist, they would
discover new beauties they little suspected ... If anybody looks at a picture by Claude Monet from the point of
view of a Raphael, he will see nothing but a meaningless jargon of
wild paint-strokes. And if anybody looks at a Raphael from the
point of view of a Claude Monet, he will, no doubt, only see hard,
tinny figures in a setting devoid of any of the lovely atmosphere
that always envelops form seen in nature. So wide apart are some of
the points of view in painting.</i> -- <b><i>The Practice and Science of Drawing</i> (Harold Speed, 1913)</b><br />
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<b>Pictured: <i>Allegory (The Knight's Dream)</i></b> -- Raphael (circa 1504), National Gallery - London; and <i><b>Irises -- </b></i>Claude Monet (circa 1914), National Gallery - LondonMeghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-53944825363496450882016-02-07T20:37:00.001-05:002016-02-08T00:44:12.793-05:00year of the monkeyThe Chinese Zodiac has circled around to the clever and crafty Monkey again...and though I doubt that these artworthy subjects actually calmed down enough to pose for any of the works below, it seems like once you do put a monkey in a painting, you've really got something unique going on.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZTZC2yijmG45vdhq9Bx-4WN7DAZozfNPnBACq7ErlMmU0zpzEMKDQukX0CpNFFvJzmVFoGedn7hHb8A9jBr9y9mXwxlbqQTdjrUXssBUx0kkXicAyjLa-kbrsE_oZdlvwnjPOdYR4vpHO/s1600/the+monkey+painter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZTZC2yijmG45vdhq9Bx-4WN7DAZozfNPnBACq7ErlMmU0zpzEMKDQukX0CpNFFvJzmVFoGedn7hHb8A9jBr9y9mXwxlbqQTdjrUXssBUx0kkXicAyjLa-kbrsE_oZdlvwnjPOdYR4vpHO/s320/the+monkey+painter.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJC4Z1xQdFpFBWQZmsBSfQ9XIiMKQDnPumVgi-vZDH___m1Vx0YUVI5CKosYcu2QsxpfUn0Qnoev8lA5CVzrZqG8YMDC0BfUMCvnX4hm8DOCdDs6Y9NrnD2mGC5Xi5cAywVwKE_HIN1svB/s1600/feast+of+monkeys.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJC4Z1xQdFpFBWQZmsBSfQ9XIiMKQDnPumVgi-vZDH___m1Vx0YUVI5CKosYcu2QsxpfUn0Qnoev8lA5CVzrZqG8YMDC0BfUMCvnX4hm8DOCdDs6Y9NrnD2mGC5Xi5cAywVwKE_HIN1svB/s400/feast+of+monkeys.jpg" width="400" /></a></div>
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<b>Pictured: <i>The Little Monkey</i> -- Franc Marc (1912); <i>Flowers and Fruit of the Mangosteen, and a Singapore Monkey</i> -- Marianne North (1876); <i>Still Life with Monkey and a Guitar </i>-- Antoine Vollon (1864); <i>The Merry Jesters</i> -- Henri Rousseau (1906); <i>The Monkey Painter</i> -- Alexandre-Gabriel Decamps (1833); <i>Feast of Monkeys</i> -- Jan Brueghel the Elder (1621)</b><i><br /></i><br />
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<i>(all images courtesy of www.the-athenaeum.org)</i>Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-71712236977109839182016-01-28T22:29:00.001-05:002016-01-28T22:30:29.505-05:00benton and pollock<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb46YAjQV5f6V8U-foO5qKRHzO6ZtkPC4KQxRYTPsV1z81LXNAknXGzGx-WRvS-6aVm0tsYUpOCPWaHWSqQ7Wu-h8XtaDku5ByuqrF_pIzQBbKkGmdOJL-kmkYoZYp0mak8WDi1sgjVCTq/s1600/thomas+hart+benton+self+portrait.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb46YAjQV5f6V8U-foO5qKRHzO6ZtkPC4KQxRYTPsV1z81LXNAknXGzGx-WRvS-6aVm0tsYUpOCPWaHWSqQ7Wu-h8XtaDku5ByuqrF_pIzQBbKkGmdOJL-kmkYoZYp0mak8WDi1sgjVCTq/s200/thomas+hart+benton+self+portrait.jpg" width="160" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0BIIxaECGBwh6E-Pvg2L_gTwvhVLgO329OPzAm5md7tFkZHeUszNgm27dT0cW1dKDiLDHZdr8bpWTQDJ6o1r4a3_hhhgMHFIZE3atuSrgbaaazLGVczIHfI5-q5I5P2LZSZ181m9Y0_xH/s1600/jackson+pollock+stamp.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0BIIxaECGBwh6E-Pvg2L_gTwvhVLgO329OPzAm5md7tFkZHeUszNgm27dT0cW1dKDiLDHZdr8bpWTQDJ6o1r4a3_hhhgMHFIZE3atuSrgbaaazLGVczIHfI5-q5I5P2LZSZ181m9Y0_xH/s200/jackson+pollock+stamp.jpg" width="200" /></a> This is a reposting of a Suite101 article I wrote a couple years ago, just making note of Jackson Pollock's birthday today and who and where he was before he became Jack the Dripper:<br />
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In 1930, future Abstract Expressionist Jackson Pollock was a causeless rebel from Wyoming, with some inclination towards art but no real focus to pursue it. He soon went along with his two older brothers to New York, however, enrolling at the Art Students League to take courses with Thomas Hart Benton. Benton was another American art force in the making who would lead the 1930s Regionalist Triumvirate, a trio which included Benton, Grant Wood of American Gothic fame, and John Steuart Curry.<br />
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Benton, Wood and Curry turned to the culture and landscape of the Midwest for subject matter, much of which was projected onto imposing, semi-epic murals. They sought to shift the focus of American art away from Eurocentric or even East Coast preferences, and to show how the everyday farm girl or preacher or working man were worthy of appreciation. As Benton himself declared, "The Great Plains have a releasing effect...I like their endlessness." Regionalist work was sometimes praised as exciting and organic, yet at other times the school was called reactionary or exaggerated. The swaggering Benton tended to be the most dynamic of the group, and his career would be marked with conflict against what he perceived to be the art elite. <br />
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While Tom Benton had a bit of a macho hothead reputation, he was often attentive and caring toward his students. In the case of the Pollock Brothers, all were readily welcomed by Benton and his Italian wife Rita, a support base which included free spaghetti dinners and an open door policy at the Benton's apartment. Jackson, in need of both paternal and artistic guidance, immediately bonded with Benton. In the classroom, Benton came across as a strong-willed yet perceptive instructor who stressed direct experience, hard work and the significance of composition and design in his teachings.<br />
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Benton's initial influence on the youngest Pollock was more emotional than immediate. Firstly and perhaps most importantly, Benton urged Jackson to think of himself as a serious artist and not just a floundering wannabe. Also, Benton's style had a unique muscle and energy that lent itself to the abstracted pulse of Pollock's later canvases of chaos.<br />
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Benton's earlier travels across the country inspired Pollock's own sojourn across Depression-era America, hitchhiking and taking odd jobs. Pollock posed for Benton as well, providing a lean and wiry figure for works like Ballad of the Jealous Lover of Lone Green Valley. There was clearly a father-son rapport between the pair, but despite calling him a "damned fool" for drowning his talent, Benton was never able to stop Pollock from drinking. Pollock also reportedly became too fond of earthy and free-spirited Rita Benton, brooding about how he wanted to marry her himself but how she would never leave Tom. <br />
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In 1935, Benton had had enough of New York and was ready to take a position at the Kansas City Art Institute. He and Rita headed west while Pollock moved into their apartment, although the place was never the same without the couple's vibrant presence. Pollock visited the Bentons in Missouri not long after, but by that point he was drinking so heavily that he had to enter a clinic and undergo professional treatment. Back in Manhattan, drying out slowly, Pollock began to drift away from Benton, explore Jungian therapy and ultimately took on his cooler and more cryptic "Jack the Dripper" identity.<br />
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By the mid-1940s, Pollock was married to Lee Krasner and had become a burgeoning force on the art scene. Benton, on the other hand, was considered to be a Regionalist throwback, relegated to the Midwest and no longer nationally prominent. Benton had been on the cover of <i>Time</i> in 1934; by 1947 Pollock was heralded by the same magazine as "the most powerful painter in America." Still, while it seems likely that Benton would have followed the same life path without ever meeting Jackson, without Benton, America might not have boasted of that same powerful Pollock as one of its own. <br />
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Upon hearing of Pollock's fatal car crash in 1956, Benton was deeply saddened-too much so to even attend Pollock's funeral. Willem de Kooning made a special trip to Benton's summer home in Martha's Vineyard to tell Benton in person, and the Bentons then showed De Kooning how Rita had saved all of Pollock's many press clippings. Pollock had also kept in touch with Benton, generally when he was depressed or had gotten particularly drunk and reminiscent--and no matter what the hour or how inebriated the conversation, it seemed that Benton was always willing to pick up the phone. <br />
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<b>Sources<br /> </b><br />
<i>Tom and Jack: The Intertwined Lives of Thomas Hart Benton and Jackson Pollock </i>-- Henry Adams (Bloomsbury Press, 2009)<br />
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<i>American Visions: The Epic History of Art In America </i>-- Robert Hughes (Knopf Publishing, 1999)<br />
<br />Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-2093717758936389532016-01-24T23:20:00.003-05:002016-01-24T23:21:35.458-05:00painting of the month<div class="separator" style="clear: both; text-align: center;">
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<b><i>The Passing Train -- </i>Marianne Stokes (1890)</b></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-77136499492572648242016-01-23T14:21:00.003-05:002016-01-23T15:43:16.810-05:00snow day<div class="separator" style="clear: both; text-align: center;">
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<span style="color: blue;"><b>Pictured: <i>Approaching Snowstorm </i>-- Tom Thomson (1915); <i>After the Snowstorm</i> -- Jonas Lie (1908); <i>A Snowy Monday </i>-- Lilla Cabot Perry (1926); <i>The Magpie</i> -- Claude Monet (1869); <i>Snow</i> -- </b></span><span class="mw-mmv-source-author"><span class="mw-mmv-author"><span style="color: blue;"><b>Hayami Gyoshū (1929)</b></span> </span></span>Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-83993946983096760992015-12-31T17:44:00.000-05:002015-12-31T17:45:15.070-05:00henri celebrationToday in 1869 the great Henri Matisse was born in northern France, although later in life he would seek out the distinct light and color of the southern part of the country. He eventually became a master of color and deceptively simple form and shape, and if you do enjoy his work it can have a curiously both enlivening and calming effect.<br />
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<i>I discover the quality of colors in a purely instinctive way. -- Henri Matisse (1869 - 1954)</i><br />
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<b>Pictured by Henri Matisse: <i>Interior with Goldfish Bowl (1914); The Music Lesson (1917); Conversation Under the Olive Trees (1921); Self-Portrait (circa 1900)</i> </b>Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-29284041307021296262015-12-30T17:57:00.000-05:002015-12-31T17:58:09.408-05:00painting of the month<div class="separator" style="clear: both; text-align: center;">
<i><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvHcLWUkOD6fRRkDo0qZ6s2bXDPZRo_xFiyDbFeW-r9gUvJuN4StYpIb1f4D8c8-uPUwLmJQkbwZ7JbSI5bONbh9oOENn3NNIQftVDqarVPeijvGHoYCBRfMe5azTCcAW-V66Nknl4jB6m/s1600/burchfield+sunburst+in+december.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvHcLWUkOD6fRRkDo0qZ6s2bXDPZRo_xFiyDbFeW-r9gUvJuN4StYpIb1f4D8c8-uPUwLmJQkbwZ7JbSI5bONbh9oOENn3NNIQftVDqarVPeijvGHoYCBRfMe5azTCcAW-V66Nknl4jB6m/s320/burchfield+sunburst+in+december.jpg" width="226" /></a></b></i></div>
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<i><b>Sunburst in December -- </b></i><b>Charles Burchfield (1915)</b></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-48258011786715264022015-12-25T16:06:00.000-05:002016-01-04T16:06:54.592-05:00street scene, christmas morn<div class="separator" style="clear: both; text-align: center;">
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<b>Childe Hassam -- 1892 (Smith College Museum of Art)</b>Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-61524158180385941832015-11-17T21:53:00.004-05:002015-11-17T21:55:25.573-05:00paris is always beautiful<br />
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<b>Pictured: <i>A Parisian Balcony </i>-- Konstantin Korovin (1908); <i>Pont Neuf, Pari</i>s -- Xavier Martinez (1900); <i>Summer Evening, Paris</i> -- Childe Hassam (1889); <i>Paris</i> -- Raoul Dufy (1934); <i>Paris Through the Window</i> -- Marc Chagall (1913)</b>Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-14982171678257442222015-10-28T22:15:00.000-04:002015-10-28T22:19:50.298-04:00black cat powerCats have inspired many a painting but this time of year belongs to the black cats, sometimes sleek and mysteriously beautiful, sometimes just as chubby and/or quirky as any other feline. Black cats have a ridiculous reputation for bad luck...but not in Britain or Japan, where they're considered to bring good fortune. So here's to celebrating these gorgeous creatures, during Halloween and beyond.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVo5TBbDPVsvpPX7Jgd3M-z8qlhbrksD5on_4xfg4oO478i-_RbvK1G00cJvoyjLGoFqy_KQz5gtIVPcXaspWGsWU91Cg6sYVik0OQewQwVZDJtOsl9VlVxo7j1u9x_MFt_a80A_3kqYl/s1600/The+Black+Cat+Gino+Severini+1910.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVo5TBbDPVsvpPX7Jgd3M-z8qlhbrksD5on_4xfg4oO478i-_RbvK1G00cJvoyjLGoFqy_KQz5gtIVPcXaspWGsWU91Cg6sYVik0OQewQwVZDJtOsl9VlVxo7j1u9x_MFt_a80A_3kqYl/s320/The+Black+Cat+Gino+Severini+1910.jpg" width="320" /></a></div>
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<b>Pictured: <i>The Black Cat</i> -- Hishida Shunso (1910); <i>Two Black Cats Reclining </i>-- Franz Marc (1913); <i>Girl with Black Cat</i> -- Giovanni Boldini (1885); <i>The Black Cat </i>-- Ernst Ludwig Kirchner (1926); <i>The Black Cat</i> -- Gino Severini (1910/11)</b>Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-32645960557130441672015-10-09T21:10:00.003-04:002016-01-23T15:42:46.429-05:00the secret recipe<div class="separator" style="clear: both; text-align: center;">
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<span style="color: blue;"><b><span class="bqQuoteLink"><i>Good painting is like good cooking; it can be tasted, </i></span></b></span><br />
<span style="color: blue;"><b><span class="bqQuoteLink"><i>but not explained.</i></span></b></span><br />
<span style="color: blue;"><b><span class="bqQuoteLink"><i> </i> </span></b></span></div>
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<span style="color: blue;"><b><span class="bqQuoteLink">-- Maurice de Vlaminck</span></b><b> (1876-1958)</b></span></div>
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<b>Pictured: <i>The Table (Still Life with Almonds) </i>-- </b><br />
<b>Maurice de Vlaminck, 1907</b></div>
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Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-71434232082604485842015-09-19T13:25:00.002-04:002015-09-19T13:27:02.852-04:00painting of the month<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil2im2RPYHCVBEf4cFh1REMyLcOsu286iqZcMZ3LsnFrfoo8utv7T5JZID_kKfK5aJ7ab6WRWtoy016tbOHIdO1uP7YrQaSmnv1r6yLS9WhOCcvi7A-ODXFvKfyjfTWCSMx6IsLASah_Be/s1600/sails+and+pines+paul+signac.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil2im2RPYHCVBEf4cFh1REMyLcOsu286iqZcMZ3LsnFrfoo8utv7T5JZID_kKfK5aJ7ab6WRWtoy016tbOHIdO1uP7YrQaSmnv1r6yLS9WhOCcvi7A-ODXFvKfyjfTWCSMx6IsLASah_Be/s400/sails+and+pines+paul+signac.jpg" width="292" /></a></div>
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<b><i>Sails and Pines --</i> Paul Signac, 1896</b></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-51827536234797072422015-09-10T17:22:00.002-04:002015-09-10T22:17:18.837-04:00old new orleans<div class="separator" style="clear: both; text-align: center;">
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The passing of Hurricane Katrina's 10th anniversary this summer brought back memories of New Orleans' living nightmare of disaster, with first the initial impact of the storm and then the horrific flooding that followed. A city like no other, New Orleans has always had its own creative community and has inspired many visiting artists as well. Edgar Degas, for example, <a href="https://suite.io/meg-nola/18j52fk">visited his brothers in New Orleans in 1872</a>, stayed for six months and produced some very interesting paintings, as well as becoming the only French Impressionist to make a trip to the United States. Another Frenchman, Hippolyte Sebron (1801-1879), journeyed to the U.S. in 1848 and stayed for several years, spending time in New Orleans where he painted his <i>Giant Steamboats of the Levee</i> in 1853. Yet a third native of France, Marie Adrien Persac, depicted scenes of Louisiana and New Orleans, including his<i> Port and City of New Orleans</i> and <i>French Opera House </i>of 1859. The French Opera House hosted many a spectacular production during its heyday but sadly was destroyed by fire in 1919. And finally, Illinois-born artist George Overbury Hart (1868-1933) enjoyed traveling and working in watercolors because of their portability, and circa 1917 Hart seemed to have made his way to New Orleans, as evidenced by his <i>Old French Marke</i>t. <br />
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<i>All nationalities, all religions, all civilizations, meet and mingle to make up this city, which, upholding the cross to indicate its religion, still, in its municipal character, accepts the Mohammedan symbol of the crescent. Added to the throng which comes and goes upon the levee, merchants, clerks, hotel runners, hackmen, stevedores, and river men of all grades, keep up a general motion and excitement, while piled upon the platforms which serve as a connecting link between the water-craft and the shore, are packages of merchandise in every conceivable shape, cotton bales seeming to be most numerous.</i><br />
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<b>Willard W. Glazier -- <i>Peculiarities of American Cities</i>, 1883</b><br />
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<span style="color: #0b5394;"><b>Pictured: <i>Giant Steamboats at the Levee in New Orleans </i>-- Hippolyte Sebron (1853); <i>Port and City of New Orleans </i>-- Marie Adrien Persac (1858), <i>French Opera House</i> -- Marie Adrien Persac (1859); </b><b><b><i>The Cotton Exchange</i> -- Edgar Degas (1873); </b><i>Old French Market </i>-- George Overbury Hart (ca. 1917)</b></span> Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-61309453087181604172015-08-29T22:23:00.002-04:002015-09-19T13:22:06.062-04:00harvest time<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHiJu2aND9tl0C-YMOWQGrL73O1Nh8AomadLO5TnAC7KOAaST0jRufflVwkG0c965tULUUy0r4UnUiQAG4akVE6K5t0XuuVm_sdOZamZbbIQGOTfRHQDqHFvIGgwAi-uraXUi0qn5FqP0p/s1600/zucchinitomatoeseggplant+renior.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHiJu2aND9tl0C-YMOWQGrL73O1Nh8AomadLO5TnAC7KOAaST0jRufflVwkG0c965tULUUy0r4UnUiQAG4akVE6K5t0XuuVm_sdOZamZbbIQGOTfRHQDqHFvIGgwAi-uraXUi0qn5FqP0p/s320/zucchinitomatoeseggplant+renior.jpg" width="320" /></a></div>
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<span style="color: #990000;"><b><i>Zucchini, Tomatoes and Eggplant</i> -- Pierre Auguste Renoir (1915)</b></span></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-18206813080309200762015-08-19T18:53:00.002-04:002015-08-19T19:02:55.638-04:00the quiet world of gustave <span style="color: #990000;"><b><a href="http://evenmorecoffeeandoranges.blogspot.com/2012/08/164-years-of-caillebotte.html">It's been noted here before</a></b></span>
that today was the birthday of artist Gustave Caillebotte (b. August
19, 1848 - d. 1894), and how Caillebotte was part of the French Impressionist circle and is probably best-known for the damp umbrellas and cobblestones of his 1877 masterpiece <i>Paris Street, Rainy Day. </i>Caillebotte
also liked to garden and had a strong interest in photography -- both
pursuits that influenced his artwork -- and he had a keen eye for
unusual perspectives or subject matter that made his paintings more
intriguing. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOUf-EdRz5UZoJIIuBehFQudeIXV5h_HD1odTbmvFfcRQ15GQTkTdcPALhwt0THgvg3ylP7lz_Bus8ggNitZTh79okXDTSiul3PHXcDr3ebjvt1_kEie8-3gWVj_03GiktBKo-GQfGgEyD/s1600/garlic+cloves+caillebotte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOUf-EdRz5UZoJIIuBehFQudeIXV5h_HD1odTbmvFfcRQ15GQTkTdcPALhwt0THgvg3ylP7lz_Bus8ggNitZTh79okXDTSiul3PHXcDr3ebjvt1_kEie8-3gWVj_03GiktBKo-GQfGgEyD/s320/garlic+cloves+caillebotte.jpg" width="320" /></a></div>
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<b>Pictured: <i> The Orange Trees</i> (1878), <i>White and Yellow Chrysanthemums, Garden at Petit Gennevilliers </i>(1893), <i>Fruit Displayed on a Stand</i> (1881/82), <i>Garlic Cloves and Knife on the Corner of a Table </i>(1870s), <i>Laundry Drying</i> (1892)</b><br />
<br />Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-16542200640262291082015-08-18T22:41:00.000-04:002015-08-18T22:42:27.749-04:00painting of the month<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibFlFMRZAEo5_SWlvKl_NfDPt4Gsqb0wsoWKR7X4V4fUEZAeb1k9PnJnDIj09ZOqnj8Ikg94h8APwm4G23sDBLGiKtvS1lxAsoJoJewuxseysDAfrEGFFXkgLrTBP60ih6WC_JNGVOblC-/s1600/beach+in+moonlight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibFlFMRZAEo5_SWlvKl_NfDPt4Gsqb0wsoWKR7X4V4fUEZAeb1k9PnJnDIj09ZOqnj8Ikg94h8APwm4G23sDBLGiKtvS1lxAsoJoJewuxseysDAfrEGFFXkgLrTBP60ih6WC_JNGVOblC-/s400/beach+in+moonlight.jpg" width="400" /></a></div>
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<b><i>Beach in Moonlight --</i> Mc Clelland Barclay, 1930 (Laguna Art Museum)</b></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-42989862934017562722015-08-09T16:48:00.001-04:002015-08-09T16:48:22.608-04:00interestingly disinterested paint<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPqZAxwES3j6EOTR6XEqVGHl4XqEDvCm5vZzH8I3b-BAvtE0Q5AW1dt97N_M9vSEe0W5hHYEA1uviQudX6_AysWLCHp_Jxll49Tzfdf1JaCy6Ukv5Gx6faC-dXJsfzMs3mqsitOLOnxPaK/s1600/white+plumes+matisse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPqZAxwES3j6EOTR6XEqVGHl4XqEDvCm5vZzH8I3b-BAvtE0Q5AW1dt97N_M9vSEe0W5hHYEA1uviQudX6_AysWLCHp_Jxll49Tzfdf1JaCy6Ukv5Gx6faC-dXJsfzMs3mqsitOLOnxPaK/s320/white+plumes+matisse.jpg" width="257" /></a></div>
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Some intriguing commentary from Clement Greenberg in the 1950s Pocket Library of Art series' <i>Matisse </i>volume -- the painting is Matisse's 1919 <i>White Plumes</i> and the model was Antoinette, one of Matisse's favorites at that time:<br />
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<b>The good looks of the girl, the bizarre splendor of her hat, and the rich simplicity of design and color are at first sight almost cloying. Yet, even though Matisse has turned out his share of superficial work, this is not part of it...Antoinette's sex appeal is so solemn as to contradict itself, what with the fixed stare of her eyes and the rigid set of her features that make her more effigy than woman. What is really seductive are the appurtenances, the Indian red background, the pearly whites and grays in the features--that is, the paint, the disinterested paint.</b><br />
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Matisse was still alive when this particular small pocket book series was published (he died the following year in 1954) and if he ever read Greenberg's critique, it would be interesting to know what he thought of it.<br />
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<i><b>Pictured: White Plumes -- Henri Matisse, 1919 (Minneapolis Institute of Art)</b></i>Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-73086455737647089922015-07-31T20:25:00.000-04:002016-01-23T15:44:50.470-05:00painting of the month<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9DnNqRHEn91F8Xo82hgHhB3SSIFRJv9TMIdcIRCukS6rVy41b93SEi8QTnCsGzZuZiKHkXKY6rBbLPJXRmgpixJRu5cITM2m_fHTBLlPTZFPBve2ShdJTz6O1DrIw86y0kkZdL-kojVx/s1600/hale+garden.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu9DnNqRHEn91F8Xo82hgHhB3SSIFRJv9TMIdcIRCukS6rVy41b93SEi8QTnCsGzZuZiKHkXKY6rBbLPJXRmgpixJRu5cITM2m_fHTBLlPTZFPBve2ShdJTz6O1DrIw86y0kkZdL-kojVx/s400/hale+garden.jpg" width="400" /></a></div>
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<b><i> View at Folly Cove, Rockport, Massachusetts, </i></b><br />
<b><i>The Artist's Garden</i></b></div>
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<b>Ellen Day Hale (1855 - 1940)</b></div>
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<b>(Image from www.the-athenaeum.org) </b></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.comtag:blogger.com,1999:blog-1183999794943283830.post-16557534244599890002015-07-07T00:30:00.000-04:002015-07-07T21:59:48.919-04:00frida and salma<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbicJNoXln2Te-oeTXmH1qFrjN10W8JTOLa68Eh1hkkwpf3neX0xTxQb-xJ7hF4q1tLLO-TirwuPiq2ayGECUU_CNm2PKKKU7TKeKskyaxcIydoXPMC8czogH1Jo10hRdy2aA-qmpHBMZS/s1600/frida.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbicJNoXln2Te-oeTXmH1qFrjN10W8JTOLa68Eh1hkkwpf3neX0xTxQb-xJ7hF4q1tLLO-TirwuPiq2ayGECUU_CNm2PKKKU7TKeKskyaxcIydoXPMC8czogH1Jo10hRdy2aA-qmpHBMZS/s320/frida.jpg" width="213" /></a></div>
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July 6th was the birthday of Mexican artist Frida Kahlo (July 6, 1907 - July 13. 1954), whose unique talent and celebrated yet troubled life became the subject of the 2002 biopic <i>Frida</i>. Directed by Julie Taymor and starring Salma Hayek as Kahlo, <i>Frida </i>won two Academy Awards and was generally praised by critics -- particularly for Hayek's interpretation of Kahlo's complex character. This month's American Airlines' Spanish language magazine <i>Nexos</i> has a spotlight piece on Salma Hayek, in which she reflects upon Frida Kahlo and how though the artist wasn't a conventional beauty, she was nonetheless charismatically and singularly beautiful. That despite her being an invalid and having what might be perceived as less than perfect features ("tenía una ceja" or a unibrow, and "un poco de bigote" or a bit of a moustache), she was confident and brave and always her own person. She also embraced her cultural heritage proudly in her personal style and in her vivid paintings. "Como ella no hay dos," Salma concludes. "Y para mí siempre fue hermosa."</div>
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<b>I used to think I was the strangest person in the world but then I
thought </b></div>
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<b>there are so many people in the world, there must be someone</b><br />
<b>just like me who feels bizarre and flawed in the same ways I do. </b><br />
<b>-- Frida Kahlo</b></div>
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<b>Pictured: Frida Kahlo; Salma Hayek in <i>Frida</i>; and <i>The Two Fridas</i> -- Frida Kahlo, 1939</b></div>
Meghttp://www.blogger.com/profile/00664044204809780567noreply@blogger.com