tag:blogger.com,1999:blog-83557174469683680012024-03-16T14:52:50.840-04:00Art Now and Then"Art Now and Then" does not mean art occasionally. It means art NOW as opposed to art THEN. It means art in 2020 as compared to art many years ago...sometimes many, many, MANY years ago. It is an attempt to make that art relevant now, letting artists back then speak to us now in the hope that we may better understand them, and in so doing, better understand ourselves and the art produced today.Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.comBlogger2823125tag:blogger.com,1999:blog-8355717446968368001.post-39732387622938188122020-05-04T00:01:00.000-04:002020-05-04T00:01:10.311-04:00Garden of Earthly Delights<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/AVvXsEg78ID_qC_GATXFqrqBDJjyyeDWGvj9nlYjw6ytFv47-U8HLdujAufpimSWUd3zcFYAZZvfZvrf2wc04xZcv4JA54HaMasSrPfB84XsbuAEeQ6UURD_G9O9LYlO9TlgJMvo6U1Hgnr2AxII/s1600/Panel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="558" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg78ID_qC_GATXFqrqBDJjyyeDWGvj9nlYjw6ytFv47-U8HLdujAufpimSWUd3zcFYAZZvfZvrf2wc04xZcv4JA54HaMasSrPfB84XsbuAEeQ6UURD_G9O9LYlO9TlgJMvo6U1Hgnr2AxII/s1600/Panel.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Garden of Earthly Delights </em>(central panel), 1505-1510, Hieronymus Bosch</strong></span></td></tr>
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There's always to be found a lot of uncertainty regarding famous artists, their lives, their students, and their thought processes as they completed various masterpieces. Some, such as Leonardo, Michelangelo, Raphael, Dali, or Warhol, these we know quite well from their own writings and that which was observed and reported by their biographers. However, no painter in history has greater mystery surrounding them then than the Dutch painter, <a href="https://art-now-and-then.blogspot.com/2010/11/hieronymus-bosch.html">Hieronymus Bosch</a>. Moreover, one of his paintings sits at the top of the list of his mysterious works. His <em>Garden of Earthly Delights</em>. painted between 1505 and 1510. The center panel of the triptych is pictured above. No artist at the time had ever incorporated so many individualized figures in a single work.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>When opened up on each side, the aura of mystery grows even stronger.</strong></span></td></tr>
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With so little known about Hieronymus Bosch or his intention for creating what has become one of the best-known paintings today, interpretations of the triptych have greatly varied in its symbolism and message. That in itself might be what gained it such fame. Ostensibly a religious painting depicting man’s descent into sin, but never commissioned for any known church, <em>The Garden of Earthly Delights</em> hints at many things that just don’t add up. The blatant sexuality, the hidden symbolism, and the surrealistic execution of the triptych (above) all subtly point to a place much deeper and darker than pure Christian allegory. When closed (as seen below), the exterior panels of Bosch’s triptych show a darkened world in the throes of genesis. A world without enlightenment. The center panel of <em>The Garden of Earthly Delights</em> is a visual explosion of chaotic lust. Bodies writhe in the throes of ecstasy, gluttonizing on an assortment of fruit and flesh. Here, man and beast are one and the same. Cattle, bears, horses, and swine are ridden bareback by unclothed denizens of a world fallen like Lucifer. The tree of knowledge can be found in this central panel, being swiftly plucked bare.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The three panels of Garden of Earthly Delights opens us like a book</strong></span></td></tr>
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The left panel (below) of Bosch’s masterpiece (also known as the <em>Joining of Adam and Eve</em>) at first glance appears to be a typical scene of Eden. As Adam wakes from slumber, he is greeted by the sight of God offering Eve by the wrist and giving the sign for his blessing of the union. While Eve is the picture-perfect definition of demure, Adam is looking very expectant indeed at the presentation of his new bride. Eyes widened and lips curving into a smile, his countenance barely contains a lurking lecherous desire, as to his left a wildcat struts away with fresh kill. In contrast, Eve is timid, eyes cast downward, in frightened submission to God’s will, while in the background to her right sits a black rabbit, an age-old symbol of fear of intimacy. To the north, in the first of a series of strange, flesh-colored dwellings, a small owl is perched in a circular cavity. And like the unsettling architecture, it won’t be the last time that we see this winged creature, whose importance in Bosch’s garden is paramount.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Garden of Earthly Delights (left panel detail)</strong></span></td></tr>
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There is also an abundance of symbolism here pertaining to fertility and the female reproductive organ. The flesh-colored edifices are at times extremely vaginal in appearance, and ovary-shaped orifices are entered at every opportunity. Bosch painted this panel with much more zeal than is typically found in a religious portrayal of the sins of the flesh, and this is what sets it apart from mere allegory.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Z8HHaD8hfLXprOKSOwV_BCOKPPr_1Z-5uTX0STLAUSJa2qkM_F7_pQOR_2yEKVrysoTWtZCUGC7juEQ7L67s4JbNvXwfgYN6sWK2gjt-7aBTSEl8htOBvDCvxo_vo4uXFlEeMwT8kKTi/s1600/Knowledge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="245" data-original-width="281" height="558" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3Z8HHaD8hfLXprOKSOwV_BCOKPPr_1Z-5uTX0STLAUSJa2qkM_F7_pQOR_2yEKVrysoTWtZCUGC7juEQ7L67s4JbNvXwfgYN6sWK2gjt-7aBTSEl8htOBvDCvxo_vo4uXFlEeMwT8kKTi/s640/Knowledge.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Detail of central panel--Knowledge</strong></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Right panel detail</strong></span></td></tr>
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A nightmarish wonderland awaits those who gaze upon Bosch’s right panel of The Garden of Earthly Delights. This sadistic portrayal of Hell is in sharp contrast to the center panel and is ripe with mockery of Christianity. In this panel, the pleasure of fornication is usurped by pain, no longer an act of ecstatic creation, but torturous punishment. While the former panel was more feminine in its depiction of the sensual and sexual, this panel is more masculine. It screams rape and conquer, cities fallen into flame, Lucifer reaping what he had previously sown. No stranger to painting depictions of Hell, Bosch lets loose with surrealistic glory on the right panel of the garden. Bodies lay strewn naked beneath a set of ears with a blade protruding from between. It doesn’t take a stretch of the imagination to see the resemblance between that and the male genitalia when erect. One can also find the most blatant example of how the painting is no ordinary religious triptych, in the depiction of a swine nun leaning in to plant a kiss on the cheek of a wretched sinner. No matter how despicable and torturous the infernal depths may be, to dress a pig in a nun’s habit would be far too sacrilegious for any halfway-serious congregation. In the background of the right panel, behind the bodies writhing in pain and surrealistic imagery of torture, a city can be seen crumbling into inferno with beams of light shooting skyward. Lucifer is triumphant.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpPqPM0mc1YQXVA2mLvYDW33r8G_GU0FZtmBBC-6sqR0QltCnfdgaLLAXoFnILx88GSpnGAZyrbx94g3K8gbLovjI8mscZ3yR_XI3jNmjqUqB8p49BZpJuLaN4eopXMhrpg6KE1bQXxXKD/s1600/Jacques+Le+Boucq%252C+Portrait+of+Hieronymus+Bosch%252C+c.+1550.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="599" data-original-width="514" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpPqPM0mc1YQXVA2mLvYDW33r8G_GU0FZtmBBC-6sqR0QltCnfdgaLLAXoFnILx88GSpnGAZyrbx94g3K8gbLovjI8mscZ3yR_XI3jNmjqUqB8p49BZpJuLaN4eopXMhrpg6KE1bQXxXKD/s320/Jacques+Le+Boucq%252C+Portrait+of+Hieronymus+Bosch%252C+c.+1550.jpg" width="274" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Portrait of Hieronymus Bosch, c. 1550</strong></span><br />
<strong><span style="font-size: small;">Jacques Le Boucq</span></strong></td></tr>
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What Bosch’s true intentions with his masterpiece were, we will never truly know. But one thing is for certain: <em>The Garden of Earthly Delights</em> is one of the most complex and nightmarish paintings in existence today. A paint-ing that is both extremely attractive and immensely repulsive, a painting that causes something to resonate deep within oneself, like bells tolling in the cavity of the chest. And that is the purest response to an artwork that can be achieved, whatever its original intent.</div>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-78792312780284079342020-04-27T00:01:00.000-04:002020-04-27T00:01:05.773-04:00The Color Orange<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/AVvXsEhQcMzF-UylCpOyFueTQO7ws5-kK1uJFwzuJhyphenhyphenIlePC220XdMPAENyKEOCz7gm_8-RL4bEp_CgeQebOTQT9JwyPUJBo2lxu3GpCr1cQ24i_r6ncvP-6qj3GW1jhFwl0KXGRp2RsX2Q2yjwj/s1600/Peeled+orange%252C+2+Marilyn+McKing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="406" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQcMzF-UylCpOyFueTQO7ws5-kK1uJFwzuJhyphenhyphenIlePC220XdMPAENyKEOCz7gm_8-RL4bEp_CgeQebOTQT9JwyPUJBo2lxu3GpCr1cQ24i_r6ncvP-6qj3GW1jhFwl0KXGRp2RsX2Q2yjwj/s1600/Peeled+orange%252C+2+Marilyn+McKing.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Peeled orange, Marilyn McKing</strong></span></td></tr>
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Of all the primary and secondary colors I've discussed over the past weeks orange is probably my <em>least</em> favorite. That's apparently the feelings of a great many painters from the past because unlike most of the other major colors there are fewer works devoted mainly to this hue. If you eliminate those featuring sunsets and fall foliage you have fewer still. To my recollection, I don't think I've ever done more than one or two paintings in which orange has predominated. However, as you can see in the painting <em>Peeled orange</em>, (above) by Marilyn McKing, the color offers a wealth of possibilities. Of course it's impossible to paint a still life featuring an orange without using the various multiple shades and tints of available to the talented colorist. It's interesting to note how the artist uses so few areas of "pure" orange.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisCgqakAwl_4WhMqMjcxb4wYrWC0_pZGIE26hMrh9bklG1S2efhkrLxd-kdm0afexdXNfH9uElMEPPB-cEPuC1EKD4gr8DxVb1Zh_gExr_KInrNOGDdh09TtQZPhxO77usww7Lt5_KGlXb/s1600/IMG_0690+all+the+orange+crayons.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisCgqakAwl_4WhMqMjcxb4wYrWC0_pZGIE26hMrh9bklG1S2efhkrLxd-kdm0afexdXNfH9uElMEPPB-cEPuC1EKD4gr8DxVb1Zh_gExr_KInrNOGDdh09TtQZPhxO77usww7Lt5_KGlXb/s1600/IMG_0690+all+the+orange+crayons.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>With such a narrow range of values between red and yellow </strong></span><br />
<span style="font-size: small;"><strong>variations are bound to be quite subtle.</strong></span></td></tr>
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The color orange is a combination of red and yellow. It is a bright and warm color. It represents fire, sun, fun, warmth and tropical surroundings. Orange is considered a fun, light color with appetizing and delicious qualities. It also increases the oxygen supply to the brain and stimulates mental activity. A harmonious blend of red and yellow hues, orange is a color that oozes with delight. Bursting with energy and warmth. Orange is commonly associated with outdoor elements. It’s for this reason why tropical surroundings are frequently steeped in orange tones. From its playful shade to its inviting comfort, the color orange radiates a calm yet lively essence. With its fiery undertones, the color orange is often depicted in scenes where fire and sun are present. The deeper the shade, the more intense the setting. A blazing sun is thought to emit orange flames. Moreover, a crackling campfire is the pictorial definition of the color orange. In essence, while basking in the great outdoors, the color orange is likely to reveal itself. When it does, revel in its bright glow.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_Tsdu3Y5lbLE3s3k6sVD6Dhf_ynmcDJhHy_hiL82aTuE5nfQzCax2KsWViNhIxF8lSsAJkdZvnL6XKRe2RMXW92mWUmYuaN3FF2P2EFr6uA3TnhQOgXSA3FY37h0e6cSFvUzUFxkdTGz/s1600/5bf87733382134f0f2a2db26fd3eb7cf.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="393" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_Tsdu3Y5lbLE3s3k6sVD6Dhf_ynmcDJhHy_hiL82aTuE5nfQzCax2KsWViNhIxF8lSsAJkdZvnL6XKRe2RMXW92mWUmYuaN3FF2P2EFr6uA3TnhQOgXSA3FY37h0e6cSFvUzUFxkdTGz/s1600/5bf87733382134f0f2a2db26fd3eb7cf.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Orange very often swerves into what most people would term a shade of brown.</span><br />
<span style="font-size: small;">There's absolutely no consistency in the use of these titles.</span><br />
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Good luck curbing your hunger when the color orange is near. Hallmarked for its appetizing appeal, this reddish-yellow hue can trigger food cravings. Fortunately, these foods are generally healthy, with oranges being one of the most popular fruits. Some people add this color to their kitchen décor in hopes that it’ll stir up feelings of hunger. For those abiding by a strict diet, don’t be fooled by the edible desires that this color invokes. Characterized by orange leaves and warm tones, fall would lose its charm without the color orange. Adding a hint of warmth to traditional greenery, orange can literally alter the ambiance of the seasons. No doubt an impressive quality, orange is beloved for its subtle yet unique beauty.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXU56nZy2IFmhCQokk_Nwm6EkNRvJ2UvO23RYOkO9C6SqgiiYlpyCglGOppOdVctHToYAVgpVQHOdV8qv3_QPiD0OBzMtT6SY1KzIJPsIKcvApcWovMH8AL2H_97YLzy1JXnDW-7Ztb4IL/s1600/Orange+speech+baloon+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="359" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXU56nZy2IFmhCQokk_Nwm6EkNRvJ2UvO23RYOkO9C6SqgiiYlpyCglGOppOdVctHToYAVgpVQHOdV8qv3_QPiD0OBzMtT6SY1KzIJPsIKcvApcWovMH8AL2H_97YLzy1JXnDW-7Ztb4IL/s1600/Orange+speech+baloon+2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>There are a sizable number of feelings and meanings generated with orange.</strong></span></td></tr>
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In the throes of a difficult juncture, the color orange can offer security and strength. Unlike its color wheel neighbors, orange doesn’t evoke physical or mental responses. Instead, it inspires us to lean into our emotional understandings. By doing so, we dig deeper into our intuition. When feeling dispirited, find solace in the color orange. Clinging to this color will remind you that there’s light at the end of a depressingly dark tunnel. In keeping with the above theme, orange is known to uplift otherwise fallen spirits. Touted as one of the cheeriest colors, orange is the antithesis of darkness. Color psychology teaches us that seeing the color orange can ignite motivation, hope, and positivity. Given its ecstatic spirit, it’s no wonder orange helps us look on the bright side.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJfkugwFLQLdfbwx7hUUAD7FN-5iOR5I71HeS01BLGZhBd7xeZtQ9j0uWZzYVBUmPwXCl-74N3CNi6o1dZHdV9ukBsKONtUlo3H2R0d3co8PMvwPdKp54fE4lgeEFX58QCjbuWGGNZQ9ez/s1600/Still-Life-with-Basket-and-Six-Orange%252C+Vincent+van+Goghs%252C+1888.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="456" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJfkugwFLQLdfbwx7hUUAD7FN-5iOR5I71HeS01BLGZhBd7xeZtQ9j0uWZzYVBUmPwXCl-74N3CNi6o1dZHdV9ukBsKONtUlo3H2R0d3co8PMvwPdKp54fE4lgeEFX58QCjbuWGGNZQ9ez/s1600/Still-Life-with-Basket-and-Six-Orange%252C+Vincent+van+Goghs%252C+1888.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Still Life with Basket and Six Orange, </em>1888, Vincent van Gogh</strong></span></td></tr>
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It's interesting that while some artists have shunned the color orange in their works, others seem too have embraced it wholeheartedly. When it comes to the routine use of orange, Vincent van Gogh stand apart from most of the others as seen in his <em>Still Life with Basket and Six Orange</em>, (above) from the year 1888. There are numerous other instances when some of his yellows might be termed orange. His near-red oranges are all the more brilliant as juxtaposed against the cool minty green environment. I wonder if he <em>ate</em> them after he was done.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz0fvGnUg-TobOvpmTIIndcoW0wfzYtXFwkF7NOwCYIKXmOZgYganqswyRQm5VBvJh5xmPs8RR2pYSLtgpdYrnEE6HXHCfExKtUdbnuDWMct9OoEKnO7eJRR6tL8Z2iAij_2O82ij4lNdU/s1600/Flaming+June%252C+1895%252C+Lord+Frederic+Leighton.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz0fvGnUg-TobOvpmTIIndcoW0wfzYtXFwkF7NOwCYIKXmOZgYganqswyRQm5VBvJh5xmPs8RR2pYSLtgpdYrnEE6HXHCfExKtUdbnuDWMct9OoEKnO7eJRR6tL8Z2iAij_2O82ij4lNdU/s1600/Flaming+June%252C+1895%252C+Lord+Frederic+Leighton.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Flaming June</em>, 1895, Lord Frederic Leighton Lord Frederic Leighton's</strong></span></td></tr>
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An even more daring use of rampant orange can be found in a highly unusual figure by England's Lord Frederic Leighton which he has titled allegorically <em>Flaming Jane</em>. (He was a Romantic at heart.) Yet we shouldn't be so surprised at his use of orange in that it is quite often a component in flesh tones regardless of race. It's not so unusual to fine an orange basis for many warm portraits. One might say such figures are "light orange." The Norwegian Expressionist, Edvard Munch, also employs the color orange in his <em>The Scream</em>, from 1893, not in the figure, but in the fiery sunset beyond (below) from which the painting took its title. The painting was sometimes referred to by the artist as <em>The Shriek.</em><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy72RA9_nEJ-0X77n7z9MUH229sA6g_Qrp3L-OoAkx7VhlMtlIFBbT4ywy2UdgjxRnyJFYcJQBT-DwAxBIxvxHN6E5r2VYXAkiCGhP88tdvXKPvtUWc-X9ztHkd82A4yB_byOcsMUBmvwz/s1600/The+Scream+by+Munch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="729" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy72RA9_nEJ-0X77n7z9MUH229sA6g_Qrp3L-OoAkx7VhlMtlIFBbT4ywy2UdgjxRnyJFYcJQBT-DwAxBIxvxHN6E5r2VYXAkiCGhP88tdvXKPvtUWc-X9ztHkd82A4yB_byOcsMUBmvwz/s1600/The+Scream+by+Munch.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Der Schrei der Natur (The Scream of Nature), 1893, Edvard Munch</strong></span></td></tr>
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When one begins to explore paintings with powerful oranges, we began to inch closer and closer to shades of reds as seen in Georgia O'Keeffe's <em>Red Poppy</em> (below). Obviously O'Keeffe has rejected the color orange as appropriate to a Poppy, but allows it to "take over." I'll let you judge as to whether this painting is orange enough. Are we to trust the title or the content insofar as "orangeness" is concerned.? One might say O'Keeffe "teases" us with her oranges and reds.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoAof7eNpS2-9GKfbdVidk2pmsa23Grt5oIzxnFkRFHP3-AGcCgnMGonuCEx2XgoMx1V8_l2-LgizimHjXQUYmo_XGSy2nIZKkhPT9qVzYrzUi1xYdLDcpdFukJkW0ASHijxTiUBAt0ax9/s1600/Red+Poppy%252C+Georgia+O%2527keeffe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="432" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoAof7eNpS2-9GKfbdVidk2pmsa23Grt5oIzxnFkRFHP3-AGcCgnMGonuCEx2XgoMx1V8_l2-LgizimHjXQUYmo_XGSy2nIZKkhPT9qVzYrzUi1xYdLDcpdFukJkW0ASHijxTiUBAt0ax9/s1600/Red+Poppy%252C+Georgia+O%2527keeffe.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Red Poppy,</em> 1927 Georgia, O'Keeffe</strong></span></td></tr>
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To only a slight lesser degree we find Salvador Dali's <em>The Elephants</em> (below) from 1944. Dali employs a narrow band of subtle gradations from yellow to red near his surrealist horizon. It first appeared in his 1944 work <em>Dream Caused by the Flight of a Bee around a Pomegranate, a Second Before Awakening. </em>(How's that for a long title!) The elephants, were said to have been inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlnzWgwIH0QnFQuTSaevpALotGoxFxCdysZpNbDVTeMKlquBJM1WQapy8Eu6ZcM8wZw_g1Z3XNQ_X4fFarscNd-shdxksceqj3Vnn2blX4Bp8tuE9md9EbWuki8kNPmhXC6jvbSQA6tf9b/s1600/Dali%2527s+The+Elephants.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="463" data-original-width="550" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlnzWgwIH0QnFQuTSaevpALotGoxFxCdysZpNbDVTeMKlquBJM1WQapy8Eu6ZcM8wZw_g1Z3XNQ_X4fFarscNd-shdxksceqj3Vnn2blX4Bp8tuE9md9EbWuki8kNPmhXC6jvbSQA6tf9b/s320/Dali%2527s+The+Elephants.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>The Elephants,</em> 1944, Salvador Dali</strong></span></td></tr>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-25507785533112001052020-04-20T00:01:00.000-04:002020-04-20T00:01:15.981-04:00Hospital Architecture<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/AVvXsEhN8kEWbeiTG16K5RS4lu5bGe_dmU9UTI912DXVkLIkDx6iQYBFBoK64riDP6li-swuw1_5ijxdgv3gyUzZRrC2MGEK_c_oPySxglZWl-11LLfKjo4TH3570ydSN9cbu-XFRdGxrJ-2mSU-/s1600/-Winnie-Palmer-Hospital-for-Women-Children%252C+Orlando-Florida.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="337" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN8kEWbeiTG16K5RS4lu5bGe_dmU9UTI912DXVkLIkDx6iQYBFBoK64riDP6li-swuw1_5ijxdgv3gyUzZRrC2MGEK_c_oPySxglZWl-11LLfKjo4TH3570ydSN9cbu-XFRdGxrJ-2mSU-/s1600/-Winnie-Palmer-Hospital-for-Women-Children%252C+Orlando-Florida.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Winnie Palmer Hospital for Women and Children, Orlando-Florida, </span></strong><br />
<strong><span style="font-size: small;">o<strong><span style="font-size: small;">ne of the most strikingly beautiful hospitals I've ever seen.</span></strong></span></strong></td></tr>
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I've always considered myself to be, if not an expert, then quite knowledgeable about architecture. However, until this past week, I knew very little about hospitals. Just a few days ago I was released from the Cleveland Clinic and before that our local medium-size hospital. I won't go into any details as to why I was there, this is not the time or place for that. Suffice to say I have done some research into some of the more unique and attractive hospitals in the world. I began with Marietta (Ohio) Memorial Hospital (below) where I was their guest for about three days followed by about four days in one of the biggest hospitals in this country. Although there are many similarities, believe me not all hospitals were created equal.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic3RCgyN4Lo-xlLW-AWRqWgOyr-BVJmIyFIJLmGO83pWlghoo29K56A2s3wZa4L7lUDhGN9O9MjQgA1FgYJGzUhRaoLQTjxBa8tfnpZGbpPIDflQAhKJQ_41_BAq38nluGoedP6r6nhgRD/s1600/MMH+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="870" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic3RCgyN4Lo-xlLW-AWRqWgOyr-BVJmIyFIJLmGO83pWlghoo29K56A2s3wZa4L7lUDhGN9O9MjQgA1FgYJGzUhRaoLQTjxBa8tfnpZGbpPIDflQAhKJQ_41_BAq38nluGoedP6r6nhgRD/s1600/MMH+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Today, Marietta Memorial is attractive but with an architectural sameness found in most hospitals of its size around the country. The original structure (lower image) is still in use but has literally been swallowed up by numerous additions since its debut one hundred years ago.</strong></span></td></tr>
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I was born in the brick and stone structure you see just above back in 1945. Inside, this hospital is not quite as monotonous white on white with a touch of chrome that is the hallmark of most hospitals found today. There's a certain architectural flair of curved surfaces, stonework, a courtyard, and floor-to-ceiling glass all of which hides a virtual rat's maze of rambling rooms and corridors that is pretty much standard today. All this occurs in the name of comfort for the patients and efficiency for the staff. Although I've never been in a private hospital, I've yet to find one that wasn't understaffed and the medical professional weren't overworked. When I checked into Marietta Memorial, there was such a flu epidemic going around I spent about 36 hour in an area they called emergency overflow in a cold sterile basement. I had a tiny cubical all to myself with a shared bathroom. Worst of all though, my meals were all cold by the time they got to me. Upstairs, I had a semi-private room with a recliner.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo6Q-6K5AkSbl0_xjgZhhpl-rWlQP3qVcs8r103IJ-5Wwv1xUnLSsnew8S91wetJqmL0l0paptpJMAqPbAcoYjDcLDcyyc7TLyYPMqrSB272Z0MpHzwWf62CF4jyPkjN9h6jfOfdwMzjdq/s1600/Cleveland+Clinic%252C+Cleveland%252C+Ohio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="332" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo6Q-6K5AkSbl0_xjgZhhpl-rWlQP3qVcs8r103IJ-5Wwv1xUnLSsnew8S91wetJqmL0l0paptpJMAqPbAcoYjDcLDcyyc7TLyYPMqrSB272Z0MpHzwWf62CF4jyPkjN9h6jfOfdwMzjdq/s1600/Cleveland+Clinic%252C+Cleveland%252C+Ohio.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Cleveland Clinic main entrance replete with fountain and reflective pool, </strong></span><br />
<span style="font-size: small;"><strong>ranking the main structure very attractive.</strong></span></td></tr>
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I arrived at the Cleveland Clinic emergency room by ambulance about midnight. I was wheeled in on a gurney (I could have handled a wheelchair just as well), checked in, checked out, then taken to another semi-private room where their major concern was that I might fall on the way to the bathroom. The food was bland inasmuch as I was on a renal diet (salt free) but at least it wasn't cold. Fortunately I had my trusty laptop with me to while away the hours, though I also did a great deal of napping. I'm gifted in that I can drop off to sleep in less than a minute, which I did, again and again. I had so many blood tests my arms began to look like pin cushions. And, as in most hospitals today, my medications were meted out to me by computers. If I thought Marietta Memorial to be a maze, it was nothing compared to that in Cleveland rambling through no less than three buildings (or towers), each about eight stories tall on my way to a CAT scan. I left rested, well-informed, and anxious to get back home to my daily routine. My wife drove me home (three hours) through a pouring rain while I slept blissfully unaware of all my surroundings.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicO9x1ah-57-VRPtORUTPFj4Hz9pXKrI76rHmRk8BlgDTdHXwvGpHg906yhHQnuIK6AyX5qqJR8a39U1MTU7GLwLGcfiMniASyGTUtlo4KQq5NJm7I9JiuL3tCcoryYEfRC1Zta9Q9biPa/s1600/Cleveland+Clinic+3D+map.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="241" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicO9x1ah-57-VRPtORUTPFj4Hz9pXKrI76rHmRk8BlgDTdHXwvGpHg906yhHQnuIK6AyX5qqJR8a39U1MTU7GLwLGcfiMniASyGTUtlo4KQq5NJm7I9JiuL3tCcoryYEfRC1Zta9Q9biPa/s1600/Cleveland+Clinic+3D+map.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The Cleveland Clinic campus is something of a health care city within a city.</strong></span></td></tr>
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Hospitals are not places generally associated with pleasure. After all, most of us are usually only at one when we or a loved one are sick. Traditionally, they’re not nice to look at, either: we think of over-lit and sterile environments, with visual stimulation limited to small, wall-mounted televisions. However, a new generation of medical facilities is changing the face of the hospital, literally. These places take a more holistic approach to healthcare--one that takes the healing environment into consideration. As a result, many hospitals may be more welcoming and diverse than those with which many are familiar. And while patient care remains their primary objective, many have put almost equal care into their clients’ surroundings. The Winnie Palmer Hospital for Women & Children (top) in Orlando, Florida, is one such institution. With its striking looks, the Winnie Palmer Hospital for Women & Children, located in Orlando, Florida, seems at first glance to be something else entirely. It is in fact, as conceptualized to be more like a hotel. The structure is made up of dark glass-covered towers, which rise from a triangle-shaped base. Worldwide architects Jonathan Bailey Associates say that this arrangement makes access to resources easier, helps the movement of patients and staff to become more efficient, and simplifies monitoring of activities. The hospital was completed in 2006, and it is now a distinctive landmark on the Orlando skyline.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-hFNJK4H20Jan836rewRwBNnirgYDPaa_Exm7sYHweEMKrbIePPpNvk0n3yd4HUrKH4IJJWQ0Vb5JIUnUh-2qd_b6mvTE_tvfv6EywSMnqsJX4tRZhG7EWDMvC4fyGK2KbJkvZlTFNPfo/s1600/Rush-University-Medical-Center%252C+Chicago-Illinois.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="272" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-hFNJK4H20Jan836rewRwBNnirgYDPaa_Exm7sYHweEMKrbIePPpNvk0n3yd4HUrKH4IJJWQ0Vb5JIUnUh-2qd_b6mvTE_tvfv6EywSMnqsJX4tRZhG7EWDMvC4fyGK2KbJkvZlTFNPfo/s1600/Rush-University-Medical-Center%252C+Chicago-Illinois.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Rush University Medical Center, Chicago Illinois</strong></span></td></tr>
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In 2012 the Rush University Medical Center in Chicago opened its transformed campus after a radical redesign of the 175-year-old institution’s complex. The educational hospital now presents a sleek, up-to-date exterior to match the cutting-edge methods of care within its walls. The Chicago branch of global architects Perkins & Will worked closely with the hospital and its users during the center’s design stage in order to create an optimal working environment. Its environmentally friendly construction also means that Rush is the biggest newly built health facility in the world to receive a Leadership in Energy and Environmental Design (LEED) Gold certification.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV0BGKIrKi_juhEkB8XyM8up8lvhuBJFcw_LNd4c_ir7yS7GyL8gpOJdsSuVj0Hk_rLJRaAH-nYVP2I5N5W3RR835a9xdRnQ-YHWhDpAPDCpnP8GrOkG-Eem4jfd36-EjnzGHB-ZydTQqw/s1600/Akershus-University-Hospital%252C+Nordbyhagen-Norway.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="290" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV0BGKIrKi_juhEkB8XyM8up8lvhuBJFcw_LNd4c_ir7yS7GyL8gpOJdsSuVj0Hk_rLJRaAH-nYVP2I5N5W3RR835a9xdRnQ-YHWhDpAPDCpnP8GrOkG-Eem4jfd36-EjnzGHB-ZydTQqw/s1600/Akershus-University-Hospital%252C+Nordbyhagen-Norway.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Akershus University Hospital, Nordbyhagen, Norway</strong></span></td></tr>
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With Akershus University Hospital, Scandinavian firm Arkitektfirmaet C. F. Møller created a friendly, welcoming environment for patients and their families. Each section is given its own unique treatment, differentiating it from the others and providing varied visual stimulation. The hospital, located in Nordbyhagen, Norway, utilizes geothermal heating for most of its warming requirements. Sustainability was also a factor in the facility’s construction, and materials were locally sourced. The new hospital opened in 2008, although work continued on the emergency department until 2014. In 2009 it won the award for Best International Design in the Building Better Healthcare Awards.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzbvFKA3nzX-boSHmHZeLNZyKXx1HRgBqGShenxSKartyXmN8NNWCxsgKCZVYwRJIn6JcSfVwHVGrUSTNhluLFgd2LmAoJO1csuCFIFZGkBwbtVxWokcYqxsYHDbTA4vn5i06I7qendgi/s1600/Benjamin-Russell-Hospital-for-Children+-Birmingham-Alabama.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="447" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzbvFKA3nzX-boSHmHZeLNZyKXx1HRgBqGShenxSKartyXmN8NNWCxsgKCZVYwRJIn6JcSfVwHVGrUSTNhluLFgd2LmAoJO1csuCFIFZGkBwbtVxWokcYqxsYHDbTA4vn5i06I7qendgi/s1600/Benjamin-Russell-Hospital-for-Children+-Birmingham-Alabama.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Benjamin Russell Hospital for Children, Birmingham, Alabama</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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The Benjamin Russell Hospital for Children in Birmingham, Alabama is, in area, the third-biggest children’s hospital in America. Its shiny glass and white concrete façade is the work of global architectural firm HKS, Inc., which strove to make the facility a less frightening place for children than a traditional hospital would be. The interiors of the different levels are uniquely colored and easy to navigate, while windows provide both great views and natural lighting. The hospital, which opened in August 2012, is the first in Alabama to have won the LEED Silver certificate.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiypIh3nT0GsJ5rPU5CCe_3SFikU_1DjIaXrikVg1QOFF-TeXlWchZ8V0rQqB1Zs6Dija_2GtnrKzaOnq1nMuuJ74a6qvTUU6trDwAjSg54ZcWl98UDpulP_8fDG95X9B3HpC4eQZuiVzV/s1600/Einstein-Medical-Center-Montgomery%252C+East-Norriton-Pennsylvania.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="267" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiypIh3nT0GsJ5rPU5CCe_3SFikU_1DjIaXrikVg1QOFF-TeXlWchZ8V0rQqB1Zs6Dija_2GtnrKzaOnq1nMuuJ74a6qvTUU6trDwAjSg54ZcWl98UDpulP_8fDG95X9B3HpC4eQZuiVzV/s1600/Einstein-Medical-Center-Montgomery%252C+East-Norriton-Pennsylvania.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Einstein Medical Center Montgomery, East Norriton, Pennsylvania</strong></span></td></tr>
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The Einstein Medical Center Montgomery is a non-profit hospital located in East Norriton, Pennsylvania. The New York branch of global architects Perkins & Will designed the state-of-the art development, which was the region’s only new medical center to be constructed in more than ten years. The hospital was built on an old golf course, and the architects successfully retained 30 acres of green space, with the large windows of the structure allowing for great views of the setting. These surroundings include footpaths for patients, staff and the public to enjoy. Construction, which was completed in September 2012, used plenty of recycled and local materials, and the hospital achieved a LEED Silver certificate rating in 2013. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVcogGhyisYvnaQAeuaUdADd55iCrRRqiDTAxYviumT02lnvNUtTleyzhVUoX0AjjyJA_gOtGJcY33YEjpVZ3ujLRtnNfXbcWI0km4H0wbOIrH_ZxPp0MO6i7zqh8Sk3lYFbrzAC9i1vsX/s1600/Rey-Juan-Carlos-Hospital%252C+Madrid-Spain.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="295" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVcogGhyisYvnaQAeuaUdADd55iCrRRqiDTAxYviumT02lnvNUtTleyzhVUoX0AjjyJA_gOtGJcY33YEjpVZ3ujLRtnNfXbcWI0km4H0wbOIrH_ZxPp0MO6i7zqh8Sk3lYFbrzAC9i1vsX/s1600/Rey-Juan-Carlos-Hospital%252C+Madrid-Spain.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Rey Juan Carlos Hospital, Madrid, Spain</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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The Rey Juan Carlos Hospital in Madrid, Spain is more sleek and space age than dull and depressing. Designed by local architects Rafael de La-Hoz and completed in March 2012, the institution is intended to be a true healing space filled with “harmony and light.” An abundance of light, silence and efficiency was the desired result for the building, and we’d argue that pleasing aesthetics, too, seem to be part of the finished article. The two ovals on top were created to be peaceful spaces, without the noise or bustle of long, straight corridors. Plus, the hospital features a green roof garden and views from each room.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZhjddPB1tUhNaUCMg0-6ozU9KWoRKhBUSRva9K7Mm-71hE5aCWK_KZc7JD5trUUas3hWbODUQr6sBXzGgySRGOh3LaDRlKJ3czKAHSYdx7qFCwd5F771aj2PCx4NudPatDsIVYyN37bb/s1600/CHA-Women-and-Childre+-Hospital%252C+Seongnam-South-Korea.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="452" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZhjddPB1tUhNaUCMg0-6ozU9KWoRKhBUSRva9K7Mm-71hE5aCWK_KZc7JD5trUUas3hWbODUQr6sBXzGgySRGOh3LaDRlKJ3czKAHSYdx7qFCwd5F771aj2PCx4NudPatDsIVYyN37bb/s1600/CHA-Women-and-Childre+-Hospital%252C+Seongnam-South-Korea.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>CHA Women and Children Hospital, Seongnam, South Korea</strong></span></td></tr>
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In designing the CHA Women and Children’s Hospital in Seongnam, South Korea, KMD Architects created a facility that fits in perfectly with its well-to-do area. The U.S.-based firm came up with a shiny, modern structure that has one whole level housing an extended stay spa. The facility is softened on the inside by the inclusion of plants, wood and water features, while its roof is also an area of plants as well as wooden decking. The hospital, which was finished in 2006, is made up of four stories above ground and four floors below, making it bigger than it first appears. In 2008 it picked up the American Institute of Architects National Healthcare Design Award.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKv4LoljItibBdsrNBcUBAWilTVqH-KeiroFc0CBd_sQJJ2ybgiwGsihidce2gh4q4N3R7LJYHT9Vs0iZVR67TnxlmaiBiKjh9q3yLmemnJ6TvoT6o8QCO4YnevyyXP0g6_-eXEE5xTdbC/s1600/Carol-and-Frank-Morsani-Center-for-Advanced-Healthcare%252C+Tampa-Florida.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="366" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKv4LoljItibBdsrNBcUBAWilTVqH-KeiroFc0CBd_sQJJ2ybgiwGsihidce2gh4q4N3R7LJYHT9Vs0iZVR67TnxlmaiBiKjh9q3yLmemnJ6TvoT6o8QCO4YnevyyXP0g6_-eXEE5xTdbC/s1600/Carol-and-Frank-Morsani-Center-for-Advanced-Healthcare%252C+Tampa-Florida.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Carol and Frank Morsani Center for Advanced Healthcare, Tampa Florida</strong></span></td></tr>
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The Carol and Frank Morsani Center for Advanced Healthcare is part of the University of South Florida’s healthcare learning program. The Tampa branch of Alfonso Architects designed the facility, which includes MRI, CT, X-ray and women’s diagnostics units, plus a surgery area and more. The building itself is sleek looking, with simple lines and a plain color scheme creating a calm, clean effect. The center was completed in July 2008.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdZjCc5h6IqAPkqN-Y2zykkzJoZ45fLyfUBYw0qmMGq21R6-ESyvIltFJhFy7CghJ0qT6eGcGNVPm1yKHjrg5BkpJd1v_n95SVCcOLGXy5p_rBmddXLRcTHqqFcgQ64rLr4piaXnAdhZWz/s1600/South-Tower-Expansion-for-Providence-Holy-Cross-Medical-Center%252C+Mission-Hills-California.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="341" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdZjCc5h6IqAPkqN-Y2zykkzJoZ45fLyfUBYw0qmMGq21R6-ESyvIltFJhFy7CghJ0qT6eGcGNVPm1yKHjrg5BkpJd1v_n95SVCcOLGXy5p_rBmddXLRcTHqqFcgQ64rLr4piaXnAdhZWz/s1600/South-Tower-Expansion-for-Providence-Holy-Cross-Medical-Center%252C+Mission-Hills-California.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>South Tower Expansion for Providence Holy Cross Medical Center, Mission Hills, California</strong></span></td></tr>
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The Community Hospital of the Monterey Peninsula in California is no newcomer to design elements that can aid treatment. The hospital – opened in 1962 and designed by well-known architect Edward Durell Stone – already incorporated features like plentiful natural light and links to the natural world. Global architectural firm HOK’s Los Angeles branch added an expansion to the hospital, which was completed in three stages between 2006 and 2010. The designers were mindful of blending in with the hospital’s original architecture and also of the regulations of the municipal area in which it is located.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Wnj0lAeTYL78hji4REEB5XjzNEK-7Bp3wp5akJtE960pJbMOuExPY5b507NbHmQSuI7A_lS0DDeHdosiwTjJsRT17w8Tsd644r4wvISxnZc8Vk6IlnrHUQoKQvcUckF0lhqqsUvoDZvk/s1600/Harlem-Hospital%252C+New-York-NY.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="273" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Wnj0lAeTYL78hji4REEB5XjzNEK-7Bp3wp5akJtE960pJbMOuExPY5b507NbHmQSuI7A_lS0DDeHdosiwTjJsRT17w8Tsd644r4wvISxnZc8Vk6IlnrHUQoKQvcUckF0lhqqsUvoDZvk/s1600/Harlem-Hospital%252C+New-York-NY.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Harlem Hospital, New York, NY</strong></span></td></tr>
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And finally,some of the hospitals look like works of art, and this one more than most. The $325 million, 195,000 square-foot Harlem Hospital Pavilion, which was designed by global architects HOK, includes giant glass panels on its façade to form striking transparent murals. The huge, eye-catching frontage consists of reproduced historical murals by African American artists. Moreover, at night the artwork becomes even more engaging as it lights up softly from inside. The pavilion links the Martin Luther King, Jr. Pavilion and the Ronald H. Brown Ambulatory Care Pavilion, and it was completed in September 2012.</div>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-50721536582789641422020-04-13T00:01:00.000-04:002020-04-13T00:01:15.829-04:00Berthe Weill<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/AVvXsEig6sIGL4jltCPLSvn9RIpNkxHeJZv3FXCLA4VAQQD1ZKXrnLUxbOv3UOQhWVcH0NaMeKrkhQN3Lllg23IbvH3NZ0zi-N0OFEp0uRe4GmVWWtHMW-sgDF0vcoWQac-jTIip3RTn5xD5iXMF/s1600/Amedeo+Modigliani%252C+Nude+on+a+Blue+Cisjiion%252C1917.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="355" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig6sIGL4jltCPLSvn9RIpNkxHeJZv3FXCLA4VAQQD1ZKXrnLUxbOv3UOQhWVcH0NaMeKrkhQN3Lllg23IbvH3NZ0zi-N0OFEp0uRe4GmVWWtHMW-sgDF0vcoWQac-jTIip3RTn5xD5iXMF/s1600/Amedeo+Modigliani%252C+Nude+on+a+Blue+Cisjiion%252C1917.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong> <em>Nude on a Blue Cisjiion</em>, 1917, </strong><strong>Amedeo Modigliani,</strong></span></td></tr>
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When we think of the so-called "art market," we usually think in terms of a single buyer, perhaps haggling over a price with a single individual artists. To some extent, that image is still viable, especially at the "low end" with local artists. However, as the artist becomes more famous and the prices for his or her work rises there is always a third person involved--an intermediary between the between the two whose job it is to line up buyers, advertise, set prices, and thus free the artist from the onerous job of <em>selling. </em>(Artists are usually terrible salesmen.) Usually this person is referred to as an agent, many of whom own a storefront gallery and promote the most highly salable artists. Many artists search all their lives for a reputable agent only to find themselves barely tolerating their presence a few years later. And for their efforts, agents take as much as 50% of the sales price. That sounds like an exorbitant fee but given their time, expenses, and risk, many agents barely break even.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Hdzustji_M5jUAhtMTU0p2KbfYRFPC7bvU9Tz8aiR_drzhDDan36KhaZpQjd5sSALvW0_RRGCfPMlIUsl8MpJlfH-aDb3DepAw8NRCDgyazeTat5UXUA2Fic3wuhvaoo9n74Eg39XYFI/s1600/Berthe+Weill+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Hdzustji_M5jUAhtMTU0p2KbfYRFPC7bvU9Tz8aiR_drzhDDan36KhaZpQjd5sSALvW0_RRGCfPMlIUsl8MpJlfH-aDb3DepAw8NRCDgyazeTat5UXUA2Fic3wuhvaoo9n74Eg39XYFI/s1600/Berthe+Weill+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">She was the only one to expose unknowns and so many unfamiliar artists, </span></strong><br />
<strong><span style="font-size: small;">it was a very risky commercial bet.</span></strong></td></tr>
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Most such art dealers you've probably never heard of, but among the most successful were Charles Saatchi (Co-founder of Saatchi and Saatchi gallery in London); Ambroise Vollard (credited with providing exposure and emotional support to numerous then-unknown artists, including Paul Cézanne, Aristide Maillol, Pierre-Auguste Renoir, Louis Valtat, Pablo Picasso, André Derain, Georges Rouault, Paul Gauguin and Vincent van Gogh); Betty Parsons (an American artist, art dealer, and collector known for her early promotion of Abstract Expressionism); and Paul Durand-Ruel (a French art dealer who is associated with the Impressionists and the Barbizon School). He was one of the first modern art dealers. As important as all these, and predating most of them, was an eccentric, relatively unsung Paris art dealer from 1901 to 1939, Berthe Weill.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgJ4CByVDgQn1h2Ms5W2LQ74Ti30b6Dv_N3Edm1OWBLCsXTOxQZxqI9O8Wp8u3c4fLc1IELcFdKDgAmR-HWEkvPZLOkPDw_RlBD7WPEW7ZtBOGQZEMc5o-soe_4Pns3sZuH8aODujD461M/s1600/Le+Moulin+de+la+Galette%252C+1900%252C++Pablo+Picasso.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="415" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgJ4CByVDgQn1h2Ms5W2LQ74Ti30b6Dv_N3Edm1OWBLCsXTOxQZxqI9O8Wp8u3c4fLc1IELcFdKDgAmR-HWEkvPZLOkPDw_RlBD7WPEW7ZtBOGQZEMc5o-soe_4Pns3sZuH8aODujD461M/s1600/Le+Moulin+de+la+Galette%252C+1900%252C++Pablo+Picasso.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Le Moulin de la Galette,</em> 1900, Pablo Picasso</strong></span></td></tr>
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Weill bought, exhibited, and sold Pablo Picasso’s work before he ever moved to Paris or painted any of the works for which he’s now considered a modernist legend. “This homely Jewish spinster with spectacles thick as goldfish bowls,” as Picasso biographer John Richardson described her, exhibited the artist many times, including in a 1902 show featuring 30 early works. It was then that she sold his <em>Moulin de la Galette </em>(above), now in the Guggenheim Museum collection, for 250 francs to collector and newspaper publisher Arthur Huc. Weill exhibited many future modern art titans when no one else would, and she did so for more than 400 then-emerging artists—including André Derain, Georges Braque, Aristide Maillol, Kees van Dongen, Maurice de Vlaminck, and Suzanne Valadon and Maurice Utrillo (coincidentally mother and son). She consistently identified stars on the rise and was the first to show Georges Rouault and Raoul Dufy. She was the only dealer to give Diego Rivera a solo exhibition during the Mexican muralist’s roughly decade-long stay in Paris. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0Gi8vdYt3eke0rd6hzxtE24LdgqdXIrek3JDm6X4BzpGKupHSL8gLFAr82iaWn0ioHupDRNraQ_8xkXyqU_K1PvXX-YVzUF7adtKriKle8h3Xtpzuk0DzUwp22sUpnsADVg3DHKYUmUY/s1600/25th+anniversary+of+Galerie+Berthe+Weill%252C+1926.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="389" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0Gi8vdYt3eke0rd6hzxtE24LdgqdXIrek3JDm6X4BzpGKupHSL8gLFAr82iaWn0ioHupDRNraQ_8xkXyqU_K1PvXX-YVzUF7adtKriKle8h3Xtpzuk0DzUwp22sUpnsADVg3DHKYUmUY/s1600/25th+anniversary+of+Galerie+Berthe+Weill%252C+1926.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">25th anniversary of Galerie Berthe Weill, 1926</span></td></tr>
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She was the first dealer for Dadaist Francis Picabia and Orphist Robert Delaunay. Midway through her 40-year career, she began devoting around half of her exhibitions to female artists including Emilie Charmy, Hermine David, Marie Laurencin, Jacqueline Marval, and Valentine Prax. Amadeo Modigliani work at the time included <em>Nude on a Blue Cushion </em>(top)from 1917. The list of artists Weill championed goes extraordinarily on, full of hundreds of names—some blue-chip, some forgotten. Between 1901, when she opened Galerie Berthe Weill, and 1941, when she shuttered the space due to rising anti-Semitism and the onset of World War II, she hosted countless shows. Her risk-taking was admirable, but it didn’t always pay off. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRCEoOWWhoDzxv7PgEknZva0a2gg0_WSznMKmhHgxkBlIQjQPvfnonQQisPdk_qbOLNDbeR40JOTixiPsl8ZuYRwe1Sfr_f00HJPI2i7VcIkbb5v0NLMDNkN0w9Nt-kdinC8wbxyqh1kvZ/s1600/exhibition+poster+for++Pan%2521+Dans+L%25E2%2580%2599oeil.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="693" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRCEoOWWhoDzxv7PgEknZva0a2gg0_WSznMKmhHgxkBlIQjQPvfnonQQisPdk_qbOLNDbeR40JOTixiPsl8ZuYRwe1Sfr_f00HJPI2i7VcIkbb5v0NLMDNkN0w9Nt-kdinC8wbxyqh1kvZ/s320/exhibition+poster+for++Pan%2521+Dans+L%25E2%2580%2599oeil.jpg" width="253" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Exhibition poster for <em>Pan! Dans L’oeil</em></strong></span></td></tr>
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There wasn’t a thriving market for artists who were just starting out or for women artists. And the painters Weill did manage to sell weren’t reliable sources of income, either. As her artists grew higher in profile thanks to shows with Weill, they left her shop for established dealers like Am-broise Vollard, Paul Rosenberg, and Dan-iel-Henry Kahnweiler. These gallery own-ers could offer stipends and the security of an exclusive contract —expenses Weill simply couldn’t afford without resorting to showing recognized, safe artists (some-thing the prickly and opinionated dealer was against). Weill was a discoverer, the first access point to the market for artists who were then spotted by galleries of larger sizes, which offer better prices. Weill was constantly replenishing her ros-ter as successful artists moved to more estab-lished galleries, a pattern still play-ing out for scrappy and visionary dealers today.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1LMsslYf3E9dWDs_Yntn70nbWRaEoJnLADBgHbHrH77rLCsLNNo_8O3vLoHF3-z60lnWsN2FIdZsPf4SbGfJmwFDkV2qfBWxhXXxzNKwmCFo6Yl90VpkeaEvINN05_jyrfv936aI6N3mE/s1600/picass.gif" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="349" data-original-width="235" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1LMsslYf3E9dWDs_Yntn70nbWRaEoJnLADBgHbHrH77rLCsLNNo_8O3vLoHF3-z60lnWsN2FIdZsPf4SbGfJmwFDkV2qfBWxhXXxzNKwmCFo6Yl90VpkeaEvINN05_jyrfv936aI6N3mE/s320/picass.gif" width="215" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Berthe Weill as seen by Picasso.</strong></span></td></tr>
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Even after the artists Weill championed moved on from her gallery, they still revered her. “They were however all very grateful to her in later years,” Gertrude Stein wrote in The <em>Auto-biography of Alice B. Toklas,</em> “Practically every-body who later became famous sold their first little picture to her.” Weill’s art-historical cre-dentials were impressive, but her fame never reached the level of some of her fellow Parisian dealers. She was instrumental in giving artists their starts, but the tables eventually turned so that she’s rarely more than an aside in the biographies of artists like Picasso, Matisse, and Modigliani. How has she slipped through art history? The answer lies in the fact that she was she was a feminist Jew, poor, ugly, and short. People don’t want to know about her because she wasn’t a big success. She never made a lot of money.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwE7J_V-qyqQpS96F75V9IQyttyuc11QedTdbXxKzGRe3z9kgJaREaWcrWvBu-YE6jFRyo6-Mn6H644BrAhTLozpx6Mx_Aq_N9jeTcbiT0Ri7KjoAZvRc9x7LUAzhwCgoKywn-AR5iB6CF/s1600/mahelin.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="341" data-original-width="236" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwE7J_V-qyqQpS96F75V9IQyttyuc11QedTdbXxKzGRe3z9kgJaREaWcrWvBu-YE6jFRyo6-Mn6H644BrAhTLozpx6Mx_Aq_N9jeTcbiT0Ri7KjoAZvRc9x7LUAzhwCgoKywn-AR5iB6CF/s320/mahelin.jpg" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><i>Berthe Weill,</i>1926, Édouard Goerg</strong></span></td></tr>
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-47018675351204072412020-04-06T00:01:00.000-04:002020-04-06T00:01:09.713-04:001860s Art<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/AVvXsEgh1xNXICUUKuxr7EpY64A5r5PLw0T3Fbx_i9GMBwjCKuWbHBq1yrfZLQ0BMpktwBQ5jrHJ8O6-WsPzMJsZ4Rr5Y1TnQcmn0iWT0ZoLVWApWq8nijrge-Lsqnzy69b93Tl9HezVjwfbTt97/s1600/Frederic+Edwin+Church%252C+Twilight+in+the+Wilderness%252C+1860.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="345" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh1xNXICUUKuxr7EpY64A5r5PLw0T3Fbx_i9GMBwjCKuWbHBq1yrfZLQ0BMpktwBQ5jrHJ8O6-WsPzMJsZ4Rr5Y1TnQcmn0iWT0ZoLVWApWq8nijrge-Lsqnzy69b93Tl9HezVjwfbTt97/s1600/Frederic+Edwin+Church%252C+Twilight+in+the+Wilderness%252C+1860.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Twilight in the Wilderness,</em> 1860, Frederic Edwin Church,</strong></span> </td></tr>
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As we wander through the archives of art history we find few sudden, revolutionary changes. Usually they are caused by major wars--WWI and WWII, for instances. The same holds true for American art during the 19th century with the upheavals in society--both north and south--resulting from our Civil War. Before the war, American art was fairly provincial, isolated from the greater art world of Europe and other environs. In many cases such art could almost be considered folk art. After the war, and for the remaining thirty years of the century American art lagged somewhat behind that of Europe, but never very <em>far</em> behind. The art itself usually didn't migrate to this country but the artists did migrate to Europe. Furthermore, they returned having absorbed the best their European counterparts had to offer. Among those making the journey to Europe to study art were James McNeill Whistler, Grant Wood, John Singer Sargent, Mary Cassatt, Thomas Eakins, William Merritt Chase, and numerous others of lesser stature. However one of the greatest mid-century artists in America did <em>not</em> learn his craft in Europe--Frederic Edwin Church (above).</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd4ah8i17UdHFBrlrDzEFgGz_7IQCHXQlRbA-hUNHSTTuUaPmU0CuSxb5rMbAQL3AthVYkfx5YwGbv3B-ef04uK435YOPMfQYj68qcMQ-oFUDZUTwvwANiLAYw_LxJIozScyv98o-8f7Zu/s1600/Albert+Bierstadt+-+View+of+Chimney+Rock%252C+Ogalillah+Sioux+Village.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="373" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd4ah8i17UdHFBrlrDzEFgGz_7IQCHXQlRbA-hUNHSTTuUaPmU0CuSxb5rMbAQL3AthVYkfx5YwGbv3B-ef04uK435YOPMfQYj68qcMQ-oFUDZUTwvwANiLAYw_LxJIozScyv98o-8f7Zu/s1600/Albert+Bierstadt+-+View+of+Chimney+Rock%252C+Ogalillah+Sioux+Village.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>View of Chimney Rock, Ogalillah Sioux Village</em>, <strong>1860, Albert Bierstadt</strong></span></strong></td></tr>
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Church was a New Englander, a graduate of the all-American Hudson River School, having studied under Thomas Cole. His <em>Twilight in the Wilderness </em>(top),<strong> </strong>is considered the best purely American work of art of the century. It joins his other masterpieces such as <em>Hear of the Andes</em> (1859), Niagara (1857), <em>Cotopaxi</em>, (1862), <em>Tropical Scenery</em> (1873) each of which he debut in one-painting exhibitions, garnering widespread critical acclaim and fame. The only other American artist of the 1860s of comparable importance is Albert Bierstadt as seen in his <em>View of Chimney Rock, Ogalillah Sioux Village</em>, 1860 (above). Though born in Prussia, Bierstadt came to this country at the age of one. He too, was a graduate of the Hudson River School, though unlike Church, he spent several years studying in Europe (Dusseldorf, Germany).</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwa7JrgJha9ZCtJhCN8yqz_5TjDjsIc0eYaV12CgsOW4ZzERwuVcQAZ9EmICxuQZ6pPbEsNyVcguz_GyBlpS714Ejqu72h_ukpEfrPonXPn85KyZKtMxvsCIVWXYKrz2W20S07PB6WHzUi/s1600/Interiors_of_the_New_Hermitage%252C._1860%252C+Edward+Petrovich+Hau1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="468" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwa7JrgJha9ZCtJhCN8yqz_5TjDjsIc0eYaV12CgsOW4ZzERwuVcQAZ9EmICxuQZ6pPbEsNyVcguz_GyBlpS714Ejqu72h_ukpEfrPonXPn85KyZKtMxvsCIVWXYKrz2W20S07PB6WHzUi/s1600/Interiors_of_the_New_Hermitage%252C._1860%252C+Edward+Petrovich+Hau1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Interiors of the New Hermitage</em> (1860), Edward Petrovich</span></strong></td></tr>
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Meanwhile, in Europe, the painting <em>Interiors of the New Hermitage</em> (above) from 1860, by Edward Petrovich Hau1 conveys some idea of the European developments in the art of this period. It was during this period that three major French artists were starting to make names for themselves, Claude Monet (below) Edouard Manet, and Auguste Dominique Ingres. Monet's major work from this period is his expansive Le Dejeuner sur l'herbe, 1866, a group portrait of Gustave Courbet, Frédéric Bazille and Camille Doncieux, first wife of the artist (below).</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKWI-uzM-AZXkPuqsHNIicJvb-L-PM7KokytZVJHJUFDWiF2GaCEP77MXr9dRqCFLLG6y-Pgl2KIi3xIbWP7yeUYeFy53WfV_ZAvNlG4DAnKQSWsLL6NDPl9eXpUa8oitSUtX7bm7U_KaY/s1600/dejeunersurlherbe%252C+1866%252C+Claude+Monet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="242" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKWI-uzM-AZXkPuqsHNIicJvb-L-PM7KokytZVJHJUFDWiF2GaCEP77MXr9dRqCFLLG6y-Pgl2KIi3xIbWP7yeUYeFy53WfV_ZAvNlG4DAnKQSWsLL6NDPl9eXpUa8oitSUtX7bm7U_KaY/s1600/dejeunersurlherbe%252C+1866%252C+Claude+Monet.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Dejeuner sur l'herbe,</em> 1866, Claude Monet</span></strong></td></tr>
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Still more of a revolutionary figure in French art was works from this era by Edouard Manet such as his scandalous <em>Olympia </em>from 1863 and his <em>The Spanish Singer</em> from 1860 (below). Both works brought him into direct conflict with the high-minded aesthetics of the French Academy. In fact the list of Manet masterpieces from the 1860s seems endless--<em>Boy Carrying a Sword</em>, (1861<em>), The Surprised Nymph</em>, (1861), <em>Mlle. Victorine in the Costume of a Matador</em> (1862), <em>The Dead Christ with Angels</em> (1864), <em>The Battle of the Kearsarge and the Alabama</em> (1864), <em>The Dead Matador</em> (1864–65), <em>Young Flautist, or The Fifer</em> (1766), and as many as a dozen others.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiCF__Joh1SqC3Z1gcDUkvOkMDWr6XFSqj_HdezSKDDsYdlpRzHv1gLq3RdcUeDAxs6A8WnLfDIOHTd0JrJ05ou1VNnCUOfMMYgjLkz-Vc7VsRQqUTwl5OkauYYvrHK9gh5Iv9kqCpN7mH/s1600/Manet+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1100" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiCF__Joh1SqC3Z1gcDUkvOkMDWr6XFSqj_HdezSKDDsYdlpRzHv1gLq3RdcUeDAxs6A8WnLfDIOHTd0JrJ05ou1VNnCUOfMMYgjLkz-Vc7VsRQqUTwl5OkauYYvrHK9gh5Iv9kqCpN7mH/s1600/Manet+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Olympia</em> (1863, upper image,) and <em>The Spanish Singer </em>(1860, lower image)</strong></span></td></tr>
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And representing the established academicism with whom both Monet and Manet did battle from time to time we find Jean-Auguste-Dominique Ingres, represented here by his <em>The Turkish Bath</em> (below, 1862-63). After studying and working in Rome for several decades, with little or no acclaim, Ingres (pronounced Ang) returned to Paris in 1833 for a few years before returning once more to Rome to become the Director of the French Academy there. <em>The Turkish Bath</em> was one of his final paintings before his death in 1867. <em>The Turkish Bath</em> he painted at the ripe old age of 83.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSOLe2tnw9FjKRQqji1nSNK9jzqHQPKDmNdJzNMPFZCuOAhTku7Q3jSBoj7qchr3zll_vQ231BYoIPvKazNwAsA2Jnnt9y90s3v5iMk5eYKlSUyE7NdnOjYvECtNF2z85PXvKWjBDvilsS/s1600/Le_Bain_Turc%252C_by_Jean_Auguste_Dominique_Ingres%252C_from_C2RMF_retouched.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="548" data-original-width="550" height="637" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSOLe2tnw9FjKRQqji1nSNK9jzqHQPKDmNdJzNMPFZCuOAhTku7Q3jSBoj7qchr3zll_vQ231BYoIPvKazNwAsA2Jnnt9y90s3v5iMk5eYKlSUyE7NdnOjYvECtNF2z85PXvKWjBDvilsS/s640/Le_Bain_Turc%252C_by_Jean_Auguste_Dominique_Ingres%252C_from_C2RMF_retouched.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>The Turkish Bath,</em> 1862-63, Jean-Auguste-Dominique Ingres.</strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYUk1Ah5wfuf88RpL-GWZLKxCQzI5hAWHJbGHhub9FWMc_8QAOeNUzfOE8PIKLNy_emMrqfdGKAMIXw5uWU42B7AJTtdd4ibojL-HN6rQzJf7Smxn3mK5PMD6h1MLN6_dJW5nN-_TDQ-uu/s1600/Lincoln+photograph.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="576" data-original-width="236" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYUk1Ah5wfuf88RpL-GWZLKxCQzI5hAWHJbGHhub9FWMc_8QAOeNUzfOE8PIKLNy_emMrqfdGKAMIXw5uWU42B7AJTtdd4ibojL-HN6rQzJf7Smxn3mK5PMD6h1MLN6_dJW5nN-_TDQ-uu/s320/Lincoln+photograph.jpg" width="131" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>An early Lincoln photo.</strong></span></td></tr>
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The other art field making great strides during the 1860s and particularly during the war was that of photography. Matthew Brady was one of the earliest photographers in American history, best known for his scenes of the Civil War. He studied under inventor Samuel F. B. Morse, who pioneered the daguerreotype technique in America. Brady opened his own studio in New York in 1844, and photographed Andrew Jackson, John Quincy Adams, and Abraham Lincoln, among other public figures. When the Civil War started, his use of a mobile studio and darkroom enabled vivid battlefield photographs that brought home the reality of war to the public. Thousands of war scenes were captured, as well as portraits of generals and politicians on both sides of the conflict, though most of these were taken by his assistants, rather than by Brady himself. His efforts to document the American Civil War on a grand scale by bringing his photographic studio onto the battlefields earned Brady his place in history. Despite the dangers, financial risk, and discouragement by his friends. His first popular photographs of the conflict were at the First Battle of Bull Run, in which he got so close to the action that he barely avoided capture. While most of the time the battle had ceased before pictures were taken, Brady came under direct fire at the First Battle of Bull Run, Petersburg, and Fredericksburg. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_drTCGxrcJQ1qirBYPdbBZDruq0V4UmKkbJ72nTdyBRjL1ULg_OT6ZuSJ3P4cRv9NzdhRhXwoLB4AuMH5cY7SZ5nM4XiRNbVOFNUTM_S60jZJDWUI1XlIIsvFCtP2cFEJrXFRww3HfYTz/s1600/Victorian-Dickenscostume-vintagedancer-599x800.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="532" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_drTCGxrcJQ1qirBYPdbBZDruq0V4UmKkbJ72nTdyBRjL1ULg_OT6ZuSJ3P4cRv9NzdhRhXwoLB4AuMH5cY7SZ5nM4XiRNbVOFNUTM_S60jZJDWUI1XlIIsvFCtP2cFEJrXFRww3HfYTz/s1600/Victorian-Dickenscostume-vintagedancer-599x800.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>With the advent of the hoop skirt and miles upon miles of silk, linen, taffeta, and crinoline.</strong></span></td></tr>
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On the home front the war had only a modest effect on high fashion of the day in the North. In the South, however, as the war wore on, imported fabric became more and more expensive and then impossible to obtain. Gingham, calico, and even denim became more and more the norm. Poplin and flannel were popular on both sides of the battle lines. Hats were a rage then. These headdresses were big and heavily decorated with feathers of ostriches, pheasants, and bustards. These hats were sometimes made of straw, crinoline, which was often made out of horse hair. The hats were then added with bows or fur with respect to the weather--a bow in summer, and fur for the winter. For young children, the hats were kept very simple with small bows and decorated with either daisies or other small flowers. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWG-pg7eXHxxDtQTjpdty6uD8t8KVNSLP0Xyt814HTuxCvWzzBDB5xg6iSJhwBae7QaKevldOljR1vSmhxGKK2SMnQtIQWPvehzGcAmHaD2IvlLM4FKPHOD_laDfqPW08FMDJNllOfRV1O/s1600/Ladies+apparel+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWG-pg7eXHxxDtQTjpdty6uD8t8KVNSLP0Xyt814HTuxCvWzzBDB5xg6iSJhwBae7QaKevldOljR1vSmhxGKK2SMnQtIQWPvehzGcAmHaD2IvlLM4FKPHOD_laDfqPW08FMDJNllOfRV1O/s1600/Ladies+apparel+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Ladies' fashions for all ages.</strong></span></td></tr>
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Men during this time generally wore dark-colored three-piece suits, with a collar, vest, and an overcoat. The younger generation of men went for more colors while the older ones had a more conservative approach to dressing. The men had separate outfits for different occasions, just like the women. They had different outfits for walking, smoking, and a more formal suit for formal occasions. The men wore bell hats with the brims curved on the sides. They were made of different colors and materials to go with the outfit they were wearing.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQD5pZH6UKYsfPQzBPzIcuZayenatoZGVn1Re6-fx6yzEQ4KCcin8AL2RThp6u8QCsTbQ6Uy8GmKteLzDbeSl5SVW5zl0LkxapXKdc1yBebcOg5OCFopl5I9KnnIs_RJrqImk5txiwQgDv/s1600/Edited+men%2527s+fashions.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="338" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQD5pZH6UKYsfPQzBPzIcuZayenatoZGVn1Re6-fx6yzEQ4KCcin8AL2RThp6u8QCsTbQ6Uy8GmKteLzDbeSl5SVW5zl0LkxapXKdc1yBebcOg5OCFopl5I9KnnIs_RJrqImk5txiwQgDv/s1600/Edited+men%2527s+fashions.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Men's apparel of the 1860s--neat, trim, and slightly uncomfortable looking.</span></strong><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4XQYue3GlhkbBaX-USeLyi0Iv6p3MNM1SsIoa0feJfHNxCvvQC9vagL76hyy2qDiORUZrBFYPQN38bvdwO5IvWcZXiB7H7iBhPNbIsDJ1YZ_z65Xgxy11yREi84R3uo0CrHyfN2O0HfvJ/s1600/Sit_in_crinoline1858.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4XQYue3GlhkbBaX-USeLyi0Iv6p3MNM1SsIoa0feJfHNxCvvQC9vagL76hyy2qDiORUZrBFYPQN38bvdwO5IvWcZXiB7H7iBhPNbIsDJ1YZ_z65Xgxy11yREi84R3uo0CrHyfN2O0HfvJ/s1600/Sit_in_crinoline1858.jpg" /></a></div>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-85089059804451172392020-03-30T00:01:00.000-04:002020-03-30T00:01:08.501-04:00Leonardo's Anatomy<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp66kwmpLFDGHuASUqjBp7esNMEpJDI0jwc44A7TyN64wHkNuflCdrjmY2xCq97mWBVtsv-hUnvXcJ6A7AnElLAWNjx6DGW1trJuxcZEIs9BwhhEWe5Sb4vG648sArSgaLs60jMsWCCs3D/s1600/Leonardo-da-Vinci-Vitruvian+man.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="204" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp66kwmpLFDGHuASUqjBp7esNMEpJDI0jwc44A7TyN64wHkNuflCdrjmY2xCq97mWBVtsv-hUnvXcJ6A7AnElLAWNjx6DGW1trJuxcZEIs9BwhhEWe5Sb4vG648sArSgaLs60jMsWCCs3D/s1600/Leonardo-da-Vinci-Vitruvian+man.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>Vitruvian Man</i> as seen by Leonardo da Vinci</b></span></td></tr>
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There's probably no serious artist today who has not seen and/or heard of the <i>Vitruvian Man</i>. Most such artists would tell you that it was a drawing contrived by Leonardo da Vinci. It would, no doubt, surprise them to know that they're only partially correct. There's more to the story than that. As the name would suggest, <i>Vitruvian Man</i> was the brain-child of a Marcus Vitruvius Pollio, (commonly known as Vitruvius). He was a Roman author, architect, civil engineer, and military engineer during the 1st century BC, known for his multi-volume work titled <i>De Architecture.</i> His discussion of perfect proportion in architecture and the human body led to the famous Renaissance drawing by Leonardo da Vinci of <i>Vitruvian Man.</i> Vitruvius was also the one who, in 40 BCE, invented the idea that all buildings should have three attributes: firmitas, utilitas, and venustas, meaning: strength, utility, and beauty. These principles were later adopted by the Romans. The concept of the <i>Vitruvian Man</i> emerged through his belief that the principles governing the representation of the human form also applied to temple architecture in terms of weight, symmetry and proportion. It was he, rather than Leonardo, who first gave birth to the concept of the <i>Vitruvian Man </i>(above).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU8Eo7K83JMac7ZbaBEpGOfc2xRg1q7o7G89p6hpoS4LqjNFOVoRUwt9MwuLwOTGSRb9jnXwYMiMWgnyKln02gXlHc5QuCtUev-pzxQEBQtaPm33X-MhqK9wQ9KhiH1CcJwkzFyeYeS79J/s1600/Skull%252C+Leonardo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="983" data-original-width="832" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU8Eo7K83JMac7ZbaBEpGOfc2xRg1q7o7G89p6hpoS4LqjNFOVoRUwt9MwuLwOTGSRb9jnXwYMiMWgnyKln02gXlHc5QuCtUev-pzxQEBQtaPm33X-MhqK9wQ9KhiH1CcJwkzFyeYeS79J/s640/Skull%252C+Leonardo.jpg" width="541" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Leonardo's <i>Human Skull,</i> 1849</b></span></td></tr>
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One might therefore think Leonardo "stole" his <i>Vitruvian Man</i> from the ancient Roman intellect. In all fairness, Leonardo gave credit where it was due, titling his work: <i>Le Proporzioni del Corpo Umano Secondo Vitruvio</i> (<i>The Proportions of the Human Body According to Vitruvius</i>). Thus, more accurately, Leonardo was merely "influenced" by Vitruvius. Leonardo began his studies of the human anatomy with drawings of the human skull (above) in 1489. He borrowed three-dimensional drawing techniques from architecture that had never been seen applied to anatomical studies before. A new technical vocabulary for anatomical drawings was created and da Vinci's sketches in plan, section, elevation, and perspective marked a massive progression in how the body was documented. If getting your gear together and heading out for an evening of life drawing sounds like more trouble than it's worth, consider what Leonardo endured for the sake of educating his own singular vision. Rumors of his resorting to grave robbery persist to this day, but the truth is that he was allowed to dissect and study corpses at the Hospital of Santa Maria Nuova in Florence. Criticized for his undertaking, Leonardo passionately defended the purpose of his anatomical drawings.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizVc8u5wjvs17DcivNKyPn0CHlau6w2X7Ha17qq6yVk8zPvdVRdEWJPzB75039S5vS0Vj3HeeZU4UlOvRKvkyHv8nI6Qjk6r3WjDZHyjBO9H5otIvOJOupDcTzL6ivyFgHcH3O31LmzKas/s1600/P1140281-001.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizVc8u5wjvs17DcivNKyPn0CHlau6w2X7Ha17qq6yVk8zPvdVRdEWJPzB75039S5vS0Vj3HeeZU4UlOvRKvkyHv8nI6Qjk6r3WjDZHyjBO9H5otIvOJOupDcTzL6ivyFgHcH3O31LmzKas/s1600/P1140281-001.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>An early anatomical drawing by Leonardo</b></span></td></tr>
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Medical students, barber, surge-ons, anatomists and doctors who wished to study the human body in depth in that era still had a large stigma attached to them. As such, it was not easy for people like Leonardo, Vesalius, Malpighi, and others to get access to or even <i>look</i> at human anatomy. Consequently, many of the ana-tomical errors that Galen, an earlier anatomist made were still being taught to doctors and anatomists right into the 17th cen-tury. Quite often, they had to content themselves with working from animal models and deducing human forms based on those carcasses. in the early sketches, Leonardo was very much influ-enced by the accepted wisdom about anatomy--showing, for ins-tance, a man's spine connecting to his penis, and the woman's spine going into the womb. Then in later works show-ing much more accurate pictures, although in some cases with inaccuracies based on extrapolation from animal dissections (animals presumably being easier to get hold of than people).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSIMoqxN7xYL56NoatrQx55nX3um6lSx9LnGrD6eVg4714U9CObDTkYE0yFc84E371WAxKUygxzJuDlcBDfVKbnfnVpOSQoXzU0llOGpFKv1o2xq_-4abmI8G_pERx_aXNhMfuoaEaMGTL/s1600/Limbs+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSIMoqxN7xYL56NoatrQx55nX3um6lSx9LnGrD6eVg4714U9CObDTkYE0yFc84E371WAxKUygxzJuDlcBDfVKbnfnVpOSQoXzU0llOGpFKv1o2xq_-4abmI8G_pERx_aXNhMfuoaEaMGTL/s1600/Limbs+composite.jpg" /></a></td></tr>
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<b><span style="font-size: small;">Studies of human musculature interested Leonardo </span></b></div>
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<b><span style="font-size: small;">as an aid in the drawing of nude figures.</span></b></div>
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<b></b>Leonardo da Vinci is well known for his varied interests, experments, and his endless curiosity. However, his anatomical studies are unlike his famous paintings, of which there is direct physical evidence, and his engineering plans, both architectural and mechanical, few of which historians believe were ever executed. The anatomical studies in his notebooks are particularly interesting because they represent explorations that he actually undertook but of which there is no remaining direct evidence.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWsLMgMKItig0cIfSzgiCDVLj1bVGAmgL5fRewEGGPW1IKkbz8SzD7qN5bAaLx2Rvk891saPxoJDDLcTiUllhkauW2s3NAjH7aDMwQBH9nxYuq2bfX9-MVZClbk5w9vfmO9kanxrgSTegv/s1600/leoheart4big.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="805" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWsLMgMKItig0cIfSzgiCDVLj1bVGAmgL5fRewEGGPW1IKkbz8SzD7qN5bAaLx2Rvk891saPxoJDDLcTiUllhkauW2s3NAjH7aDMwQBH9nxYuq2bfX9-MVZClbk5w9vfmO9kanxrgSTegv/s1600/leoheart4big.jpg" /></a></td></tr>
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<b><span style="font-size: small;">Leonardo's drawing of the human heart. </span></b></div>
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<b><span style="font-size: small;">Chalk this up to pure curiosity rather than a drawing aid.</span></b></div>
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There is an ongoing debate as to what extent Leonardo’s anatomical studies were meant to aid his painting. While it seems likely that many of his mycological studies had direct relationships with his depictions of humans and animals, it is difficult to imagine how learning about the internal organs (above) would have helped his art. Thus, studies such as the one he did of a pig’s heart are fascinating because they are examples of Leonardo’s thirst for knowledge simply for knowledge’s sake. Leonardo’s entries in his notebooks regarding his dissection of the human heart are themselves worth studying for two reasons. First, Leonardo pioneered the technique of drawing anatomical diagrams and second, there is a clear difference between what one sees during a dissection and what Leonardo sketched. Potential reasons for this dichotomy include simplification for clearer explanations of the dissection, insufficient drawing techniques to depict inner body parts accurately, and plain guesswork as to what was actually going on inside the heart.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDFAEv8LX8V2tQtE-DfWfl1PmvX2hO2wiKTeq1svtrIfSMf9KBuiXXrGrM4k5xWfNk-rMkTtXOXCpXRjuDgmpHfh3cSc83NznJiKKB5ijG59KtVzJZj_8fXKqrycPodBFaVrcX0jZoT2w/s1600/Three+hearts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="274" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDFAEv8LX8V2tQtE-DfWfl1PmvX2hO2wiKTeq1svtrIfSMf9KBuiXXrGrM4k5xWfNk-rMkTtXOXCpXRjuDgmpHfh3cSc83NznJiKKB5ijG59KtVzJZj_8fXKqrycPodBFaVrcX0jZoT2w/s1600/Three+hearts.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Three hearts--Leonardo's drawing is amazingly accurate.</span></b></td></tr>
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<b></b><b></b>Anatomist now days use technologies like MRI scanners (Magnetic Resonance Scanners) to unlock the mysteries of the human body. Leonardo da Vinci, was equipped with nothing but a scalpel, pen, and paper. Even so, he was able to discover and record information that rivaled that of the MRI scanner. Leonardo da Vinci was born in 1452. He is considered by many the greatest painter of all time. However, he is also known as one of the greatest anatomists of his time. When he died in 1519, he left behind thousands of pages of notes and drawings that lay undiscovered for hundreds of years. These notes include hundreds of surprisingly accurate anatomical sketches.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirpG70Wyd2QqKEKhK99wSqGyn45IzfpWBvs86_j1tB5wyk5h0ZKhLz0A5GWjAAPz-TQnqcj7G-mwYNnElbcwe5DSTaDZyAIdKt1O35AVariqziHgjrfsj_V3Jt3AYL_qtscvUODcDpI3zX/s1600/Antonmy%252C+Leonardo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="815" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirpG70Wyd2QqKEKhK99wSqGyn45IzfpWBvs86_j1tB5wyk5h0ZKhLz0A5GWjAAPz-TQnqcj7G-mwYNnElbcwe5DSTaDZyAIdKt1O35AVariqziHgjrfsj_V3Jt3AYL_qtscvUODcDpI3zX/s1600/Antonmy%252C+Leonardo.jpg" /></a></td></tr>
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<b><span style="font-size: small;">Leonardo experimented drawing the same muscles in</span></b></div>
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<b><span style="font-size: small;">different poses and from varying angles.</span></b></div>
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<b></b>Leonardo da Vinci first began his sketches in Milan, Italy during the year 1482, already a full fledged artist. He was very curious about the human body; he wanted to get inside and see how it worked. To accomplish this, da Vinci would acquire bodies from the church and dissect them. He analyzed the different muscle groups and tendons, trying to deduce what made what move and what worked where. He recorded these observations in his notebook. His sketches were done very meticulously and, to modern anatomists surprise, immensely accurate. sketches were done mostly with a special ink quill and gave much information that would not be discovered again until the 20th century, 500 years later. The sketches were done mostly with a special ink quill and gave much information that would not be discovered again until the 20th century, 500 years later.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8rY2vsmqKqRTngDVkCrWhImfMcY34avRImKiWyzCcreQY2cE9kxxVUw4cWlyvsSsxfhuGkWJY5AhYuHZTVQDkMa-vSX49gg1JB2TxjKag3BNG86fIyr2Bs8oowcrNVX2wDHaxmeXiqJTy/s1600/IMG_6623+%25282%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="717" data-original-width="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8rY2vsmqKqRTngDVkCrWhImfMcY34avRImKiWyzCcreQY2cE9kxxVUw4cWlyvsSsxfhuGkWJY5AhYuHZTVQDkMa-vSX49gg1JB2TxjKag3BNG86fIyr2Bs8oowcrNVX2wDHaxmeXiqJTy/s1600/IMG_6623+%25282%2529.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>The upper human body under stress.</b></span></td></tr>
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After several years of studying and observing the human body, da Vinci put aside his anatomical studies for a decade while concerning himself with other matters. Matters such as: His famous painting The Last Supper and his work in military engineering. During the year 1504, his enthusiasm for anatomy grew again, and he continued his analysis. It is said, that towards the end of his life, anatomy took up a majority of his time (that and his most famous and mysterious project, The Mona Lisa); his main goal was to publish illustrated papers on the human body. Unfortunately, he was side tracked by other projects and never got the opportunity. Instead, he kept his findings in his notebooks hidden from the world for centuries.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8UXCwXWMtLMRBIIfNL82JY_m9rSPh8tLBA_aBQTNzOCIAOl1SOGpy9ZoXW4DS-xjO6x9aP9P_qj_9nJ-j2JRmVZntv8rjhc56w1tbBt8FYMeDamIKXNroOV26Nx-la7aciI_jDw-myilM/s1600/Unborn+child%252C+edoted.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="941" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8UXCwXWMtLMRBIIfNL82JY_m9rSPh8tLBA_aBQTNzOCIAOl1SOGpy9ZoXW4DS-xjO6x9aP9P_qj_9nJ-j2JRmVZntv8rjhc56w1tbBt8FYMeDamIKXNroOV26Nx-la7aciI_jDw-myilM/s1600/Unborn+child%252C+edoted.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;"><i>The Unborn Child, </i>1504, Leonardo</span></b></td></tr>
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People today are overwhelmed by the amount of information da Vinci was able to unravel about the human body so long ago. In fact, it is consistently debated on what the world would be like today if people understood the significance of his discoveries in the 16th century. The drawings spark the interests of scientists of all fields. The attention to detail and draftsmanship of the observations equal, if not surpass, modern anatomical textbooks. He even took into consideration the posture, drawing the models in ballet like positions to highlight certain parts of the body. He is known today as not only the greatest painter of all time, but also an anatomical genius. Making discoveries in the 16th century that would take the rest of the world 5 centuries longer to discover. Leonardo is sometimes arguably the greatest genius to have ever lived.<br />
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<b><span style="font-size: small;">Leonardo saw the human head in layers.</span></b></div>
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<b><span style="font-size: small;"> Here he depicts the scalp and the </span></b></div>
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<b><span style="font-size: small;">cerebral ventricles</span></b></div>
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-31893396241757912302020-03-23T00:01:00.000-04:002020-03-23T00:01:01.570-04:00Tree House Architecture<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsWLYl_DdBoGrsU2fzMrvLF7uWXtj9CWS3mJyEgMtD3GKsn_piG16EbaiJmuOxfcedJx6mRYx3a4Xz2lniUISmH_qRbDXRqydlespdIwznNRcCF5lJYEOZswiozjmI63bd5-DxlIxZSNGG/s1600/Unique-treehouse-with-a-vertical-design.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="492" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsWLYl_DdBoGrsU2fzMrvLF7uWXtj9CWS3mJyEgMtD3GKsn_piG16EbaiJmuOxfcedJx6mRYx3a4Xz2lniUISmH_qRbDXRqydlespdIwznNRcCF5lJYEOZswiozjmI63bd5-DxlIxZSNGG/s1600/Unique-treehouse-with-a-vertical-design.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Architect Aibek Almassov has taken the concept of the tree house </strong></span><br />
<span style="font-size: small;"><strong>to the extreme by fully enveloping an entire living tree.</strong></span></td></tr>
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A couple months ago I wrote highlighting developments in the area of <a href="http://art-now-and-then.blogspot.com/2020/03/floating-homes.html">floating homes</a> (houseboats) and how science, technology, and postmodern standards for daily living had wrought enormous changes in virtually every aspect associated with living the "good life" on the water. Not surprisingly, the same or similar forces have brought about a like number of changes in the way we view living in our green leafy environment. No more cobbled-together hideaways of castoff lumber and cardboard high up in the branches of some stout oak tree. Our childhood treehouses have gone high tech.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The long climb to the top becomes an educational asset </strong></span><br />
<span style="font-size: small;"><strong>rather than a tiresome trek</strong></span>.</td></tr>
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This stunning architecture concept provides a creative twist on traditional treehouses (top). The imposing tubular glass house is the brainchild of A. Masow Architects, a studio based in Almaty, Kazakhstan. Designed to connect dwellers with nature, the house also simplifies everyday living by removing the unnecessary. At the heart of the structure, a large fir tree reaches to the upper fourth level. The tubular glass façade envelops the tree and the minimalist living spaces. The living room contains seating and a bookshelf while the bedroom provides striking views of the dense forest. With various eco-friendly features integrated throughout, including solar panels as well as systems that collect rainwater, this glass treehouse is meant to be as green as the forest that will become its home. Climbing the stairs (above) in this unusual house could be compared with the stages of spiritual purification, enlightenment and harmonizing with the environment.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Sophisticated living, not <em>in </em>a tree but among them.</strong></span></td></tr>
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Situated among a cluster of large eucalyptus trees in Lorne, a small seaside town near Melbourne, Australia, this modern home is a breath of fresh air. FMD Architects worked to a brief from a family, a couple and their two adult daughters, who wanted a large living and dining space with outdoor entertaining areas. The kitchen features flush cabinetry in a gleaming white finish, and a long window running along the countertop in place of a backsplash, allowing light to stream into the space. The unusual rounded cut-outs in the gray kitchen island echo similar details found in the walls and woodwork throughout the home. In the living room, a minimal wood-burning stove seamlessly blends with the rest of the space, with built-in storage areas for firewood. A wall-mounted TV screen hangs above sleek drawers for additional storage, minimizing clutter and ensuring that not an inch of floor space is wasted.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Jungle retreat,</em> Playa Hermosa, Costa Rica</strong></span></td></tr>
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Nestled within the dense jungle on the Pacific Coast of Costa Rica, this home was created by Olson Kundig, a Seattle-based architectural practice. The property is spread over three levels, each of which offers its own unique view of the forest: the ground floor is level with the forest floor, the middle floor is nestled within the foliage, and the top level soars above the canopy and boasts breathtaking views of the nearby beach. An outdoor deck provides a space to relax and reflect after a day in the surf. The huge beams here are made from cenizaro, a tree native to Costa Rica, which is larger than teak--the wood used throughout the rest of the home but has a similar grain. The owners of this 2,140-square-foot treehouse are surfers and environmental activists, and the architects ensured that their personalities and interests were reflected in their home. Designed as an open-air surfer hut, the home is solar-powered and celebrates sustainable local materials--it’s built almost entirely from teak wood harvested on-site. The home operates passively, exposed entirely to the elements in the temperate Costa Rican climate via a wood shutter system, as seen here in the beautifully minimal dining area. Slatted walls allow daylight and fresh air to enter the house, while also offering privacy for the homeowners. A rainwater collection system further reduces the house’s environmental impact.</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">A treehouse with an ocean view.</span></strong></td></tr>
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Built by architect Ronald Haas, this luxury treehouse in Aptos, California, is over 50 years old. Its owner, Sam Odio, bought it as a retirement home for his parents but until they move in, he rents it out to guests via Airbnb. The treehouse covers 1,200 square feet, and is split over two floors. Its exterior is made from teak and copper, with redwood beams. Inside, the home showcases a mixture of rich woods, with black walnut, mahogany, cedar, rosewood and teak, combined with bamboo floors. Light streams through the floor-to-ceiling windows in this airy living room, which is part of an open-plan space with a kitchen and dining area. It's a stylish spot to take in the breathtaking views, with Mid-century furniture and a colorful floor rug. The sliding doors that lead to this bedroom are inspired by Japanese shoji screens, used to divide rooms. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>An architects own treehouse.</strong></span></td></tr>
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Perched on stilts on the side of a steep hill in a forest of bright green eucalyptus trees, this house created by Bark Architects is ideally located in the seaside town of Noosa on Queensland’s Sunshine Coast. The timber, corrugated tin and glass structure appears to float above the treetops, and boasts sweeping views across the surrounding landscape. In the spacious open-plan kitchen, living room and dining area, a wood-burning stove adds coziness, while classic ‘Side Chairs’ by Harry Bertoia for Knoll surround the dining table. Hot pink seat pads on the chairs and a large artwork above the stove add considered splashes of color to this otherwise minimal space, with its crisp white kitchen cabinets and wood flooring. This room flows seamlessly onto the outdoor deck, making it the perfect spot for entertaining in summer The architects kept the environment in mind when planning the design, choosing raw woods intended to weather with time for most of the 2,690-square-foot building’s exterior. These included spotted gum and recycled messmate woods, both of which come from eucalyptus trees – a nod to the house’s stunning forest surroundings.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>It's hard to tell where the forest ends and the treehouse begins.</strong></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A watery focal point</strong></span></td></tr>
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Architectural practice Atelier Victoria Migliore created this family home (above) in Frehel, Brittany in 2018. With 904-square-feet of floor space, the cozy-yet-contemporary dwelling is a light structure, raised between one and three meters off the ground on stilts. Clad in blackened wood it blends in with the surrounding pine forest. In contrast, the home’s interior is clad mostly in blonde wood, contrasting with the dark exterior. Timber beams are left exposed in the ceiling, while large windows bring the outdoors in. The home’s interior is organized around a tiled water feature, (left) which runs between the living room--complete with a stylish suspended fireplace--and the kitchen and dining area. A deck at the entryway wraps around an existing tree, turning it into a striking natural feature within the house. Amazingly, the home was constructed without felling a single tree on site. The architects carved niches into the building so as not to disturb the growth of the surrounding pines, and used 26 steel piles to make the home hover above the forest floor. Blackened wood clads the bedroom walls, further blurring the boundary between inside and out. Simple furnishings and a neutral color palette allow the view of the forest to take center stage here. This room leads to an outdoor deck, which has two swings attached--providing the perfect spot for full immersion in nature!</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A bamboo vacation house.</strong></span></td></tr>
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Aura House is a vacation home on the Ayung River Gorge in Bali, surrounded by tropical jungle is made entirely from locally sourced Asper bamboo, right down to the furniture, fixtures and fittings. The three-story dwelling features winding staircases and outdoor terraces, offering beautiful views of the lush forest and spectacular sunsets from different heights. The retreat is part of Green Village, a compound of hand-built eco-homes designed by a local architectural and design firm called Ibuku, who create sustainable buildings that also look beautiful. Ibuku bent and twisted Asper bamboo to create the curving walls, partitions and staircases within this stunning space. In the open-plan kitchen and living area, the furniture, kitchen cupboards and pendant light shade are all made from bamboo, too. The material was chosen by Ibuku as it’s fast-growing and sustainable, reducing the environmental impact of Green Village. In the bedroom, huge bamboo beams support the structure on either side. Floor-to-ceiling glass doors allow light to stream into the room. The space opens out onto an outdoor deck with a hammock, so guests can relax in the fresh air and take in the breathtaking views of the tree canopy.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Steel and glass</strong></span></td></tr>
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Brazilian architecture firm Nitsche Arquitetos Associados completed the Iporanga Residence (above) in 2006. Named after its location--Iporanga is an area of dense jungle, approximately 120km east of Sao Paulo. The property was designed as a summer vacation home for a family, but as the rainforest is protected, the owner wanted a house that would take up minimal space on the land. It also needed to be large enough to house five bedrooms. Thoroughly modern in design, the open-plan living and kitchen area features stunning dining tables topped with vivid green marble to mirror the lush jungle scenery outside. Ceiling beams are exposed, lending the space an industrial feel. Glass panels and sliding glass doors on all sides of the room offer the residents 360° views of the rainforest. The top-level bedrooms provide an ideal lookout point from which to take in sweeping views of the surrounding landscape, but also offers privacy via a series of Nylon curtains that can be drawn across the floor-to-ceiling windows. Aluminum sliding doors open the bedrooms onto a common veranda. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Modern living in a dense forest</strong></span></td></tr>
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Set in a secluded area near Mount Whitfield in Cairns, Australia, this single-story contemporary treehouse by MMP Architects is made up of three pavilions connected by roofed outdoor passages, elevated above the slope on which it’s built by a steel support framework. A driveway leads to the dwelling, winding its way through a forest of 131-foot-tall terminalia and quandong trees. This central living area can open out to the tree canopy via a wall of glass doors leading to a balcony. Eclectic patterns on the rug, cushions and wall art enliven the modern, airy space, creating a homely atmosphere. Leading off from the kitchen is this outdoor dining area, built at a slightly lower level and protected from the elements by a large canopy roof. It has no walls, and is open to the forest on all sides, making it ideal for entertaining guests. The space leads to a deck with comfortable seating to relax in. The master bedroom and bathroom boast views of a rock face, which transforms into a stunning waterfall during the rainy season. The homeowners can sleep soundly at night knowing their abode is eco-friendly--water is heated using solar power, while durable materials such as sustainably grown wood and locally sourced stone were used in the building’s construction, reducing the need for future maintenance.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>This one looks nothing like all the others.</strong></span></td></tr>
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South African architecture studio Malan Vorster designed this house for a client who wanted a Cape Town hideaway that resembled a treehouse. Set in the suburb of Constantia, it was deliberately built on a steep slope so that it would sit above the forest’s tree line, offering breathtaking views of the surrounding landscape. Made up of four cylindrical towers raised above the ground on stilts, the property offers 360° views in all directions from large windows. The materials used to build the house--untreated cedar wood and steel beam supports--will naturally weather over time, allowing the structure to blend into the surrounding forest. This open-plan living area and kitchen occupies the first floor of the house. Minimal furnishings in a neutral palette allow the warm cedar walls and floors and the stunning views of the treetops to do the talking. The strong black lines of the wood-burning stove, the side table and the floor lamp echo the industrial steel beams that frame the windows. Enclosed by a glass balustrade, the master bedroom on the second floor was designed to double as a lookout platform, offering stunning vistas of the trees below. The bed frame and bedside table are cleverly built into the wall, creating a minimal, seamless finish. An in-suite bathroom is tucked away in a nook behind the bed.</div>
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The treehouses chosen above have a broad range of sizes and styles. Some are supported by trees, while others simply cohabitate with their jungle or woodland environment. All are environmentally friendly and...unfortunately, all demand the climbing of steps. I'd have to have one with an elevator.</div>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-91483262985519584452020-03-16T00:01:00.000-04:002020-03-16T00:01:00.261-04:00Eagle Art<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/AVvXsEjib5gl5qdaNnEfiFJnH9epvpR4bDDU6m8C7Azl8JJuOEXpuPhtvxh0ThR8E4sded64Z1FGYYKxV8007hkfxrOV2DYtvXefD3zOAP2lTO3rUN-ViqMPeDnx-LXly9mr_tG46Gn900uw7otg/s1600/Bald+Eagle+Painting%252C+Betty+Cummings.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="454" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjib5gl5qdaNnEfiFJnH9epvpR4bDDU6m8C7Azl8JJuOEXpuPhtvxh0ThR8E4sded64Z1FGYYKxV8007hkfxrOV2DYtvXefD3zOAP2lTO3rUN-ViqMPeDnx-LXly9mr_tG46Gn900uw7otg/s1600/Bald+Eagle+Painting%252C+Betty+Cummings.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Bald Eagle,</em> Betty Cummings</strong></span></td></tr>
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A few years ago I wrote on the subject of <a href="https://art-now-and-then.blogspot.com/2015/03/avian-art.html">Avian Art.</a> Birds are among the favorite subjects of many (if not most) wildlife artists. And from what I can see in reviewing such works it would seem that the favorite among favorites is the eagle. The eagle family tree has as many as sixty branches. Most of the 60 species of eagle are from Eurasia and Africa. Only 14 can be found outside this area. Nine reside in Central and South America, and three in Australia. Just two can be found in North America--the golden eagle (below), and most familiar of all, the bald eagle (above). Thus these two eagles have proven to be the most popular with wildlife artists.</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Golden Eagle</em>, Morten E. Solberg</span></strong> </td></tr>
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The golden eagle is one of the best-known birds of prey in the Northern Hemisphere. It is the most widely distributed species of eagle. The golden eagle is a very large, dark brown raptor with broad wings. This species’ wingspan is the fifth largest amongst extant eagle species. The golden eagle ranks as the second heaviest breeding eagle in North America, Europe and Africa but the fourth heaviest in Asia. While many accipitrids are not known for their strong voices, golden eagles have a particular tendency for silence, even while breeding.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Eagles,</em> Lin iang, a Chinese Ming period painting in watercolor.</strong></span></td></tr>
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It's quite likely that the first paintings of eagles were Chinese in origin. Such works no doubt looked much like the Ming dynasty work above. Notice the strong verticality of the composition combined with an exquisite rendering of the feathers. Today, another Chinese artist, Lok Kuang carries on the watercolor legacy (below). Kuang is a Los Angeles-based illustrator from southern China, who graduated from Savannah College of Art and Design. The combination of eastern and western culture allows Lok to create a unique visual language. Lok also creates concept designs for animation films and games; as well as illustrations for newspaper and magazines.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilnjez0jpUNMBamOjWQWHLE5OmQJ4BJrgoKPQInp6G1UpWvZNfd9U2Pgxfu2UVrLrh9j-jsEXI1Va7S8EjgQ2lovEg-kJzJS0tIy7JPcwjqVjEwoXwEjQ1oxLH5CMZCIKYsSd4cPzf22a9/s1600/Bald+Eagle+landing%252C+Lok+Kuang++.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilnjez0jpUNMBamOjWQWHLE5OmQJ4BJrgoKPQInp6G1UpWvZNfd9U2Pgxfu2UVrLrh9j-jsEXI1Va7S8EjgQ2lovEg-kJzJS0tIy7JPcwjqVjEwoXwEjQ1oxLH5CMZCIKYsSd4cPzf22a9/s1600/Bald+Eagle+landing%252C+Lok+Kuang++.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><em><strong>Bald Eagle </strong><strong>Landing,</strong></em><strong> Lok Kuang </strong></span></td></tr>
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Eagles. as with most birds, are active creatures not likely to pose more than a few seconds for any would-be avian artist. Thus the eagle painter is beholden to wildlife photos, which would account for the fact that most such art is limited to little more than a dozen stereotypical poses. Likewise as the national symbol, they are often linked by artists with various patriotic flag depictions as seen by an artist named Engle Bob (below). Notice too the similarities in the pose.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifAm4hiHxpugCqW-cUgOBW8CiqQJeyqKobC1A6fKP0_E84Vtez3npBhqQpmL5tUFLxBq45ej8n43XSwq1_LMualLIs5El0fdgxvfmYpVfOPe1bMDGMpksR_nDP1qIVOuGwZ4dvhYfa77Ia/s1600/Eagle+Flag%252C+Engle+Bob+.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="392" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifAm4hiHxpugCqW-cUgOBW8CiqQJeyqKobC1A6fKP0_E84Vtez3npBhqQpmL5tUFLxBq45ej8n43XSwq1_LMualLIs5El0fdgxvfmYpVfOPe1bMDGMpksR_nDP1qIVOuGwZ4dvhYfa77Ia/s1600/Eagle+Flag%252C+Engle+Bob+.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman"; font-size: small;"><b><i>Eagle Flag,</i> Engle Bob </b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRL1VHdEAgH_mg9TICqvd2z6wfn4kvP8s2u6NvNpn4wzUoHlsBgfmS8YSRdO0t3IpthDqZ1gplX9CYGO8WfvHrboOKgZTTsFLcxIKg_CcrhrvRWi4r1nDwCn7XPtcehQ2Dl6u_cX2-hsSk/s1600/eagle-red-white-blue-carol-cavalaris.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><i><img border="0" data-original-height="550" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRL1VHdEAgH_mg9TICqvd2z6wfn4kvP8s2u6NvNpn4wzUoHlsBgfmS8YSRdO0t3IpthDqZ1gplX9CYGO8WfvHrboOKgZTTsFLcxIKg_CcrhrvRWi4r1nDwCn7XPtcehQ2Dl6u_cX2-hsSk/s320/eagle-red-white-blue-carol-cavalaris.jpg" width="320" /></i></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;"><i>E</i><span style="font-family: "times new roman";"><i>agle, Red, White, and Blue</i>, Carol Cavalaris</span></span></b></td></tr>
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One of the other traits no-ticeable in virtually all depic-tions of the bald eagle is that they always appear angry. I'm not sure this is the best "face" to put on a national symbol in that it suggests that our nation is likewise always angry. Perhaps we could call this "look" simply determined. The bald eagle has become such a masculine figure it's hard to think in terms of a female eagle. We might also recall that in selecting a national symbol, the thinking was not altogether unanimous. It's said that Benjamin Franklin lobbied for the <i>turkey</i>. In retrospect, I'm not sure that would have been a wise choice either, given that down through the years, "turkey" has come to be used as a derogatory noun.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>About to Launch</i></b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw9aVNajY_BGpINP1olFns88ZT-M3VMmH7J5QzNuFPMfxImUlARJRRrU4W7Ss8GJWJxBdQylfUWO7SgOanqihnbNcCLJu6-75ZQnibzwwP42qU41dNV2gG0K7C0yOwEar2VhgjgqPJ8EZr/s1600/eagle-tattoo.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw9aVNajY_BGpINP1olFns88ZT-M3VMmH7J5QzNuFPMfxImUlARJRRrU4W7Ss8GJWJxBdQylfUWO7SgOanqihnbNcCLJu6-75ZQnibzwwP42qU41dNV2gG0K7C0yOwEar2VhgjgqPJ8EZr/s1600/eagle-tattoo.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>One of the more intricate eagle tattoos</b></span></td></tr>
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Eagle tattoos capture the loftiness and wonder of this valiant bird. The Haliaeetus leucocephalus as a tattoo style is incredibly popular. The ea-gle tattoo is Associate in the American image of military service or to point out our love for the USA. This noble bird of prey is additionally in style as an illustration of freedom. Ea-gle tattoos are usually com-bined with a spread of different style components like crosses, social groups, or military sub-jects to create a very dis-tinctive depiction. The Eagle tattoo is a mainstays in the up-to-date tattoo business as it has been for decades. This motif has become popular with men and women alike. Moreover, eagle tattoos are enticing and distinguished options that might merely capture attention without fuss. This type of tattoo is in style among individuals of several specific clusters, interests, and lines of labor or profession such as service men and women, law enforcement officials, and troopers. This tattoo style encompasses a cultural and historical essence preferred among individuals in authority.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>Juvenile Bald Eagle</i> by Corina</b></span></td></tr>
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One can find a good as-sortment of eagle tattoo styles with top quality patterns, care options, and different vital components that might create a stimulating body design. There are many websites providing access to thousands of styles in their galleries and databases. The eagle tattoo image is essentially an illus-tration of varied meanings connected with public service and security. Eagles represent soaring to new heights. Any-one preparing for such a tat-too can also get voluminous inspiration as to where to place an eagle tattoo. Eagle tattoo designs are also extremely popular among patriots, environmentalists, bikers, and political extremists. In ancient times, the eagle has also been connected with the power of the sun. Egyptians used to worship eagles, while the Greeks considered the eagle to be a symbol of Zeus.<br />
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<b><span style="font-size: small;"><i>The Eagle Has Landed. </i>Eagles can not only be</span></b></div>
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<span style="font-size: small;"><b> found all over the world,</b></span> <span style="font-size: small;"><b>but even on the moon.</b></span></div>
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-56865286320141563482020-03-09T00:01:00.000-04:002020-03-09T00:01:03.295-04:00Rob Woodcox<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/AVvXsEjZy_JbqzA4N7Ph96dBZSyPaTcwBd6yj165GJ-rYev5UAhwoFFqawpoTE-ycaqnszkVsI6IUje2RgZuGP_lnsR2ufMgQvnNsecJER1XcjUxTuqIQoIHfVUQuEhOfan1h5THMx1moKZd_Dls/s1600/_edit%252Bdunes%252Btree.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZy_JbqzA4N7Ph96dBZSyPaTcwBd6yj165GJ-rYev5UAhwoFFqawpoTE-ycaqnszkVsI6IUje2RgZuGP_lnsR2ufMgQvnNsecJER1XcjUxTuqIQoIHfVUQuEhOfan1h5THMx1moKZd_Dls/s1600/_edit%252Bdunes%252Btree.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>Dunes Tree,</i> Rob Woodcox</b></span></td></tr>
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Many years ago, as a high school art instructor I taught a unit on conceptual art. Most people do not like such works...many, in fact, wouldn't even consider them art. Such art is almost always on the "cutting edge" and therefore cuts deep into any traditional definition of art. Unlike most works of art in which the artist chooses a category--landscapes, still-lifes, portraits, etc. Conceptual art deals with ideas (concepts) which are inevitably difficult to render and often so opaque they are likewise difficult to understand. The prime example of such art which comes to mind is Joseph Kosuth's <i>Chair</i> (below) in which he first hung on the gallery wall a dictionary definition, followed by a drawing of a simple, wooden folding chair, next to which hung a photo of that chair followed by an actual chair hanging next to it--thus the concept "chair." and the broad gulf between the description and the real thing.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman"; font-size: xx-small;"><b><span style="font-size: small;"><i>Chair,</i> 1965, Joseph Kosuth</span></b></span></td></tr>
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In an attempt to illustrate conceptual art to my teenage students I invented a "concept generator" on my Commodore-64 computer (this would have been in the early 1980s). The program asked that the user enter twelve random nouns and twelve random adverbs. The computer then added verbs such as drinking, walking, thinking, etc. The result were largely nonsensical phrases such as "cats drinking stupidly," or "neckties thinking wildly, etc. Most of the nearly unlimited number of "concepts" were useless, some were comical, while others seemed strangely wise in an "outside the box" manner. The students' job was to choose one phrase, then "explore" that concept beyond simply illustrating it. Today, Rob Woodcox is a conceptual artist. However, as a former photographer he has chosen to "marry" the two using nude and seminude figures as in his <i>Dunes Tree </i>(top). It would seem that conceptual art has come a long way since Kosuth's folding chair.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJOMO3Udn-DCphDerAQQbIkCrn9gWs7CYDexS7PJ7HP4cnzmV10Gco_0DpPNf9F7PqwJ1KCU2p8uKlSezxJEjjUU63CJa9_XwueKgn8yj_KUEDaf2T7078qBPWp_VzwRW9yzqRoMuXHjpl/s1600/The%252BMountain.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="672" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJOMO3Udn-DCphDerAQQbIkCrn9gWs7CYDexS7PJ7HP4cnzmV10Gco_0DpPNf9F7PqwJ1KCU2p8uKlSezxJEjjUU63CJa9_XwueKgn8yj_KUEDaf2T7078qBPWp_VzwRW9yzqRoMuXHjpl/s1600/The%252BMountain.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>The Mountain,</i> Rob Woodcox</b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-7AIfoUMie3yYUsXqbvvYyCppku9wS4whRYspqJQAWsCuJ2fMcKjtjVJgb2AgJNulMvzna_9Gt-xeHJoEMjZXYPP3iH_Tk9ZxKq3E0wfUrq1SrqeXlqySzbIs9iZEIqxY6ijsE2Wt4T7d/s1600/bodies_of_light_sc.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-7AIfoUMie3yYUsXqbvvYyCppku9wS4whRYspqJQAWsCuJ2fMcKjtjVJgb2AgJNulMvzna_9Gt-xeHJoEMjZXYPP3iH_Tk9ZxKq3E0wfUrq1SrqeXlqySzbIs9iZEIqxY6ijsE2Wt4T7d/s320/bodies_of_light_sc.jpg" width="240" /></a></td></tr>
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Woodcox has also paired his fascination with geological and human forms, witness the beauty of humans living in harmony with the world around them in a book featuring full page gallery spreads in vivid color. From pink salt flats to deep blue mountain lakes to the recesses of a burnt orange canyon, Rob’s visuals are diverse in every sense of the word. <i>Bodies Of Light</i> (right) is a true dreamers paradise, compelling the viewer to examine one’s own presence on this planet, and the beauty we all have the power to access and preserve. With written excerpts channeling Rob’s inner voice of inspiration and imagination, we get an all-inclusive ticket into a world beyond our own.</div>
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<b><i>Bodies of Light by Rob Woodcox</i></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW_z5l0PJXUEXFK0XW7p_3hjnOtb67GwvHy8QjqjSA2x4EgPP4_KcF9_rBJVoEm0A5-A_jyADRDi3nuARozIMXCjm9GwhGNk1JYpyl3B3KGalGSbNH7UojVb2GASYXKcHgIL4k0iamr8SG/s1600/photo+of+Woodcox.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="550" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW_z5l0PJXUEXFK0XW7p_3hjnOtb67GwvHy8QjqjSA2x4EgPP4_KcF9_rBJVoEm0A5-A_jyADRDi3nuARozIMXCjm9GwhGNk1JYpyl3B3KGalGSbNH7UojVb2GASYXKcHgIL4k0iamr8SG/s200/photo+of+Woodcox.jpg" width="148" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Rob Woodcox</b></span></td></tr>
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In creating his book Rob promised himself that at least 50% of the photos had to be of people. He recalls always being super imaginative and wanting to capture the environment as well as the people. He has dabbled in drawing and painting throughout the years, creating his own dreamscapes on paper, eventually decided to focus on photography in college. He had no other reason than a feeling that it was for best for him as an artist. He didn’t have the patience for the other more secluded art forms and enjoyed the process of engaging with models, locations, etc. He sensed he couldn’t live with himself doing something he didn’t love. That stubborn voice pushed him through part-time jobs and societal expectations to the point that he has now been a self-sustained artist for seven years. He finds it hard to realize that he's come so far never really having support from his immediate family. However the artist community has been overwhelmingly supportive over the years.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcuKjripinq-3P0Y0ThCh308t4f4emoBjBHMQ1AYfYWBeaLCabRbSq-1sBD3XsO5-7Wnkcnu33m7useaY_fJPmMl1WYTeyXnjmaJ2WBh-EvrW513Dd12IaKMvEZZ_YlIdQzhaM3Kfgz3-w/s1600/Dancers+Composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1322" data-original-width="544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcuKjripinq-3P0Y0ThCh308t4f4emoBjBHMQ1AYfYWBeaLCabRbSq-1sBD3XsO5-7Wnkcnu33m7useaY_fJPmMl1WYTeyXnjmaJ2WBh-EvrW513Dd12IaKMvEZZ_YlIdQzhaM3Kfgz3-w/s1600/Dancers+Composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>The nude form in an urban environment</b></span></td></tr>
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Rob went to a photography school in Detroit and got an associates degree learning the basics of photography. From there he learned many of the techniques he currently uses on his own. From tutorials and sharing techniques with friends to simply practicing, he taught myself a lot and eventually just dove into client work and teaching workshops.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgph6yVx2k9OoeOaqwDrT0WSIlHZ2vK8tNbrL0JFMXUranQ9B3tC5n9dJETHdcQbdelCpa7yUVcfpWP7H4px-vTNabUf1FaTROkfBBBSBToWHcWzbYlkYqDYOUPU9DYIWlKGTLbYfWczh9Z/s1600/Time%252BTravel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="702" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgph6yVx2k9OoeOaqwDrT0WSIlHZ2vK8tNbrL0JFMXUranQ9B3tC5n9dJETHdcQbdelCpa7yUVcfpWP7H4px-vTNabUf1FaTROkfBBBSBToWHcWzbYlkYqDYOUPU9DYIWlKGTLbYfWczh9Z/s1600/Time%252BTravel.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>Time Travel</i>, Rob Woodcox, a blend of in-camera creativity and digital editing.</b></span></td></tr>
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One of the most striking elements in Woodcox's work is that some images are partially composed digitally, while others clearly aren’t. Yet looking behind the scenes, he still goes to great lengths to achieve certain effects practically instead of digitally. The question thus arises, where to draw the line between wanting to capture something in-camera versus trying to achieve something similar in Photoshop? Woodcox notes that in having a strong focus on conceptual photography for 11 years he's learned where those lines are—where something will start to look fake if the light doesn’t match between the background and model(s), or where a composition becomes too overwhelming. He constantly works at matching the subjects to the environment thus making a much more successful end result. He goes to great lengths to produce imagery in surreal locations as well as the studio when that is called for.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnEQlXEOXP9f0eWzX1WdfRUVoJ3xU2DdicqWy0oCGzffHir6D4CCt46wVbL3dDIFZGe5M9g1QpyO_sSuixLnrcvlFdcD97bM1aKNor54UPfuVF0XWwJp6jZLt-U45kpyCfJr69y8S_AsED/s1600/Body+painting+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="317" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnEQlXEOXP9f0eWzX1WdfRUVoJ3xU2DdicqWy0oCGzffHir6D4CCt46wVbL3dDIFZGe5M9g1QpyO_sSuixLnrcvlFdcD97bM1aKNor54UPfuVF0XWwJp6jZLt-U45kpyCfJr69y8S_AsED/s1600/Body+painting+composite.jpg" /></a></td></tr>
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<span style="font-size: small;"><b>Not all of Woodcox's work involves multi-figural compositions.</b></span></div>
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<span style="font-size: x-small;"></span>Having enjoyed backpacking as a hobby since he was 14, and his love of practical effects in movies. Rob Woodcox has developed a particular skill for combining bizarre landscapes with performance art and styling techniques that surprise his audience and usually garner a lot of questions. He finds it quite entertaining to field questions as to which pieces are completely real versus slightly enhanced with Photoshop. Usually people can’t figure out which is which. He also owes a huge debt to his collaborators—the dancers, models, makeup artists, body painters and stylists who enhance his visions dramatically. He started out painting and gluing things to models himself, but usually works with collaborators these days.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>El Espíritu Asciende 1, </i>Rob Woodcox and dancers</b></span></td></tr>
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While Woodcox is a master at capturing bodies frozen in motion. He has never actually taken a dance class. He credits his fascination with theater, film, and performance art as having initially pushed him to start working with dancers. After his first shoot with dancers he recalls being stunned by their ability to move effortlessly and create shapes he had never seen before. He didn’t even need to direct much, only express an emotion or story-line, then allow the dancers to use their inherent awareness of their own bodies to deliver stunning shapes for the camera. He likens it to tasting food from a chef then trying to go back to microwave dinners—there’s nothing that compares to working with dancers.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBmF9atFv2sHgzWHyCeDHT1tHDO4hk2ai06uD_h1lBiHErJ5RQ8XkqsNfPuIp8jsKLhcYUfCWCV2aybzbVVLAHTrPLqV4TZDw1If-b48w-F-6XUtL0KkJyCdV4D9vz0m2Ncp48rcvGYNeO/s1600/Imag%252B2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><b><img border="0" data-original-height="321" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBmF9atFv2sHgzWHyCeDHT1tHDO4hk2ai06uD_h1lBiHErJ5RQ8XkqsNfPuIp8jsKLhcYUfCWCV2aybzbVVLAHTrPLqV4TZDw1If-b48w-F-6XUtL0KkJyCdV4D9vz0m2Ncp48rcvGYNeO/s1600/Imag%252B2.png" /></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>Box Boys,</i> Rob Woodcox</b></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>On the road across the desert.</b></span></td></tr>
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Rob: has been inspired by the likes of Tim Walker, Eugenio Recuenco, René Magritte, Leonora Carrington, Annie Leibovitz, Salvador Dali, Rich-ard Avedon and more. He loves all visual art forms and often pulls inspiration from paint and performance arts. His book encompasses all his most surreal work to date. A few of the images even date back to 2011. A whole decade of his life's work. He shot exclusive new work for the book on a road trip through the desert, and all his dance work is included as well. It’s 180 pages of vibrant, con-scious photographs and writ-ing from his travels. Its mostly visual but there are 10 short-form written pieces that follow the thematic journey as viewers flip through the pages.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b><i>Spontaneous Creation,</i> Rob Woodcox</b></span></td></tr>
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-23347080157801049772020-03-02T00:01:00.000-05:002020-03-02T00:01:09.040-05:00Golsa Golchini <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4pp5cgt_Atpxn86YD4_zbf1y6d6pE5UbkWUYSjOUYteKBvNKHLe0ATpFt1GCREF6j1uzOo8zOq1zZCTLiYUOd9qycAdXUn3XIIGdpVin_9588paMAPsFxj2kcbCfq0JHcqbQxRKuxU3j/s1600/A-blue-thought-golsa-golchini.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a> </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLOnbOVs9SYobsaOeBU3x1dMP5Ssv-lFQBU7Tx6uBEg8Av-bxnho6uI1DPfX0xmbSUolI3Br49tG3Ce_fD2k2gh4fpy1LYRW6hIPS6up10iGOPr5C0x9wQbOiYOLUdXBIPmHWfZVRmv7Of/s1600/Opening+image+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLOnbOVs9SYobsaOeBU3x1dMP5Ssv-lFQBU7Tx6uBEg8Av-bxnho6uI1DPfX0xmbSUolI3Br49tG3Ce_fD2k2gh4fpy1LYRW6hIPS6up10iGOPr5C0x9wQbOiYOLUdXBIPmHWfZVRmv7Of/s1600/Opening+image+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The blending of Expressionism and Realism.</strong></span></td></tr>
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I've always been one to admire palette knife paintings. However, very often that means Expressionist piece in which the artist has tried to render his or her inner-most thoughts a feelings with a thick, impasto style and technique that I doubted I could handle, painting in a more or less realistic style. Nevertheless, I decided to try this rather heavy-handed means of painting in a scene of equestrian foxhunters. I got the painting about three-fourths completed before I realized I just could not render the details typical of my usual style with such a clumsy tool. Even with a knife barely an inch and a half in length, I gave up. The painting sat untouched in a closet for over a year before I decided to try finishing it with a knife bearing a smaller blade only to discover they don't make'em that small. So I had a friend with a grinding wheel fashion one somewhat less than an inch in length. I found it usable in finishing the painting but also decided that the technique was too tedious and time-consuming to use regularly.</div>
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<strong><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Copyright, Jim Lane</span></strong></div>
<span style="font-size: small;"><strong><em>Big Ten in Action,</em> 2007, Jim Lane--the realism of a brush, with </strong></span><br />
<span style="font-size: small;"><strong>the brute strength of palette knife impasto.</strong></span></td></tr>
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Then several years later a gallery owner in Columbus, Ohio, suggested that he could sell as many OSU football paintings as I could produce. Football is a brutal sport so I decided, reluctantly, to once more try my hand with a palette knife. That's when I discovered a marvelous stuff called gel medium. Straight from the tube, it resembles ordinary white acrylic paint. However, as it dries it becomes transparent. So I developed a technique of applying thick globs of gel medium over a finished drawing, letting it dry, then painting the figure in on top of the gel medium. The size of the knife waa immaterial and the finished work (above) was virtually indistinguishable from anything done using a palette knife. Thus I'd arrived at a happy medium between Expressionism and Realism.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4pp5cgt_Atpxn86YD4_zbf1y6d6pE5UbkWUYSjOUYteKBvNKHLe0ATpFt1GCREF6j1uzOo8zOq1zZCTLiYUOd9qycAdXUn3XIIGdpVin_9588paMAPsFxj2kcbCfq0JHcqbQxRKuxU3j/s1600/A-blue-thought-golsa-golchini.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="596" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy4pp5cgt_Atpxn86YD4_zbf1y6d6pE5UbkWUYSjOUYteKBvNKHLe0ATpFt1GCREF6j1uzOo8zOq1zZCTLiYUOd9qycAdXUn3XIIGdpVin_9588paMAPsFxj2kcbCfq0JHcqbQxRKuxU3j/s1600/A-blue-thought-golsa-golchini.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>A Blue Thought,</em> Golsa Golchini</strong></span></td></tr>
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Iranian-born artist Golsa Golchini took a different road, but also managed to blend the two styles of painting. Golchini combines impasto and digital painting techniques to create miniature worlds of water and ice. Textured mounds of acrylic paint form three-dimensional waves and slopes. Digital paintings of tiny figures are added to the abstract landscapes via ink transfers, with additional details applied by hand (above).The paintings are simple by design. Shadows added beneath the flat transfers, as well as the natural shadows on the raised paint, give the illusion that the swimmers and skiers physically are entering Golchini’s isolated environments. The limited color palette and similar character poses give the body of work a fun, unifying theme. </div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>The Bright Side of My Darkness</em>, Golsa Golchini</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Although the artworks are simple, they are usually expressing challenging situations. Her work is composed as if it is meant to look understandable but in the same way, they want to tell the most profound stories of all times. Usually she meets clients who tell her how they see themselves as the protagonists in her work. Mixed media art is breathtaking. The choice of mixing two or more different mediums or materials to create an artwork makes all the difference between "beautiful" and "amazing". The most common examples of mixed media art are assemblages and collages which make use of different materials, from cloth, paper, wood to even random found objects. It looks simple on paper, but when you see what the artist Golsa Golchini has done, the reaction is little short of amazement. <br />
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>I Am Not a Waterfall,</em> Golsa Golchini</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Born in 1986, Golsa Golchini began her artistic career as a photographer, but later moved on to blend it with painting. She now works and lives in Milan, Italy. Her purpose is to portray the invisible behind the visible, through details that allow the spectator to get in contact with his/her soul. She uses a rather limited color palette and the characters resemble one another. In the end, although we're quite isolated in our own little worlds, we're all the same, struggling in the same common situations and having a rather similar spectrum of emotions. The world needs simplicity nowadays. These artworks represent small worlds of ours in which we carry out our dear daily activities in peace. Nevertheless, looking at these swimmers and skiers in their own tiny worlds of molded acrylic paint, their isolated environments eventually strike you. The artist herself has intended for this to happen, as she has added shadows at the edge of the flat transfers, to make you think just that: they're having fun in their tiny little worlds, but they're also isolated from everything else. <br />
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>A Star,</em> Golsa Golchini</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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In 2019 Golsa's work was part of a group show "Notice the Small Things" which brought together an eclectic mix of artists for an exhibition dedicated to the art of the miniature. With over 20 contemporary artists spanning two and three dimensions, across a range of disciplines, the exhibition encouraged visitors to slow down and take their time to engage with the intricate details of the multidisciplinary works. Miniature art dates back to the medieval ages, yet became widely popular in 16th century onwards for capturing portraits as keepsakes or mementoes. The most often-used definition of a miniature is something which can be held in the palm of the hand and, as portable objects, they were an apt accessory for remembering loved ones. The small intimacy of the portraits spoke of secretive and passionate love and were at one time a symbol of status.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKM8ZuIgWJ2CSj7kxmgT8yv-A-YTpe8WlosmDG6mwxG2WYoIzR-C5BMXI13YfPfDOPC9v37w5-gyopCxT98yLm5AFFvryTM4wh98hn36LYOTPz7zaxJttcYCDrj7ECiiPdCje4RFpPAoL9/s1600/No+Pain+No+Gain%252C+golsa.golchini.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="561" data-original-width="550" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKM8ZuIgWJ2CSj7kxmgT8yv-A-YTpe8WlosmDG6mwxG2WYoIzR-C5BMXI13YfPfDOPC9v37w5-gyopCxT98yLm5AFFvryTM4wh98hn36LYOTPz7zaxJttcYCDrj7ECiiPdCje4RFpPAoL9/s400/No+Pain+No+Gain%252C+golsa.golchini.jpg" width="391" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>No Pain No Gain,</em> Golsa Golchini</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-33303994329561024672020-02-24T00:01:00.000-05:002020-02-24T00:01:17.108-05:00Architectural Photography<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Architectural photography by Ewa Meyze</b></span></td></tr>
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Very often when the average person looks at a piece of abstract art the first words from their lips are: "What is it?" Then in response, people like me who profess to know something about art are left doing a lot of conjecturing or have to admit in all honesty that we don't know what it is either. Then we find ourselves launching into some "high brow" explanation as to the nature of abstract art and the fact that art can be simply about art itself. All of which leaves the listeners (if they are, in fact, still listening) with rolling eyes, a spinning head, or guffaws of laughter wondering how anyone could be so pretentious as to create art with content and meaning so obscure. That's not the case with work such as that of Ewa Meyze (above and below). Even though at first glance her work might seem to fall squarely into the aforementioned category, It does have recognizable content and though it does seem to have little meaning, that likewise is not the case. Ewa Meyze, in addition to her more traditional photography portfolio, is an architectural photographer.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>There's no need to ask: "What is it?"</b></span></td></tr>
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Ewa Meyze is no architect, but simply a gifted, self-taught photographer with a discerning eye to the limitless possibilities of shape repetition. And, although it was her work which first caught my eye, I soon learned there were similar photographic artists from nations all around the world doing similar work. Ewa Meyze is Swedish, working out of Stockholm depicting primary the exceptional minimalist architecture of that city and the nearby city of Copenhagen, Denmark. Most of the photographers below are affiliated with architectural firms creating promotional material or simply archiving completed projects, Some are, in fact, architects themselves. Inasmuch as neither Ewa Meyze, nor any of the otherss whose work can be seen below, are famous, there is little information on them or their background. Thus I've included only their names and nationalities along with my little slide show. So cursor down, enjoy, and don't ask, "What is it?"</div>
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<span style="font-family: "times new roman"; font-size: small;"><b>Stunning architecture shots by Alexander Schlichting, a gifted self-taught </b></span></div>
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<span style="font-family: "times new roman"; font-size: small;"><b>photographer, and urban explorer based in Hamburg, Germany.</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ17RGk15mwL_1VS2kzqSOIWo80X1pdKXaiL-1_FVQI2HjJXIiZ_7tR9UwkEn1PFggqDxfMSxDOy8BvPCMHIkIlQ6V03NsTBtgdORBi1HDPXVCnDdEcn5X3171dOt_CrUJaWpn933zD5SF/s1600/Brutalist+Architecture+by+Rex+Zou+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="411" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ17RGk15mwL_1VS2kzqSOIWo80X1pdKXaiL-1_FVQI2HjJXIiZ_7tR9UwkEn1PFggqDxfMSxDOy8BvPCMHIkIlQ6V03NsTBtgdORBi1HDPXVCnDdEcn5X3171dOt_CrUJaWpn933zD5SF/s1600/Brutalist+Architecture+by+Rex+Zou+1.jpg" /></a></td></tr>
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<div>
<span style="font-size: small;"><b>Creative Brutalist Architecture Photography by Rex Zou, a talented<br />photographer, architect, and visual artist currently based in Shanghai, China.</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNunrBzQkHaOnX3uiOeo0KxWGJ3DdLyGaTC4Jwe6RbUav53-CeJjqnX3reM7zBnOpHOi9ry_0CegICHk2KZzkmGULxMUomY7CTluMznBO4zM3mChmgwRNqXHCZBZHnxdJbE_5w8rZvCRJ5/s1600/John+Gollings+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNunrBzQkHaOnX3uiOeo0KxWGJ3DdLyGaTC4Jwe6RbUav53-CeJjqnX3reM7zBnOpHOi9ry_0CegICHk2KZzkmGULxMUomY7CTluMznBO4zM3mChmgwRNqXHCZBZHnxdJbE_5w8rZvCRJ5/s1600/John+Gollings+1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
<b><span style="font-size: small;">A<span style="font-family: "times new roman";">rchitectural shots by John Gollings, a talented 75-years old photographer,</span></span></b></div>
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<b><span style="font-size: small;"><span style="font-family: "times new roman";"> and architect currently based in Melbourne, Australia.</span></span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUUIsYnHbtDQ6qC4OYFj7nVDxsEl1KJdFjj2zP6Ft51EnhW08PXkvU-JM7ojnj3R8ba1bZRR8h9w2BqxnSuTrH5ecIqwCvHyHu5GKc_f5-8ShghVgH_aytyLoPY30acPmabzQSFcwOiXMH/s1600/Kirill+Golban+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="367" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUUIsYnHbtDQ6qC4OYFj7nVDxsEl1KJdFjj2zP6Ft51EnhW08PXkvU-JM7ojnj3R8ba1bZRR8h9w2BqxnSuTrH5ecIqwCvHyHu5GKc_f5-8ShghVgH_aytyLoPY30acPmabzQSFcwOiXMH/s1600/Kirill+Golban+1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
<span style="font-size: small;"><b><span style="font-family: "times new roman";">Architecture Photography </span><span style="font-family: "times new roman";">by Kirill Golban, a </span><span style="font-family: "times new roman";">self-taught photographer, </span></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: "times new roman";">and urban explorer from Moscow, Russia.</span></b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQmjiFptUdL5ycpEb4etfftMT4u-NORUrmWlQjByCYds0vLIF1Bn9uI7HNNoPlpL77c5bXAlvAfkP6W2IRLq7FizdemJBKLZjsXCYVjBjvPT7wvE6sOFHJKBY55SvSjjM2ajRePn8duE2K/s1600/Leslie+Heng+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="705" data-original-width="564" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQmjiFptUdL5ycpEb4etfftMT4u-NORUrmWlQjByCYds0vLIF1Bn9uI7HNNoPlpL77c5bXAlvAfkP6W2IRLq7FizdemJBKLZjsXCYVjBjvPT7wvE6sOFHJKBY55SvSjjM2ajRePn8duE2K/s1600/Leslie+Heng+1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Architecture in Singapore by Leslie Heng, based in Singapore.</b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEl1JLCyNlgtyQcCxqIEJ9HmMwWnfOTOP7iH-9dRzhDyzzIt6IA351TnA18mJaWZDhLG2KrJEtOOHfOCFR4KJhA0ivv64mXOi81j0GtW1RwuEasGl9tEtKah0cUwFchpCAbiXHQj_tiLyz/s1600/Roman+Vlasov+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="677" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEl1JLCyNlgtyQcCxqIEJ9HmMwWnfOTOP7iH-9dRzhDyzzIt6IA351TnA18mJaWZDhLG2KrJEtOOHfOCFR4KJhA0ivv64mXOi81j0GtW1RwuEasGl9tEtKah0cUwFchpCAbiXHQj_tiLyz/s1600/Roman+Vlasov+1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
<span style="font-size: small;"><b>Photography by Roman Vlasov, photographer, designer, and architect</b></span></div>
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<span style="font-size: small;"><b>currently based in Moscow, Russia.</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4r0GbRf-PVZQpWsOOCvgHviZkGQinn0jzbjmPP7SrBmstqkQya62aFsW3_Mr0AnheXTSN3a7fZtTtkfGjyPElM0NK9Ijjmz-O_zAdXvWlJTn6-NIu0fRRjpVbLrxZ2QVU0Dv128Hfl79X/s1600/Simon+Lachapelle+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="688" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4r0GbRf-PVZQpWsOOCvgHviZkGQinn0jzbjmPP7SrBmstqkQya62aFsW3_Mr0AnheXTSN3a7fZtTtkfGjyPElM0NK9Ijjmz-O_zAdXvWlJTn6-NIu0fRRjpVbLrxZ2QVU0Dv128Hfl79X/s1600/Simon+Lachapelle+1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman"; font-size: small;"><b>Architecture Photography in Seoul by Simon Lachapelle,<br />photographer, and artist from Montreal, Canada.</b></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhncy-559ce_hO8JSh3TM8ayouh8A5-z5CWnAZsgBb6I1QnQyhH-jYv03ipcXBE0OdJLoKolSu6Ifhqc9GYRt9kpCE6Wl6SKk2Hw7qt8k1duB-FezTxG6hk16u2b7wp1NygwUdc8xTWolFS/s1600/Yura+Ukhorskiy+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="688" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhncy-559ce_hO8JSh3TM8ayouh8A5-z5CWnAZsgBb6I1QnQyhH-jYv03ipcXBE0OdJLoKolSu6Ifhqc9GYRt9kpCE6Wl6SKk2Hw7qt8k1duB-FezTxG6hk16u2b7wp1NygwUdc8xTWolFS/s1600/Yura+Ukhorskiy+1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">S<span style="font-size: small;"><b>tunning Architecture and Interior Photography by Yura Ukhorskiy, a self-taught<br />photographer, retoucher, and traveler currently based in Saint Petersburg, Russia.</b></span></td></tr>
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-56281309487456043952020-02-17T00:01:00.000-05:002020-02-17T00:01:05.925-05:00Floating Homes<table 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/AVvXsEjYL6gTdkfm2H2_cnJtgVlewPAMsGtpaj54wyhIIVJ1J4T3ihVFLNMMdo2SZFEO07SZdCmu-rNm7UqL6t8K9U4LurZ8cinDE8pofHJcl1PdTU__TQ4tU8T8Q-Fcgo572ksFKBgmiA_rfakO/s1600/BBTNh9V.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="355" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYL6gTdkfm2H2_cnJtgVlewPAMsGtpaj54wyhIIVJ1J4T3ihVFLNMMdo2SZFEO07SZdCmu-rNm7UqL6t8K9U4LurZ8cinDE8pofHJcl1PdTU__TQ4tU8T8Q-Fcgo572ksFKBgmiA_rfakO/s1600/BBTNh9V.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
<span style="font-size: small;"><b>The floating home is limited only by the designer's imagine and how much </b></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><b>a buyer wishes to spend for the convenience of living on the water.</b></span></div>
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We used to call them "houseboats." But just as it took the manufactured housing industry an entire generation to shed the dreaded term "house trailer," the same is likely to be true with the preferred designation "floating homes." If floating homes brings to mind the floating squalor seen below rather than the futuristic image seen above it's time we redefine just what we mean by floating homes. Each state defines floating homes differently, but in general, they are:<br />
•constructed on a float;<br />
•designed and built to be used as a residential dwelling;<br />
•stationary by being moored or anchored, and not meant for navigation;<br />
•without a means of self-propulsion;<br />
•powered by utilities connected to the shore; and<br />
•permanently and continuously connected to a sewage system on shore.<br />
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Life is reported to have started in the oceans with the first creatures coming ashore about 3 billion years ago. With 71% of the Earth’s surface made up of ocean water humans may spend the next few millennia re-inhabiting it.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbxBaxLtc7q0xXD8iKlUDMs9jE1OaE2G8qEzMf8hnhhSnC0tRpQCmn47h969eTXdZEO2b5OyzI0x5y-ZOjeSXzMDDkUnfK5mjHoNy5cWvsDYa3s1ay3Qy0oZJTgvYyPEaUiiEo3MkBycU/s1600/Floating+squaller+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1416" data-original-width="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbxBaxLtc7q0xXD8iKlUDMs9jE1OaE2G8qEzMf8hnhhSnC0tRpQCmn47h969eTXdZEO2b5OyzI0x5y-ZOjeSXzMDDkUnfK5mjHoNy5cWvsDYa3s1ay3Qy0oZJTgvYyPEaUiiEo3MkBycU/s1600/Floating+squaller+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Living on the water has come a long way during the past hundred years.</span></b></td></tr>
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<b></b><b></b>With the constant climate changes and soaring heat levels which are results of global warming, the world has become very difficult to live in. Various steps have been taken to curb the problems. Different sets of ideas to maintain pleasant temperatures are constantly evolving from various quarters. One such solution is the idea of living in cool and comfortable floating homes. These floating homes comes in various designs and cost. Some of them are affordable while some others are more appropriate for dreams because they are out of the reach of common men. Check out this list of some floating homes which are really cool, luxurious and classy pieces of design and architecture mainly aimed for the rich and the famous. Wherever dry land touches wet water, there are builders and owners with strikingly modern ideas to do with both. Some are in existence today, others likely soon will be.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8zo724KHOTJQRr1ic0GHNAqsY5eZbfi6ntPoP773FH2qSRTlFYFBCQKaOBWjBc1-d5g2qG56SFqJm-96mFe8Gn3QCHgwKzWi3ajJMq32TCI_CRUEy6RBQfwNb9J_18dv8AIGFxPA73Dco/s1600/Solar+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="858" data-original-width="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8zo724KHOTJQRr1ic0GHNAqsY5eZbfi6ntPoP773FH2qSRTlFYFBCQKaOBWjBc1-d5g2qG56SFqJm-96mFe8Gn3QCHgwKzWi3ajJMq32TCI_CRUEy6RBQfwNb9J_18dv8AIGFxPA73Dco/s1600/Solar+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Solar powered floating island.</b></span></td></tr>
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This futuristic floating house project is created by Solar Lab. it is based on the concept of a free floating habitat with extendable boundaries to create more living space. It features an integrated solar power supply, an integrated water purification system and a waste treatment system. It is supposed to be a totally autonomous and great sustainable habitat for the future citizens. Currently, this project is mainly used for developing the Institute of Water and Ecology, based on Lake Constance in Germany. This is going to be the most practical sustainable floating structure that will also highlight the sensitivity of water ecosystems and the various prospects of application of solar energy for creating other future housing projects through an exhibition.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifPFcFfW1xL4n_WBeS-mHJ6o4p7CLj4ck_hZRjKGMgLI5yQ6efCye8TV2DieSAOJosBFb4wYHgTX2wRSeaJfeuiaXih35ROO9xG1r2x5aneewtQWEwqjccaA2fRWNo8G1KTHg4H3qX3kM_/s1600/Waterstudio+coposite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1287" data-original-width="549" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifPFcFfW1xL4n_WBeS-mHJ6o4p7CLj4ck_hZRjKGMgLI5yQ6efCye8TV2DieSAOJosBFb4wYHgTX2wRSeaJfeuiaXih35ROO9xG1r2x5aneewtQWEwqjccaA2fRWNo8G1KTHg4H3qX3kM_/s1600/Waterstudio+coposite.jpg" /></a></td></tr>
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<b>Floating home by Waterstudio, Netherlands</b></div>
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This futuristic floating house with unusual decoration from Waterstudio.NL looks very natural and comfortable. It is quite ornamental and stunning in appearance with a beautiful scenery in behind. The entire exterior of this house is made of concrete materials. Wood is also used as another primary material for building this sustainable floating house. It has a kitchen, living room, bedroom and a bathroom.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQTlpZup-tP79v-Fz3olxj0bwzOj0l_UUuEf_mjMSqgsJyv_-xKF85UirkgqubrNBL3IbvIBN_0DB5_AhEi4JHyz_h_B41NuLSIXmPj-qkpKIRKkoLvHx0Ou7WH2NUs0u3pCoXb9f1EuT/s1600/Stingray+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="505" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQTlpZup-tP79v-Fz3olxj0bwzOj0l_UUuEf_mjMSqgsJyv_-xKF85UirkgqubrNBL3IbvIBN_0DB5_AhEi4JHyz_h_B41NuLSIXmPj-qkpKIRKkoLvHx0Ou7WH2NUs0u3pCoXb9f1EuT/s1600/Stingray+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
<span style="font-size: small;"><b>This particular Stingray Floating House, for example, was purposed</b></span></div>
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<span style="font-size: small;"><b>as a luxury home-away-from-home on the Aegean Sea and</b></span></div>
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<span style="font-size: small;"><b>designed to allow others to embrace life on the water.</b></span></div>
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<div style="text-align: justify;">
In keeping with their aquatic purpose, this floating house was designed in the shape of a sting ray, with the stinger serving as the lengthy driveway out to the home’s carport. It’s a two story home with the bottom level devoted to communal family space. And it wouldn’t be a beach house without several large glass windows looking out onto the sea. There’s also extensive deck space featuring a beach, an infinity pool, hot tub, dock for small boats, and a fire pit for those chilly nights on the water. On the second level are three bedrooms spaced out around a rotunda and master bedroom is strategically centered on the top floor, hosting two baths and a dressing area. All in all an incredibly sleek home for a lucky family, or someone with several close friends. As an international 3D & Design Solutions firm, Tangram 3DS works with various clients around the world to create architectural works of art that are cutting edge in design and innovative in location.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtMGSI_AOgTFHW4zTad7qx1gskeDM0ZfJ6nVHWchz_uIXizRrNh-netyOIZD8XP46Vx2b3nqAAD99zVlvR_vhiOucQ2ScSzVgopfcWUsBjbMMyHc7nomO1dXJneS0Vz27hh-StSArA-ny/s1600/Hurricane+proof+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1308" data-original-width="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtMGSI_AOgTFHW4zTad7qx1gskeDM0ZfJ6nVHWchz_uIXizRrNh-netyOIZD8XP46Vx2b3nqAAD99zVlvR_vhiOucQ2ScSzVgopfcWUsBjbMMyHc7nomO1dXJneS0Vz27hh-StSArA-ny/s1600/Hurricane+proof+composite.jpg" /></a></td></tr>
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<span style="font-family: "times new roman"; font-size: small;"><b>This moveable home would be able to withstand winds of up to </b></span></div>
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<span style="font-family: "times new roman"; font-size: small;"><b>156 mph, </b></span><span style="font-family: "times new roman"; font-size: small;"><b>classified as a Category 4 hurricane. </b></span></div>
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South Florida, especially Miami and the Keys, was one of several regions that Hurricane Irma pummeled in early September of 2019. The Category 4 storm brought winds of up to 70 mph, destroyed hundreds of houses, and knocked out power for 5.8 million homes and businesses in Florida. A new type of solar-powered home could withstand future storms and rising sea levels. It's designed to be buoyed so that when water levels rise during a storm, it will bob with the water. The luxury homes, which Olthuis and Arkup call "livable yachts," will feature hydraulic jack-up systems to anchor and stabilize them during storms. The systems are designed to lift it 40 feet above the ocean floor to prevent flooding. They will also include systems that collect and purify rainwater for residents to use for their plumbing needs. The team expects the home to cost $2 million to $3 million. From the architect Koen Olthuis and a housing startup called Arkup, the design was presented at the Fort Lauderdale International Boat Show.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>The floating island concept as seen in Dubai.</b></span></td></tr>
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This floating island home concept has been developed to answer the needs of island owners in Nakheel’s The World project in Dubai. This concept gave birth to another idea. Atoll Floating Islands, a joint venture between Palmerstone and Donald Starkey Designs. Ome is a floating home that is expected to be maneuvered between Dubai’s coast and The World islands. The floating house sits on a monocoque type structure. The design is a combination of styles. It has to be in accordance with the maritime laws and it also has to meet the standards of The World’s developer, Nakheel. This floating house will offer a 10 m diameter seawater pool, large living areas and five bedrooms.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>A design variation of the Ome.</b></span></td></tr>
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The first Ome house will have a 32m diameter form. Ome will also have a sustainable design. The roof will be covered with photovoltaic screens, making it be self-powered, comprising every level of energy source: water, light etc. The structure and design of the Ome floating house is capable of producing approximately 30,000 kW of renewable energy. That means that the energy is more than enough, it can power six households. A facilities management company will provide service and towing support. Atoll decided to build the Omes on the Dubai mainland and if the houses will gain popularity, the project might extend for builds in Abu Dhabi, Qatar and other island resorts or beach locations all around the world.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>On the waterfront has now become a prime, prestigious location</b></span></td></tr>
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The Fennell Residence located in Portland, Oregon is a floating house designed by Robert Harvey Oshatz. This innovative structure has curved glue lam beams, glass exteriors and an expansive sliding glass door to make it even more impressive. It has a master bedroom, a study, a living room with a dining area and extends out beyond the river. What makes this floating luxury home such a stand-out dwelling is the fact that it is equipped with an upper level that offers beautiful views of the surrounding area, and a so-called 'Sky Majlis', an area that is inspired by Arabic-style sitting and communal spaces designed to encourage socialization. However, these spaces are incredibly versatile and are designed to make it possible for residents to adapt rooms to their needs.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Great for cities with a high rent district.</b></span></td></tr>
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/gP8VB8zn_3U" width="560"></iframe><br />
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<span style="font-size: small;"><b>Not a UFO unless you take it to be an</b></span></div>
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<span style="font-size: small;"><b>unidentified <i>floating</i> object.</b></span></div>
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-19614928027567132792020-02-10T00:01:00.000-05:002020-02-10T00:01:00.254-05:00Roof Styles<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/AVvXsEhSi3Rt3VA0ILLMACC26C0dyTrOEI_zMniQxSLFH4Y2bQ0719-v7vcf5lQ3WostiLR2as71IA5onZptCUuxH3iRGlOewbtGuxgb1iWHE-jFEoI8EAr12814n9qSYNTqKU5XCZ_y9FTtS29m/s1600/Rooffer%2527s+nightmare.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="366" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSi3Rt3VA0ILLMACC26C0dyTrOEI_zMniQxSLFH4Y2bQ0719-v7vcf5lQ3WostiLR2as71IA5onZptCUuxH3iRGlOewbtGuxgb1iWHE-jFEoI8EAr12814n9qSYNTqKU5XCZ_y9FTtS29m/s1600/Rooffer%2527s+nightmare.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">The roofer's nightmare</span></strong></td></tr>
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When we think about houses, it goes without saying we're also thinking in terms of "...a roof over our heads. That's unfortunate in that the roof of a house also has a tremendous impact upon the style and era of the house. Otherwise we have little more than walls, doors, and windows. And while each of these may denote a particular architectural style, taken alone, none of them is all that important as to architectural style style. For several years now, I've written as to various housing styles from <a href="https://art-now-and-then.blogspot.com/2013/06/people-who-live-in-glass-houses.html">glass houses</a> to <a href="https://art-now-and-then.blogspot.com/2015/09/cave-architecture.html">cave houses.</a> All of these have roofs, of course, but this is as closest I've come to a general review of housing styles.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFALO6DH7W9GOflf_Bb6mDJQhyOX7z-5yQD4-tQA7AbRS62ZIWH1DfDiWxFJ-lELxzmGAvSY5L_h16JxJ_5BJ60P0D6m6oG5KtUgIAYE3EDRCLOUj-vXwiqzR-kqzQkH3o57iIO570BL8E/s1600/roof-cross-section-diagram.bmp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFALO6DH7W9GOflf_Bb6mDJQhyOX7z-5yQD4-tQA7AbRS62ZIWH1DfDiWxFJ-lELxzmGAvSY5L_h16JxJ_5BJ60P0D6m6oG5KtUgIAYE3EDRCLOUj-vXwiqzR-kqzQkH3o57iIO570BL8E/s1600/roof-cross-section-diagram.bmp" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A glossary of roof components.</strong></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The onion dome, possibly</strong></span><br />
<strong><span style="font-size: small;">the most complex roof</span></strong><br />
<strong><span style="font-size: small;">design ever conceived.</span></strong></td></tr>
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A roof serves several purposes other than protecting a house and its occupants from the elements. However, different roof shapes have different pitches, supporting structures, numbers of panels, and even materials, among other features. As such, the roof shape and style will depend on the look and feel desired, costs, needs, preferences, and local weather conditions. Roof shapes differ greatly from region to region. The main factors which influence the shape of roofs are the climate as well as the materials available for roof structure and the outer covering. Roof terminology is also not rigidly defined. Usages vary slightly from region to region, or from one builder or architect to another. But before we can have a serious discourse on roofs, it's vital we understand the nomenclature. We probably all know what a rafter is, but are you familiar with the term, "rake." If not check out the chart above. Although each term is quite specific, some if not most are not words we use in everyday conversation. By the same token, there are some very basic types of roofs (below) which are used in more than one style of housing architecture. Each one is discussed in some detail on down below.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Common roof types</strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihnomdB6bd2qB4cEuyFbnx4JaLxpRJAdnvOO0yDjv3aLgkUFQbpbgWteGGD74UwuyNvW9qhZHb6uB8HaHiCSh1uy5545tdVM3mB2Sn8cZFXKAEKGvVyaFTtgNE-ncesME-CMXV7Chkpq1T/s1600/Gable-roof.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="309" data-original-width="550" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihnomdB6bd2qB4cEuyFbnx4JaLxpRJAdnvOO0yDjv3aLgkUFQbpbgWteGGD74UwuyNvW9qhZHb6uB8HaHiCSh1uy5545tdVM3mB2Sn8cZFXKAEKGvVyaFTtgNE-ncesME-CMXV7Chkpq1T/s320/Gable-roof.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>An example of a gable roof.</strong></span></td></tr>
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<strong>Gable roof--</strong>Gable roofs shed water and snow easily, allow much more ventilation, and can provide additional space in the form of attics or vaulted ceilings. However, gable roofs can be problematic when used in high wind areas, particularly if the frames have inadequate structural support or when there’s too much of an over-hang. In an area that exper-iences high winds, the need for proper braces and roof inspection after a storm becomes quite important. Clay or concrete tiles, asphalt shingles, metal, and cedar shakes are some of the roofing materials you can use for a gabled roof. Though a 40° angle of pitch is recommended for snowy areas, using metal shingles or standing seam could help prevent leaks if the roof features hips and valleys.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNJaulpwEQK81SFvYAajJRwmZM_kBafiDfZxfir2MxfObX1szLKiaLKIVdXg4eoF1Po5zfOvudeYgqpFA7Xbzmvnwe1yJnOQN_cef55hST4SNtu_6Gdd7AT6gcqdYjzqs1Z9eRHpWQg0KX/s1600/mansard-roof-style+roof.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="550" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNJaulpwEQK81SFvYAajJRwmZM_kBafiDfZxfir2MxfObX1szLKiaLKIVdXg4eoF1Po5zfOvudeYgqpFA7Xbzmvnwe1yJnOQN_cef55hST4SNtu_6Gdd7AT6gcqdYjzqs1Z9eRHpWQg0KX/s320/mansard-roof-style+roof.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The Mansard roof, named for the 17th century</strong></span><br />
<span style="font-size: small;"><strong><span style="font-size: small;"><strong>French <strong><span style="font-size: small;">architect, François Mansart </span></strong></strong></span></strong></span></td></tr>
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<strong>Mansard roofs </strong>have low-pitched portions that are not suitable for areas that receive heavy snowfall. Because of the embellishments and de-tails featured, mansard roofs usually cost more than the more traditional types. How-ever, the added character and space can make up for any extra cost incurred. Since this type of roof is uniquely de-signed, the use of a unique material is bound to make a mansard roof much more special. Metals like zinc and copper are great choices for the roof’s steep portion. While zinc and copper can cost more up front, they are excellent long-term options because they will require minimal maintenance. When installed in a diamond pattern, wood or slate shingles can make mansard roofs stand out. Overlapping composition shingles aren’t, however, a good option. But you can use regular-patterned asphalt shingles on the roof’s steeper portion. Regardless of the material used, the roof’s low-slope part needs to be properly flashed and waterproofed. Types: Mansard roofs come in a variety of shapes, the most common being straight-angle, convex and concave silhouettes.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong></strong></span><span style="font-size: small;"><strong>Frank Lloyd Wright's Winslow House features</strong></span><br />
<span style="font-size: small;"><strong>a hip roof.</strong></span><br />
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<strong>Hip Roof--</strong>Hip roofs have four sides with slopes of equal length that come together at the top, forming a ridge. Thanks to the inward slope of these four sides, hip roofs are sturdier, more stable, and can last longer than gable roofs. In fact, hip roofs are an excellent choice for both snowy and high wind regions. The slant allows hip roofs to shed snow and water easily. You can also add a dormer or crow’s nest for extra living space. You can use almost any roofing mat-erial for a hip roof. Options include shingles, metal, and tiles. Hip roof designs are more complex and require more building materials than gable roofs, making them more expensive to build. Along with improper installation, the addition of a dormer could lead to the formation of water leaks in the valleys and several other issues, hence the importance of proper construction and maintenance. As mentioned before, this roof is very similar to the bonnet roof. The main difference is that the four sides of the roof meet at a ridge or a flat spot, instead of coming to a point at the top. This enhances the practicality of the roof type.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxvq_q-114DCeY5ogKAoga1jszdAMU4SrLjnSBda98fgASNiSlXSIqn52PRATKhNPTwvI-iYDw0rZgsRuibUmXws98crnGRgyeUZGptaLWWbWzb-WyI9xRazFM4fifhhw_Qqi_EXZAA03H/s1600/pyramid.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="364" data-original-width="550" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxvq_q-114DCeY5ogKAoga1jszdAMU4SrLjnSBda98fgASNiSlXSIqn52PRATKhNPTwvI-iYDw0rZgsRuibUmXws98crnGRgyeUZGptaLWWbWzb-WyI9xRazFM4fifhhw_Qqi_EXZAA03H/s320/pyramid.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A pyramid roof.</strong></span></td></tr>
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<strong>Pyramid roof</strong>--is a variation of the hip roof except that rather than a ridge down the length of the roof, the slope origin-ates from a single high point in the center, sloping in all four directions. Pyramid roofs were quite popular in the early de-cades of the 20th century but are seldom used today.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvgqpxLnvx6U5uhokmB_NmWQyXab3H5PntChsmnURyoGToUIYyuzI3x_BAdXSSJmSN001LTaL4eCtyxU2qI2vBLHXwx0ZQSh7AYKS40EBIyxSd_9UGkyaOLVpNtIRlJfJB1DGPCMRZdD66/s1600/Salt+box+roof.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="355" data-original-width="550" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvgqpxLnvx6U5uhokmB_NmWQyXab3H5PntChsmnURyoGToUIYyuzI3x_BAdXSSJmSN001LTaL4eCtyxU2qI2vBLHXwx0ZQSh7AYKS40EBIyxSd_9UGkyaOLVpNtIRlJfJB1DGPCMRZdD66/s320/Salt+box+roof.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The saltbox roof, named for its resemblance to</strong></span><br />
<strong><span style="font-size: small;">the colonial kitchen storage container for salt.</span></strong></td></tr>
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<strong>The Saltbox</strong> is sometimes called a house style, a house shape, or a type of roof. It's a modification of a gabled roof. Rarely is the gable area on the front, street-facing façade of a saltbox. A saltbox roof is distinctive and characterized by an overly long and ex-tended roof in the back of the house—often on the north side to protect interiors from harsh New England winter weather. The shape of the roof is said to mimic the slant-lid storage box that colonists used for salt, a common min-eral used to preserve food in Colonial New England. The house shown here, the Daggett Farmhouse, was built in Connecticut in the 1760s. It is now on display at Greenfield Village at The Henry Ford in Dearborn, Michigan.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU01Byfd0mDVVSyBZ2G5Vwtp02WK7EH_yZ2rkgQm4SMEx91SsqnIRhu2YY14ztQWtWlE_-iY_kVxGPSuJDpGwVRdUJy-QuTMLotomuYqNG9RSt9VgpG0kpWr_UFH6XWgv8fpX2iEWecjj8/s1600/Dutch+colonial+roof.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="309" data-original-width="550" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU01Byfd0mDVVSyBZ2G5Vwtp02WK7EH_yZ2rkgQm4SMEx91SsqnIRhu2YY14ztQWtWlE_-iY_kVxGPSuJDpGwVRdUJy-QuTMLotomuYqNG9RSt9VgpG0kpWr_UFH6XWgv8fpX2iEWecjj8/s320/Dutch+colonial+roof.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The Dutch colonial housing style often features </strong></span><br />
<span style="font-size: small;"><strong>aa gambrel roof.</strong></span></td></tr>
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<strong>Gambrel Roof--</strong>Although it is almost the same as the mansard since both have two slopes, the gambrel or barn roof features two sides instead of four. Same as the mansard, the gambrel roof’s lower sec-tion has a steep, almost ver-tical slope and a much lower upper slope. Although the name is synonymous with Dutch Colonial and Georgian style houses, gambrels are often used on log cabins, farm houses, and barns. The gambrel is not only easy to frame out but offers extra living space as well. This design involves fewer materials and is simple to construct, meaning significantly lower costs up front. The gambrel uses two roof beams and gusset joints. In addition to being one of the greatest roof shapes for storage buildings and outdoor sheds, gambrel roofs have a shape that provides more room for storage without occupying more space than any of the other designs. However, since this open style is susceptible to extreme pressure, it's not recommended for heavy snowfall and high wind areas. When installed in areas with extreme weather, reinforced trusses should be used to support the upper pitch. This type of roof is very similar to the Mansard Roof. This Dutch-inspired type of roof is made up of four slopes, two on each side of the home. The lower slope is a much steeper vertical style than the upper slope, which might or might not be visible from below<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHHFq1hYNm-g8CqagBgYx7V0ec-HJ7ozYn7onhXdCqb5I46YNLcS20rPY3NUHTanI6N3_OuO8-6iBlhAvhq2u-rS9kQGqseitowAsbFikn66BhSXIEZRbbhOZbKepsQijzszOz8F2PEtaQ/s1600/Flat+roof.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="566" data-original-width="850" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHHFq1hYNm-g8CqagBgYx7V0ec-HJ7ozYn7onhXdCqb5I46YNLcS20rPY3NUHTanI6N3_OuO8-6iBlhAvhq2u-rS9kQGqseitowAsbFikn66BhSXIEZRbbhOZbKepsQijzszOz8F2PEtaQ/s320/Flat+roof.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Flat roofs lend themselves to contemporary</strong></span><br />
<strong><span style="font-size: small;">modern housing styles</span></strong></td></tr>
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<strong>Flat Roof--</strong>As the name suggests, the flat roof looks completely flat to the naked eye. They do, however, have a slight pitch, one that enables water run-off and drainage. Although flat roofs are mostly used for commercial buildings, they are also great for resid-ential houses. This is one of the easiest types of roof to identify because it is very common–and flat, as its name implies. Flat roofs are easier to construct than any other roof type. They are safer to stand on, and they are generally more accessible for maintenance and repairs. The main drawback to this type of roof is that it does require more maintenance than other types, largely because the lack of slope can tend to accumulate debris. Other than the fact that they can work well in both low and high rainfall areas, flat roofs offer an unmatched amount of outdoor living space. While flat rooftops can be used as a site for partially enclosed penthouse rooms, gardens, or patios, the design also allows the installation of heating and cooling units as well as PV solar panels. Compared to pitched roof designs, flat roofs require fewer building materials and are easier to construct, both of which help lower costs. Though this type costs less to install, they can be more expensive than pitched roofs in the long run because of ongoing maintenance, repair, and replacement costs. Also, the low pitch makes them more susceptible to leaks, which means flat roofs might not be an excellent choice for high rainfall or snowfall areas. Materials that are continuous and do not involve any seams are the best option, especially since flat roofs must be waterproof. Tar and gravel, metal sheets, PVC, roll roofing, rubber membrane, and TPO are the most common materials.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3BIGKDD31QRpB_v_M-Pd1zrD-Lej86_R0EwuHtPv-I0QCdL8AdpUsxCt25qjyP2RdrN0zTDXfeNVut24QJsg5Wbz7fCdX9v6PDjG4Tg0KYguhw_lkbFDO2jPxlzb2_YCreCw06R-Ep-_O/s1600/Bonnet-Roof.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="550" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3BIGKDD31QRpB_v_M-Pd1zrD-Lej86_R0EwuHtPv-I0QCdL8AdpUsxCt25qjyP2RdrN0zTDXfeNVut24QJsg5Wbz7fCdX9v6PDjG4Tg0KYguhw_lkbFDO2jPxlzb2_YCreCw06R-Ep-_O/s320/Bonnet-Roof.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The bonnet roof often involves a house with a </strong></span><br />
<span style="font-size: small;"><strong>wraparound porch</strong></span>.</td></tr>
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<strong>A bonnet roof--</strong> features a double slope on all four of its sides. The lower slope is less steep and more angular than the upper slope and extends over an open-sided raised porch. The design of the roof of-ers great shade and pro-tection. The roof’s design is an opposite to the standard man-sard roof due to its upper slope being far steeper than the bottom slope. Bonnet roofs are also known as a kicked-eaves roof. Kicked eaves are a roof enhancement that gives the home a visor effect. Modified gable roof, modified hip roof and a belcote roof are also common names for a bonnet roof. Bonnet roofs are generally seen on homes that have porches around the perimeter of the building. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcsgwoQ3GcQdWch8Oi7SQVCI3_VFzUMzYQc21FSlTVJvet7QfF-OpjXgh3yy6Ak0QiShNB8AExmexX0m5Z8yhpttZmqFJ9EZIBWUn1YCkBX-WCWzuwwKWFsWR46NH3m16dgYDsucTiz4nq/s1600/Shed+style+roof.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="366" data-original-width="550" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcsgwoQ3GcQdWch8Oi7SQVCI3_VFzUMzYQc21FSlTVJvet7QfF-OpjXgh3yy6Ak0QiShNB8AExmexX0m5Z8yhpttZmqFJ9EZIBWUn1YCkBX-WCWzuwwKWFsWR46NH3m16dgYDsucTiz4nq/s320/Shed+style+roof.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A contemporary modern style house often</strong></span><br />
<strong><span style="font-size: small;">utilizes a shed roof similar to this one.</span></strong></td></tr>
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<strong>Shed Roof--</strong>Think of a shed roof as a flat roof at a steeper slope. You can also think of it as one half of a traditional gable roof. Whereas a hip roof and other popular roof types have at least two sides, the shed roof has a single slope that can vary in steepness depending on the design. This style was once used mainly on sheds, but it's becoming more popular on residential homes. Sometimes, the entire roof is a shed-style roof. On other homes, only a section of the structure uses a shed roof. You might use a shed roof on a new addition to your home even though the rest of the house has a hip roof or another design, for example. It's a simple and inexpensive way to roof the newer section. Since the shed roof has just one flat surface, it's a very simple design that makes it easy to build. Your contractor doesn't have to worry about various surfaces meeting, multiple ridges or lots of valleys that make the job more challenging. That means your contractor can build your roof much faster than many other roof styles, and you have a clean, simple look when it's done. The simplicity of the shed roof design also makes it more cost effective. This style uses fewer materials, which cuts down on that part of the cost. It's easy for roofers to build, so they can complete the job faster for less labor time, and there aren't any complex parts of the job to make the price skyrocket. Roofs with multiple valleys introduce more places for leaks to happen and more potential places for pooling water. The shed roof eliminates those additional seams and pooling spots to better shed the water and keep the roof safe from water damage.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjjl9nZYSsJR4q6pCMn5jLmpM2T2meyd_U4bMOod7GCjvQXY0ZQlZFZ0MxMQdwV8sTB4h-icx2aEtkkXbCpn0TG1zMJOfdJWGNKpePbkOohdKFddvKUqALRoqe4uw2hnmDTwYYbFDm7jFP/s1600/jerkinhead+roof.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="365" data-original-width="550" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjjl9nZYSsJR4q6pCMn5jLmpM2T2meyd_U4bMOod7GCjvQXY0ZQlZFZ0MxMQdwV8sTB4h-icx2aEtkkXbCpn0TG1zMJOfdJWGNKpePbkOohdKFddvKUqALRoqe4uw2hnmDTwYYbFDm7jFP/s320/jerkinhead+roof.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">The jerkinhead roof style of the Harriet Beecher</span></strong><br />
<strong><span style="font-size: small;">Stowe House, Hartford, Connecticut.</span></strong></td></tr>
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<strong>Jerkinhead roof--</strong>The Harriet Beecher Stowe House in Hart-ford, Connecticut has a hipped gable or jerkinhead. A jerk-inhead roof has a hipped ga-ble. Instead of rising to a point, the gable is clipped short and appears to turn downwards. The technique creates a less-soaring, more humble effect on residential architecture. A jerkinhead roof may also be called a Jerkin Head Roof, a Half-hipped Roof, a Clipped Gable, or even a Jerkinhead Gable. Jerkinhead roofs are sometimes found on American bungalows and cottages, small American houses from the 1920s and 1930s, and assorted Victorian house styles. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyd_iNEwx66td-KGab_9GAUaWufwsS6TCwvzWqFck5ntGUAw0UjkO4yR82_ZkA9vKK6uRytWskV2N9Oegc-7L5gmw5MutioZ40Fq1_-091Pr-Kw8kG_ukq2XR8cycTV0d-VS_ATstfjPlZ/s1600/truss+typesjpg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="340" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyd_iNEwx66td-KGab_9GAUaWufwsS6TCwvzWqFck5ntGUAw0UjkO4yR82_ZkA9vKK6uRytWskV2N9Oegc-7L5gmw5MutioZ40Fq1_-091Pr-Kw8kG_ukq2XR8cycTV0d-VS_ATstfjPlZ/s1600/truss+typesjpg.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Factory made skeletal roof support designs. Notice they all rely heavily</strong></span><br />
<strong><span style="font-size: small;">upon the triangle for their strength.</span></strong></td></tr>
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There are any number of additional roof styles to numerous to mention. Some are derived from the ones depicted above, or are combination of the most common styles. Below you'll fine images which describe their various features more accurately than I can with mere words. Except for doors, roofs are the most important element in the house. The roof is the major determinant of a house's style, not just as shelter from the elements.<br />
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-63467303069783207612020-02-03T22:04:00.000-05:002020-02-03T22:04:07.541-05:00St. Paul's Cathedral<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/AVvXsEhCpSSa8BJnguo1WbZWZXvQ-0RjsZ3HvU_8CZzDvqHQVgUCczb832kL05izxEZgKk7x-Q5cokcFXHGsiBe87ghI0w3e50kYE9aVYZNvUEpHLN-ZBjy0oR2mcOlCQrKwkKP-FB8qUoHeoTQA/s1600/night-falls-over-st_-paul-s-cathedral%252C-london.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="365" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpSSa8BJnguo1WbZWZXvQ-0RjsZ3HvU_8CZzDvqHQVgUCczb832kL05izxEZgKk7x-Q5cokcFXHGsiBe87ghI0w3e50kYE9aVYZNvUEpHLN-ZBjy0oR2mcOlCQrKwkKP-FB8qUoHeoTQA/s1600/night-falls-over-st_-paul-s-cathedral%252C-london.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Night falls over St. Paul's Cathedral in London.</strong></span><br />
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<span style="font-size: small;">Over the past fifty years I've visited several big churches. Now my numerous health problems and my wife (mostly the latter) have forced me to limit my travels to three-hour road trips to the Cleveland Clinic. There aren't many world-class churches along I-75 so it's unlikely I'll visit any more. Starting with the </span><a href="https://art-now-and-then.blogspot.com/2013/10/washington-national-cathedral.html"><span style="font-size: small;">National Cathedral</span></a><span style="font-size: small;"> in Washington, D.C. some fifty years ago, each, for various reasons, have left a lasting impression. The most impressive was </span><a href="https://art-now-and-then.blogspot.com/2015/06/sagrada-familia-of-barcelona.html"><span style="font-size: small;">La Sagrada Familia</span></a><span style="font-size: small;"> in Barcelona, Spain, which is not actually a cathedral at all but simply a huge church. Close runners-up would </span><a href="https://art-now-and-then.blogspot.com/2017/08/old-st-peters-basilica.html"><span style="font-size: small;">St. Peter's Basilica</span></a><span style="font-size: small;"> in Rome and </span><a href="https://art-now-and-then.blogspot.com/2013/03/notre-dame-de-paris.html"><span style="font-size: small;">Notre Dame in Paris.</span></a><span style="font-size: small;"> Strangely enough, the most recent (and final) cathedral I've visited did not seem to me to be all that impressive. St. Paul's Cathedral in London is huge, ornate, and architecturally significant, but it did not seem to me to be in the same class as most of the others.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5M2pHnlFjG-JP4eQwtB-fYxommAv3sru-pqBRJt_UU18N1cU0CpuDp5OJnS1_E0BbAZLYaWujt7OF9taLH6TtT8ohcDER_tJa-1bqdgozGicRydbYGXQllQPCw648Gm7kvNZ4bDcjOTn0/s1600/Revision+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5M2pHnlFjG-JP4eQwtB-fYxommAv3sru-pqBRJt_UU18N1cU0CpuDp5OJnS1_E0BbAZLYaWujt7OF9taLH6TtT8ohcDER_tJa-1bqdgozGicRydbYGXQllQPCw648Gm7kvNZ4bDcjOTn0/s1600/Revision+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Wren revised his design for St. Paul's Cathedral numerous times.</strong></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Sir Christopher Wren</strong></span></td></tr>
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St. Paul Cathedral is unique due to the fact that, although it was constructed over a period of some thirteen years (1707-20), it was totally designed by just one man, <a href="https://art-now-and-then.blogspot.com/2011/09/christopher-wren.html">Sir Christopher Wren</a>. Wren came by his commission due to a tragic accident. In the 1666 the Great Fire of London gutted Old St Paul's (below). While it might have been possible to reconstruct it, a decision was taken to build a new cathedral in a modern style. This course of action had been proposed even before the fire. As early as 1661 (before the fire) Wren had planned to replace Old St. Paul's dilapidated tower with a dome, using the existing structure as a scaffold. He produced a drawing of the proposed dome which shows his idea that it should span nave and aisles at the crossing. After the Fire, it was at first thought possible to retain a substantial part of the old cathedral, but ultimately the entire structure was demolished in the early 1670s. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Old St. Paul's Cathedral was originally a Gothic structure.</strong></span></td></tr>
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The result was the present St Paul's Cathedral, still the second largest church in Britain, with a dome proclaimed as the finest in the world. The building was financed by a tax on coal, and was completed within its architect's lifetime with many of the major contractors engaged for the duration. The "topping out" of the cathedral (when the final stone was placed on the lantern) took place on 26 October 26, 1708, performed by Wren's son Christopher Jr and the son of one of the masons. The cathedral was declared officially complete by Parliament on 25 December 1711 (Christmas Day). In fact, construction continued for several years after that, with the statues on the roof added in the 1720s. In 1716 the total costs amounted to £1,095,556 (£161 million or $213,775,800 in 2018) completed within its architect's lifetime with many of the major contractors engaged for the duration.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>One of the earliest photographs of the cathedral. It dates from sometime before 1860.</strong></span></td></tr>
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St Paul's Cathedral, London, is an Anglican cathedral, the seat of the Bishop of London and the mother church of the Diocese of London. It sits on Ludgate Hill, the highest point in the City Its dedication to Paul the Apostle dates back to the original church on this site, founded in AD 604. The cathedral is one of the most famous and recognizable sights of London. Its dome, framed by the spires of Wren's other city churches, has dominated the skyline for over 300 years. At 365 feet (111 meters) high, it was the tallest building in London from 1710 to 1967. The dome is among the highest in the world. St Paul's is the second-largest church building in area in the United Kingdom after Liverpool Cathedral. Services held at St Paul's have included the funerals of Admiral Nelson, the Duke of Wellington, Sir Winston Churchill and Margaret Thatcher; jubilee celebrations for Queen Victoria; peace services marking the end of the First and Second World Wars; the wedding of Prince Charles and Lady Diana Spencer; the launch of the Festival of Britain; and the thanksgiving services for the Silver, Golden, and Diamond Jubilees celebrating the 80th and 90th birthdays of Queen Elizabeth II. The cathedral is a working church with hourly prayer and daily services. The tourist entry fee at the door is £20 for adults as of January 2019, (cheaper online). No charge is made to worshippers.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2G-gyfgt4-6jEb6DgK4RteELE38JANnzvsF5IHB6qxfqxFxdYdP3_nT-ld7DN9YUNcxS8PVRyDddAZMaWzX_KvrM7mzV2oyQaII3ADf77jImEYniPuXJxRJjpGdmxu-HPjevpMDgyRZaS/s1600/st-pauls-blitz.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="326" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2G-gyfgt4-6jEb6DgK4RteELE38JANnzvsF5IHB6qxfqxFxdYdP3_nT-ld7DN9YUNcxS8PVRyDddAZMaWzX_KvrM7mzV2oyQaII3ADf77jImEYniPuXJxRJjpGdmxu-HPjevpMDgyRZaS/s1600/st-pauls-blitz.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>St. Paul's Cathedral after the London blitz of WW II.</strong></span></td></tr>
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During WW II, the iconic St Paul's Survived the Blitz although struck by bombs on October 10, 1940 and April 17,1941. The first strike destroyed the high altar, while the second strike on the north transept left a hole in the floor above the crypt. The latter bomb is believed to have detonated in the upper interior above the north transept and the force was sufficient to shift the entire dome laterally by a small amount. On September 12, 1940, a time-delayed bomb that had struck the cathedral was successfully defused and removed by a bomb disposal detachment of Royal Engineers. Had this bomb detonated, it would have totally destroyed the cathedral; it left a 100-foot (30-meter) crater when later remotely detonated in a secure location Extensive copper, lead, and slate renovation work was carried out on the Dome in 1996 and in June, 2011, a 15-year restoration project—one of the largest ever undertaken in the UK was completed.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Wren's final design floor plan of St. Paul's Cathedral.</strong></span></td></tr>
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In designing St. Paul's, Christopher Wren had to meet many challenges. He had to create a fitting cathedral to replace Old St. Paul's, as a place of worship and as a landmark within the City of London. He had to satisfy the requirements of the church and the tastes of a royal patron, as well as respecting the essentially medieval tradition of English church building which developed to accommodate the liturgy. Wren was familiar with contemporary Renaissance and Baroque trends in Italian architecture and had visited France, where he studied the work of François Mansart. Wren's third design is embodied in the "Great Model" of 1673. The model, made of oak and plaster, cost over £500 (approximately £32,000, or $42,000 today) and is over 13 feet (4 m) tall and 21 feet (6 m) long. This design retained the form of the Greek-Cross design but extended it with a nave. Another problem was that the entire design would have to be completed all at once because of the eight central piers that supported the dome, instead of being completed in stages and opened for use before construction finished, as was customary. The Great Model was Wren's favorite design; he thought it a reflection of Renaissance beauty. After the Great Model, Wren resolved not to make further models and not to expose his drawings publicly, which he found did nothing but "lose time, and subject [his] business many times, to incompetent judges". The Great Model survives and is housed within the Cathedral itself. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Structural drawing of Wren's</strong></span><br />
<strong><span style="font-size: small;">design for St. Paul's dome.</span></strong></td></tr>
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Another of the design problems that confronted Wren was to create a landmark dome, tall enough to visually replace the lost tower of St Paul's, while at the same time appearing visually satisfying when viewed from inside the building. Wren planned a double-shelled dome, as at St Peter's Basilica. His solution to the visual problem was to separate the heights of the inner and outer dome to a much greater extent than had been done by Michelangelo at St Peter's, drafting both as catenary curves, rather than as hemispheres. Between the inner and outer domes, Wren inserted a brick cone which supports both the timbers of the outer, lead-covered dome and the weight of the ornate stone lantern that rises above it. Both the cone and the inner dome are 18 inches thick and are supported by wrought iron chains at intervals in the brick cone and around the cornice of the peristyle of the inner dome to prevent spreading and cracking. The final& design showed external buttresses on the ground floor level. These were not a classical feature and were one of the first elements Wren changed. Instead he made the walls of the cathedral particularly thick to avoid the need for external buttresses altogether. The clerestory and vault are reinforced with flying buttresses, which were added at a relatively late stage in the design to give extra strength. These are concealed behind the screen wall of the upper story, which was added to keep the building's classical style intact, to add sufficient visual mass to balance the appearance of the dome and which, by its weight, counters the thrust of the buttresses on the lower walls.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The interior of St. Paul's Cathedral as seen from the dizzying height of the dome.</strong></span></td></tr>
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I think one reason St. Paul's Cathedral did not seem as impressive as some of the other churches and cathedral's I've visited was the fact that I was there on a rainy, heavily overcast day. Churches such as St. Paul's need light. Any interior as large as St. Paul's cannot possibly be lit effectively. Add to that Wren's infatuation with the Baroque naturally entails a certain massive "heaviness," with smaller windows and fewer of them than the Gothic or Gaudi's La Sagrada Familia.</div>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-76709021803286700982020-01-27T00:01:00.000-05:002020-01-27T00:01:10.930-05:00The Color Green<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The meanings of green.</strong></span></td></tr>
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Now that we've explored all the primary colors--<a href="https://art-now-and-then.blogspot.com/2019/08/the-color-red.html">red</a>, <a href="https://art-now-and-then.blogspot.com/2019/05/the-color-blue.html">blue</a>, and <a href="https://art-now-and-then.blogspot.com/2019/11/the-color-yellow.html">yellow</a>--it's time to move on to the secondary colors--green, orange, and violet. And inasmuch as green is said to be everyone's second favorite color after blue, let's start there. Being a secondary color such as green, there are two different approaches available. The first is like that of the primary colors, the use of the natural pigments of that color. The second is quite different, that being the combining of various blue and yellow pigments to form some type of green. And since there are thousands of combinations and variations possible in doing so, this method is far more complex and far beyond the scope of this discourse. There is a third method, and one quite possibly used more often than not--the "adjusting" of a naturally green pigment with (usually) either blue or yellow pigments. The possibilities are endless, which means that doing so is also far too complex to deal with here. Let it be said, though, that many artists and connoisseurs prefer the latter two means of obtaining green hues. Therefore, in keeping things "simple," let's explore various green pigments.</div>
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<strong><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Copyright, Jim Lane</span></strong></div>
<span style="font-size: small;"><strong><em>Buddha,</em> 1970, Jim Lane. One of my own excursions into the world of greens</strong></span><br />
<strong><span style="font-size: small;">relying heavily on chrome oxide.</span></strong></td></tr>
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As the "word cloud" at the top suggests, the color green is a relaxing color that is pleasing to the eye and is said to have healing powers. It is often used to represent anything that has to do with health. Many pharmaceutical and nutritional companies use a green color meaning in their logos and their material to advertise safe and natural products. Green is the color of nature and health. It represents growth, nature, money, fertility and safety. Dark green is often associated with the military, monetary, financial and banking businesses. The color green is full of balance and harmony. From a color psychology perspective, it’s the color green, that puts heart and emotions in balance, and equals head and heart. The green color is an emotionally positive color, which gives us the ability to love and care for ourselves and others unconditionally. As a natural peacemaker, green avoids the tendency to be a martyr. The color green loves to observe, is a good listener and counselor, and would make a good social worker. Green loves to contribute to society. It likes to work with charity and is a good parent and a helpful neighbor.<br />
Explore green color meaning</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSepGpPFWi8s9D8bSkn9cNeNAsJYLRE7uq3c7yGgr4N7YF8eLsYucDctTEaTkBVWxnBDd9gHaxuYDc1pkJwikTJJH0w3e00UiuQDsK8K94Ua0_4-EUM8CnWb-I7KBjyQaLKMpQse1evTO6/s1600/Shades+edit.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSepGpPFWi8s9D8bSkn9cNeNAsJYLRE7uq3c7yGgr4N7YF8eLsYucDctTEaTkBVWxnBDd9gHaxuYDc1pkJwikTJJH0w3e00UiuQDsK8K94Ua0_4-EUM8CnWb-I7KBjyQaLKMpQse1evTO6/s1600/Shades+edit.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Some of the more popular shades of green.</strong></span></td></tr>
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As a combination of the color yellow and the color blue, the color green get its mental clarity and optimism from the yellow color, with the emotional tranquility and insight from the blue color. It gives more hope than any other colors. The color green has a strong sense of right and wrong, and a good judgment. It sees both sides of the case, weighs them up, and then take the moral and appropriate decision. On the negative side, the green color can be judgmental and overly cautious. The color green promotes love of nature, family, friends, pets and home. It is the color of people who love being in the garden, at home, or being a good host. But green color meaning can also be associated with being new or inexperienced. The color green is becoming a very popular color for new website designs. The words Shades of Green are synonymous with or represent various shades of the color green: apple, aquamarine, beryl, chartreuse, emerald, fir, forest, grass green, jade, kelly green, lawn green, leaf green, lime, mint, moss, olive, olive drab, pea green, pine, sage, sap, sea green, seafoam, spring green, and viridian none of which are well defined. (some samples of which can be seen above).</div>
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Natural Green Pigments are an important part of any artist's palette. In such mediums as egg tempera and fresco they are indispensable. Green Earth Pigments are rare and often very weak in tinting strength and coverage. Mineral Green Pigments are often made from semi-precious stones. Below are listed some of the most common green pigments:<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LGWg2kEIVCZYJq-ud5Qx1vvhurE_QlRuVHMevBMblFFw1ESc0GVrDxTrw7ENxa16maJ750HrZpfDi28V_K90b4NjH79C3myuw8XnY9gqKW7rvrbZuaQDUBsCsZGioXapngxw-BM2ulZU/s1600/phthalo-green-organic-pigments.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"> </a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LGWg2kEIVCZYJq-ud5Qx1vvhurE_QlRuVHMevBMblFFw1ESc0GVrDxTrw7ENxa16maJ750HrZpfDi28V_K90b4NjH79C3myuw8XnY9gqKW7rvrbZuaQDUBsCsZGioXapngxw-BM2ulZU/s1600/phthalo-green-organic-pigments.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="486" data-original-width="486" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LGWg2kEIVCZYJq-ud5Qx1vvhurE_QlRuVHMevBMblFFw1ESc0GVrDxTrw7ENxa16maJ750HrZpfDi28V_K90b4NjH79C3myuw8XnY9gqKW7rvrbZuaQDUBsCsZGioXapngxw-BM2ulZU/s200/phthalo-green-organic-pigments.jpg" width="200" /></a><br />
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<strong>Phthalocyanine green is derived from phtha-locyanine blue by chlorination in the presence of aluminum trichloride. Due to the presence of strongly electronegative chlorine substituents, the absorption spectrum is shifted from that of the parent copper phthalocyanine. Phthalo green is highly stable and resistant to alkali, acids, solvents, heat, and ultraviolet radiation.</strong> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaGCwKv_oiU9ftgkGKfzTfqtBrP8p2LbBaOMWVqGgOpkA2LT3_zXDrO4uuOhXMdAtuYESxOCN_dPPbSc7FnOb8oia62nv3q7fLyRYIR-ebTpsOPcAaZjVLcYIkKLHsd4qMEkElNGavdbfR/s1600/Viridian+Green.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaGCwKv_oiU9ftgkGKfzTfqtBrP8p2LbBaOMWVqGgOpkA2LT3_zXDrO4uuOhXMdAtuYESxOCN_dPPbSc7FnOb8oia62nv3q7fLyRYIR-ebTpsOPcAaZjVLcYIkKLHsd4qMEkElNGavdbfR/s200/Viridian+Green.jpg" width="200" /></a></div>
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<strong>Viridian Green Pigment is transparent with good tinting strength, excellent lightfastness and high oil absorption with slow drying rate. It is stable in all media and has been used since 1900's. Toxicity is at a level B.</strong></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJmPM91Shptw8koylMMnVllaO6ZgUlOHmR8rD4e0la4S4LG2NVQJ9GcQD3Bh7iIjyiRSE3XzXyKLDKfXlQCjv8Q12TmepvkoWwquaCFUF5_pCf5I06zUMSsouNRz4IcAlgH1Za_IvI0zf3/s1600/chrome+green.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJmPM91Shptw8koylMMnVllaO6ZgUlOHmR8rD4e0la4S4LG2NVQJ9GcQD3Bh7iIjyiRSE3XzXyKLDKfXlQCjv8Q12TmepvkoWwquaCFUF5_pCf5I06zUMSsouNRz4IcAlgH1Za_IvI0zf3/s200/chrome+green.jpg" width="200" /></a></div>
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<strong>Chromium oxide (or chromia) is an inorganic compound which occurs naturally as the mineral eskolaite, and is found in chromium-rich tremolite skarns, metaquartzites, and chlorite veins. Eskolaite is also a rare component of chondrite meteorites. The mineral is named after Finnish geologist Pentti Eskola.</strong><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKZg_QUDCiFMt9UaFJuMzE4TbThT-u_2jgLjvUyuzdu8cmN7yG0HfNnuULtXZxuoYqmlaGL4WQJdJnrF03l6ELiodQPzV5G5lojr524F1-w5sauBlL-y6XOalWLG3eH3X1berkuXeV4WwA/s1600/Cobalt+Cobalt+Green-Pigment.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="360" data-original-width="360" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKZg_QUDCiFMt9UaFJuMzE4TbThT-u_2jgLjvUyuzdu8cmN7yG0HfNnuULtXZxuoYqmlaGL4WQJdJnrF03l6ELiodQPzV5G5lojr524F1-w5sauBlL-y6XOalWLG3eH3X1berkuXeV4WwA/s200/Cobalt+Cobalt+Green-Pigment.jpg" width="200" /></a></div>
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<strong>Cobalt green has a light fastness of 8 (graded 1-8) is weather resistant and non toxic. It is often used in paints, coatings, and plastic.</strong><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEjRgD2OwEJPvtFva8SWfy0zbJkyjoFUW37gs7qH7U8ApB4k_BgyfcJbJIjVoWTo0cpKsM409ExHXnW3kdovAtDdqFc9gp2H3f30Awukjg0ub83_LT8zJ3Q0lQH2s8oYj0V-JammLMr3BD/s1600/tavush+green.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEjRgD2OwEJPvtFva8SWfy0zbJkyjoFUW37gs7qH7U8ApB4k_BgyfcJbJIjVoWTo0cpKsM409ExHXnW3kdovAtDdqFc9gp2H3f30Awukjg0ub83_LT8zJ3Q0lQH2s8oYj0V-JammLMr3BD/s200/tavush+green.jpg" width="200" /></a></div>
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<strong>Tavush Green Earth is a greenish mineral of hydrated iron potassium silicate containing small amounts of aluminum, calcium, magnesium, sodium, and numerous trace elements. It is a bright green mineral that looks like tiny flakes of the mineral mica, or small lumps of clay. The color of glauconite varies considerably from pale green, bright green, bluish-green, olive-green, and black-green, depending upon its constituent elements. Tavush Green Earth is from the Tavush deposits of Armenia.</strong><br />
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Virtually all artist have worked with various green tones. And like every other color, some love the color green and its broad versatility in rendering summer foliage and other plant life. By the same token, there are others who detest all greens for various visual and psychological reasons. Few artists, however have excelled in the mastery of greens as the Impressionists, who insisted upon the purity of their own formula for green (often variations of cobalt blue and cadmium yellow light).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikUlxTS_R9-K6FBujchtUnn7QyS4vwelVp7QNzqMad88vdoY37K0_B2o3pYTzhvV1i0Q5pHIZz4UzPkKJVgpHoSTBtttLN7JZeE9I_6Nilhyphenhyphen4y-bp5G2d5NI422gSpSi4Y9n9kPLxVhR56/s1600/Van+Gogh+comiposite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="870" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikUlxTS_R9-K6FBujchtUnn7QyS4vwelVp7QNzqMad88vdoY37K0_B2o3pYTzhvV1i0Q5pHIZz4UzPkKJVgpHoSTBtttLN7JZeE9I_6Nilhyphenhyphen4y-bp5G2d5NI422gSpSi4Y9n9kPLxVhR56/s1600/Van+Gogh+comiposite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Wheatfields and Cyprus</em>. September 1889, Vincent van Gogh</strong></span></td></tr>
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Second only to his sunflowers and their inherent color of yellow, Vincent van Gogh seems to have loved the green derivative of yellow in every imaginable combination. In just over a decade he created about 2,100 artworks, including around 860 oil painting, most of which date from the last two years of his life. They include landscapes, still lifes, portraits, and self-portrait and are characterized by bold colors and dramatic, impulsive and expressive brushwork that contributed to the foundations of Modern Art. He was not commercially successful, and his suicide at age 37 came after years of mental illness and poverty. Some of his best landscapes depict the local wheatfields and Cyprus seen above.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpHW4Xapfb3Y6mtNqjg_pdMW8973JO8rBRpXYmOf5uJBI5gatXRvCQiGZbcMNRg-UDL5F6Y3mdsAqFHFqxM3dEWryZX7i3sJfX8iOKsZ8T0FwVFRByARCKlkaDo_1hbA0qLOQeanDxYV_7/s1600/he+Green+Line+%2528Portrait+of+Madame+Matisse%2529+1905.Henri+Matisse.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="602" data-original-width="470" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpHW4Xapfb3Y6mtNqjg_pdMW8973JO8rBRpXYmOf5uJBI5gatXRvCQiGZbcMNRg-UDL5F6Y3mdsAqFHFqxM3dEWryZX7i3sJfX8iOKsZ8T0FwVFRByARCKlkaDo_1hbA0qLOQeanDxYV_7/s320/he+Green+Line+%2528Portrait+of+Madame+Matisse%2529+1905.Henri+Matisse.jpg" width="249" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The Green Line (Portrait of Madame </strong></span><br />
<span style="font-size: small;"><strong>Matisse) <span style="font-size: small;"><strong>1905. Henri Matisse</strong></span></strong></span></td></tr>
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In this iconic, indeed famous work, Matisse painted a portrait of his wife (right) with the two halves of her face in different colors, one approximating to flesh tones and other in yellowish greens. A green stripe sep-arates the two halves. Much has been written on this work, rightly seen as the opening salvo in the battle for modern art, and much is clearly untrue, e.g. "The Green Stripe is an embodiment of every-thing that Matisse himself and the Fauve movement stood for: the lyrical use of color to create 'an art of balance, purity, and serenity.'" Similarly, statements like 'His mastery of the expressive language of color and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art' also need to be seen in context. <br />
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Certainly colors are being used for emotional effect, but 'the green for jealousy' is an argument for naivety. Painters had developed a much more effective vocabulary by traditional means of representation. There is some balance in the work but there is no 'purity' or 'serenity'. The drawing is crude, and the colors are brash. The muddle in the center right has not been resolved: some heavy use of black was needed to continue the strong outline, but the muddy green of the background is most charitably called an improvisation, as are the other four panels when examined in detail, the purple, red and green of the background and the red dress. They are not attractive in themselves, and do not interact with any subtlety. 'Fauves', or 'wild beasts' was an apt term for work that intended painting to start on new foundations.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Woman Walking in an Exotic Forest,</em></strong></span><br />
<span style="font-size: small;"><strong>1905, Henri Rousseau</strong></span></td></tr>
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When asked where he learned so much about the jungle, Rousseau commented on his army years spent in Mexico; however, art historians agree that this was a fabrication. Garden plants and tropical vegetation combine in monstrous or eerily miniscule forms, sometimes overwhelming the unlikely characters around them. To the right, dressed as a woman of the times, the figure stands amid a stage-like jungle surrounded by overgrown houseplants and dwarfed by trees which grow oranges bigger than her head. Combining the extravagant and the miniscule is a major point of Magical Realist art. For Rousseau and landscape painters like him, greens, in all their manifestations were an integral part of their artist's vocabulary.<br />
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-25392658329382106902020-01-20T00:01:00.000-05:002020-01-20T00:01:08.850-05:00 Bertoldo di Giovanni<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/AVvXsEgkuAhd5qKD9rFQlPUZT3wuChNV5J5fgCk015O0RhuVghLN7ilyzMfTYsrxjAHXwqZgC6t7u2LEBpOr5fMGfM8k_s_Xl0O4MF1pgiBXVnEesE4V15K-me7E6IA6ZFC02W9xcxjCslryM1au/s1600/HSLHBIX1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="367" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkuAhd5qKD9rFQlPUZT3wuChNV5J5fgCk015O0RhuVghLN7ilyzMfTYsrxjAHXwqZgC6t7u2LEBpOr5fMGfM8k_s_Xl0O4MF1pgiBXVnEesE4V15K-me7E6IA6ZFC02W9xcxjCslryM1au/s1600/HSLHBIX1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Shield Bearer</em>, 1470-80, Bertoldo di Giovanni</strong></span></td></tr>
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It's always difficult to say whether the outstanding success of an artist is the result of outstanding art instruction or simply hard work, talent, and persistence on the part of the individual. Both are, of course, important and the answer to that question may well be simply an exercise in intellectual rhetoric, in fact of little importance. Bertoldo di Giovanni was a pupil of the famous early Renaissance sculptor, <a href="https://art-now-and-then.blogspot.com/2011/08/ddonatello.html">Donatello</a>. He worked in Donatello's workshop for many years, completing Donatello's unfinished works after his death in 1466, for example the bronze pulpit reliefs from the life of Christ in the Basilica di San Lorenzo di Firenze in Florence. The trademark style of Donatello is easily discernable in Bertoldo's <em>Orpheus</em>, (below left) dating from 1471 (before Donatello's death) and in his <em>Hercules with the Apple </em><span style="font-size: small;"><em>of the Hesperides</em>, (below, right) from the period 1470-75, (near the time of his master's death). Bertoldo's <em>Shield Bearer</em> (above) is also from this period.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAPrOVmUtg4rZRvIqpcVyS1wj4EWJaYbC7PQz3S5Q06WHr55vHEc5P0omEJekwk680dtM63wBxRbXOlnoOA8ywOa6dKpC1j6PbmYP85LU_zv8riQa83xwfLxov84e61Qj_SsClQOsI-qCj/s1600/Statuette+of+Orpheus%252C1471%252C+Bertoldo+di+Giovanni.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="689" data-original-width="350" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAPrOVmUtg4rZRvIqpcVyS1wj4EWJaYbC7PQz3S5Q06WHr55vHEc5P0omEJekwk680dtM63wBxRbXOlnoOA8ywOa6dKpC1j6PbmYP85LU_zv8riQa83xwfLxov84e61Qj_SsClQOsI-qCj/s400/Statuette+of+Orpheus%252C1471%252C+Bertoldo+di+Giovanni.jpg" width="202" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Statuette of Orpheus,</em></strong></span><br />
<span style="font-size: small;"><strong>1471,<span style="font-size: small;"><strong> Bertoldo di Giovanni</strong></span></strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWGzoxgZL7MyGKSwGW5So4-nKwb5tl26hcTuz4tKhv06ORHP3vj95W3cTFfbtCKdf6eTbro-uNYbh6amOYzHfqtlYQDWjKfp3vPFBLeGyf8KgDrVUpFA9EKLkDqbvNP5nW5eGGptsp8HOt/s1600/Hercules+with+the+apple+of+the+Hesperides%252C+1470-75.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="695" data-original-width="350" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWGzoxgZL7MyGKSwGW5So4-nKwb5tl26hcTuz4tKhv06ORHP3vj95W3cTFfbtCKdf6eTbro-uNYbh6amOYzHfqtlYQDWjKfp3vPFBLeGyf8KgDrVUpFA9EKLkDqbvNP5nW5eGGptsp8HOt/s400/Hercules+with+the+apple+of+the+Hesperides%252C+1470-75.jpg" width="201" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-size: small;"><em><strong>Hercules with the Apple </strong></em></span><br />
<strong><span style="font-size: small;"><em>of the Hesperides</em>, 1470-75,</span></strong><br />
<strong>Bertoldo di Giovanni</strong></span></td></tr>
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Although Bertoldo was a better than average pupil, Donatello was in no danger of being eclipsed by his young assistant. That is <i>not</i> the case however with one of Bertoldo's pupil's. Bertoldo became the head of and primary teacher of the informal academy for painters and in particular for sculptors, which Lorenzo de' Medici had founded in his garden. At the same time, Bertoldo was also the custodian of the Roman antiquities there. Though Bertoldo was not a major sculptor, some of the most significant sculptors of their time attended this school, such as Baccio da Montelupo, Giovanni Francesco Rustici, Jacopo Sansovino, and most importantly, a young man named <a href="https://art-now-and-then.blogspot.com/2013/05/two-of-kind.html">Michelangelo Buonarotti. </a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC66nap64nDc72FkbYnoHzAEOERO5T8C6mrQhWpkzZDhSCUYVmBCVDePb5EmQbIs2upqphslRdasiWPL0mWKT41p-rQP1Teu39fGPzNtms8m56yyKvFhCj2T7r-1iKveNxN7YAaM0mO2Im/s1600/bertoldo_di_giovanni.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="397" data-original-width="290" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC66nap64nDc72FkbYnoHzAEOERO5T8C6mrQhWpkzZDhSCUYVmBCVDePb5EmQbIs2upqphslRdasiWPL0mWKT41p-rQP1Teu39fGPzNtms8m56yyKvFhCj2T7r-1iKveNxN7YAaM0mO2Im/s320/bertoldo_di_giovanni.jpg" width="233" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Bertoldo di Giovanni</em></strong></span></td></tr>
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In 15th-century Florence, Lorenzo de’ Medici financed the Medici Sculpture Garden, an academy for artists that is recognized as one of the most important gathering places in Western art history. The garden was an oasis of Roman marvels enveloped by the cloisters of the Convent at San Marco. In the center of that garden was a sculpture (possibly one of those mentioned above) which attracted Ber-toldo's ambitious, talented, and most prom-ising young student--Michelangelo--inspiring him to study antiquity and produce art for noble patrons.</div>
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The Medici family, who ruled Florence for over three centuries, were the period’s most important patrons. Bertoldo occupied a privileged position at the center of the political and aesthetic landscape of Florence. In working for the patron that is the tastemaker of the city, the position gave Bertoldo a bit of artistic freedom, putting him at the center of the dialogue between ancient arts and literature.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFYPxfPuAZa0o4BnKe6KBEsbjMvmSOSfAUJVgaZ65JbNMgKl0DO6zQ9-7nR9oHC48p1agSkg8kyPux9Dh8TO58pgr_DsUcLqTrBKdwAQI3MKaYnJnOZZacg11riSSgIxprAJPEVTlhabki/s1600/Battle+with+Hercules%252C+1478%252C+Bertoldo+Di+Giovanni.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="244" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFYPxfPuAZa0o4BnKe6KBEsbjMvmSOSfAUJVgaZ65JbNMgKl0DO6zQ9-7nR9oHC48p1agSkg8kyPux9Dh8TO58pgr_DsUcLqTrBKdwAQI3MKaYnJnOZZacg11riSSgIxprAJPEVTlhabki/s1600/Battle+with+Hercules%252C+1478%252C+Bertoldo+Di+Giovanni.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Battle with Hercules,</em> 1478, Bertoldo Di Giovanni</strong></span></td></tr>
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With the Medici family behind him and their vibrant art collection at his fingertips, Bertoldo was free to produce art of the highest quality. Bertoldo’s mastery of bronze and skillful reimagining is embodied by a show-stopping battle scene (above, ca. 1478). While the piece mimics the format and subject of classical sarcophagi, it achieves a new level of robust dynamism. The triumphant Roman warriors and their horses rise to the top of the jumbled mass as their barbarian foes suffocate beneath them. Lorenzo entrusted Bertoldo to cultivate the next generation of Renaissance geniuses as the principal educator and curator at the Medici Sculpture Garden. A young Michelangelo was among Bertoldo’s pupils who would become one of the most celebrated artists in history. Little did Bertoldo know that the same pupil that would bring his school great glory would also lead to the destruction of his own legacy.</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Bellerophon and Pegasus</em>, 1486, Bertoldo di Giovanni</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Michelangelo celebrated and fashioned himself as a self-taught artist who was divinely blessed with his abilities, and therefore obviously Bertoldo would not have played a role in the narrative that he was constructing for himself. Michelangelo is very explicit that no one gave him real training,” Noelle said. The eclipsing of Bertoldo’s legacy was intensified by his death in 1491 and the death of his patron Lorenzo months later. In the 16th century, Giorgio Vasari wrote the foundational text of Italian art history—<i>Lives of the Artists </i>(1550)—and left Bertoldo out of his manuscript almost entirely, having everlasting effects on Bertoldo’s reputation. When you have Michelangelo himself erasing Bertoldo, and when you have a founding art historian (especially an Italian one) negating Bertoldo’s role, coupled with the exile and fall of the Medici, it didn’t create a good environment for Bertoldo’s artwork.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCugzhl_AIhiQ6RdhqaAAB3-Mk5xkfL85ctLRIcbAYI8RqFZR1YxDpevfJEkJMhVpIzqhnzjFCez0jRwhNxKM-i8yilz69Zma1wF1j06WdvfOBDwjVoRQeNsh94tWjhESul8WAC3OMVp-/s1600/Madonna+of+the+Stairs%252C+1491%252C+Michelangelo.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="626" data-original-width="450" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCugzhl_AIhiQ6RdhqaAAB3-Mk5xkfL85ctLRIcbAYI8RqFZR1YxDpevfJEkJMhVpIzqhnzjFCez0jRwhNxKM-i8yilz69Zma1wF1j06WdvfOBDwjVoRQeNsh94tWjhESul8WAC3OMVp-/s320/Madonna+of+the+Stairs%252C+1491%252C+Michelangelo.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Madonna of the Stairs</em>, 1491, </strong></span><br />
<span style="font-size: small;"><strong>Michelangelo</strong></span></td></tr>
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As one of Giovanni’s most outstanding students Michelangelo, at the age of 15, was invited to stay at the palace and study under Giovanni. While at the school under Giovanni’s instruction Michelangelo’s work included two marble reliefs, <em>Madonna on the Stairs</em> (right) and <i>Battle of the Centaurs</i>. <i>Madonna of the Stairs</i> is a piece that shows much influence from Donatello’s low relief. <em>Battle of the Centaurs</em> (below. left) is a variation of a bronze piece that Giovanni had created, <i>Battle of the Horsemen </i>which Giovanni seemed to have based on an ancient manuscript. While the structure and training process of the school is unknown, it most certainly would have been an educational and inspirational environment in which to learn.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNE8xd26roqbUvLtvOPm2gIErEEZztuChCW7Prlh3dAW7wEmy3Sf8z8kLLXi22B0ZM_sQsJ5UToGOIENk-U9aEx2NpyeGj8Qn0VM5Q_rTYv0CdiR2UeJ_Pxy4JZ1E9uyhGHZoOsB6I2CPm/s1600/Michelangelo%252C_centauromachia%252C_1492_ca__01.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="525" data-original-width="550" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNE8xd26roqbUvLtvOPm2gIErEEZztuChCW7Prlh3dAW7wEmy3Sf8z8kLLXi22B0ZM_sQsJ5UToGOIENk-U9aEx2NpyeGj8Qn0VM5Q_rTYv0CdiR2UeJ_Pxy4JZ1E9uyhGHZoOsB6I2CPm/s320/Michelangelo%252C_centauromachia%252C_1492_ca__01.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Battle of the Centaurs,</em> 1492, Michelangelo</strong></span></td></tr>
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In the final analysis, we come to the age-old quandary as to whether a young person is more influenced by nurture (Bertoldo's instruction) or by nature (Michelangelo's innate talent). Initially Vasari and es-pecially Michelangelo himself considered his own efforts as solely responsible for his fame--sheer genius--nothing else. It has only been in more recent years that art scholars have chosen to take a closer look at the other side of the coin. That inspiration was at least as important in Mich-elangelo's case as "perspiration." </div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"></span></strong><span style="font-size: small;"><strong><em>Lorenzo de-Medici il Magnifico,</em> </strong></span><br />
<span style="font-size: small;"><strong>Bertoldo di Giovanni.</strong></span></td></tr>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-26325851925859950202020-01-13T00:01:00.000-05:002020-01-13T00:01:05.715-05:00Leonardo in Depth<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/AVvXsEgg1Zo-VlPSQT8KWsXcXdyZ42T80syR8qCHIDQDuW1arPSQdWfbZSZuyepCSXi7-8IGjCvuWU0GtTne8LIT5S6nL3e_6eNClsEGKJ35NYQ9CD5V2g99ZyLAAZ0r4tHLRXr7pYF3A25K3uRe/s1600/Comparison+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg1Zo-VlPSQT8KWsXcXdyZ42T80syR8qCHIDQDuW1arPSQdWfbZSZuyepCSXi7-8IGjCvuWU0GtTne8LIT5S6nL3e_6eNClsEGKJ35NYQ9CD5V2g99ZyLAAZ0r4tHLRXr7pYF3A25K3uRe/s1600/Comparison+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Juxtaposing the two versions of Leonardo's masterpieces </strong></span><br />
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The next time you find yourself in a group discussing art, try dropping the word "synesthesia." Nine times out of ten, you'll be the only one in the room who has ever heard the word before, and almost certainly the only one who can define and understand its full meaning. Synesthesia is a blending or interchanging of sensory experiences. For instance, synesthetes might be able to "smell" or "hear" colors. Gershwin's <em>Rhapsody in Blue</em> would be a good example. Although the word is not commonly used, when it is, all too often it has been co-opted, considered ‘cool,’ and/or used as a kind of vague sensory metaphor for any and all aesthetic experiences much like OCD when used conversationally to describe any mildly neurotic behavior. As applied to art, which is virtually all-visual synesthesia points toward a broad yearning for a more multi-sensory experience. Museums survive on this assumption. They permit a totally immersive experience, impossible to appreciate from a distance or from a book. You’ve got to step through the door, past the frame, and do more than just look. Leonardo's two versions of <em>Virgin of the Rocks</em> (above) is an excellent example of synesthesia. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Virgin of the Rocks,</em> (1495-1508), Leonardo da Vinci, </strong></span><br />
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In Milan, 1491, a frustrated Leonardo da Vinci began his second attempt at fulfilling a commission he’d received almost a decade earlier. The Confraternity of the Immaculate Conception had contracted him, in 1483, to produce an image of “Our Lady with her son...done in oil to perfection” as the center panel of a new altarpiece. Having arrived in Milan only the year before to offer his services to the Sforza family, Leonardo was eager to flex his talents. He was already famous in his hometown of Florence. But the work he initially offered, now in the Louvre, was rejected by the order. In 15th-Century Italy, contracts between painters and patrons were often very specific about the devotional content of the pictures. Patrons, not painters, decided what the image should be. At the same time, there was also great emphasis on the material elements of the image. Certain pigments, like ultramarine and gold were valued highly, and specified in the contract’s terms. By the later decades of the century, it was the artist’s individual skill which became prized, thus the emphasis on “done to perfection” in Leonardo’s contract with the Confraternity. This shift in the mid-1400s was seismic, and indeed paved the way for much of our value-system in modern art.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Washington's National Gallery encourages viewers to "absorb" </strong></span><br />
<span style="font-size: small;"><strong>Leonardo, not just "look and leave."</strong></span></td></tr>
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However, during the years when Leonardo labored so intensely on these two works, patrons were still very particular about what they wanted to have depicted. And so the two versions of Madonna of the Rocks constitute a physical record of a genius talent working within the professional confines of his time. It’s not in the chosen content, nor in the picture as a whole, that we find the particulars of Leonardo’s unmistakable and unmatchable mind. It’s in certain details of composition, technique, and painterly code that we can "feel" his singular vision. Leonardo’s Madonnas are ideal in addressing this totally immersive experience.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-size: small;"><strong><em>Virgin of the Rocks,</em> (1495-1508), Leonardo da Vinci, </strong></span><br />
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<em>The Virgin of the Rocks</em> is sometimes referred to as the <em>Madonna of the Rocks</em>) are of the same subject, and of a single composition which is identical except for several significant details. The version generally considered the prime version, the earlier of the two, is unrestored and hangs in The Louvre in Paris. The other (above), which was restored between 2008-2010, hangs in the National Gallery, London.(I've seen them both.) The paintings are nearly 2 meters (over 6 feet) high and are painted in oils. Both were originally painted on wooden panel, but the Louvre version has been transferred to canvas. The two paintings show the Madonna and child Jesus with the infant John the Baptist and an angel, in a rocky setting which gives the paintings their unusual name. The significant compositional differences are in the gaze and right hand of the angel. There are also many minor ways in which the works differ, including the colors, the lighting, the flora, and the way in which sfumato (haze) has been used. Although the date of an associated commission is documented, the complete histories of the two paintings are unknown, and lead to speculation about which of the two is earlier. The two paintings of the <em>Virgin of the Rocks</em>, are the same in subject matter and in overall composition, indicating that one is derivative of the other. The two paintings differ in compositional details, in color, in lighting and in the handling of the paint. Both paintings show a grouping of four figures, the Virgin Mary, the Christ child, the infant John the Baptist and an angel arranged into a triangular composition within the painting and set against a background of rocks, and a distant landscape of mountains and water. In both paintings, Mary makes the apex of the pyramidal figure group, stretching one hand to include John and raising the other above the head of the Christ child in a blessing. John kneels, gazing towards the Christ child with his hands together in an attitude of prayer. The Christ child sits towards the front of the painting, supported by the angel, and raising his right hand in a sign of Benediction towards the kneeling John. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Compositional diagram, <em>Virgin of the Rocks</em> (Louvre version)</strong></span></td></tr>
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Compositionally, all the figures are slightly larger in the London painting than in the Louvre painting. The main compositional difference between the two paintings is that while in the London painting, the angel’s right hand rests on his/her knee, in the Louvre painting the hand is raised, the index finger pointing at John. The eyes of the angel are turned down in a contemplative manner in the London painting, but in the Louvre picture are turned to gaze in the general direction of the viewer. In the London painting, all the forms are more defined, including the bodily forms of the clothed figures. The rocks are painted in meticulous detail, while the forms of the background in the painting in the Louvre are all more hazy. The contrast between light and shade on the figures and faces in the London painting are all much sharper. The faces and forms in the Louvre painting are more delicately painted and subtly blurred by sfumato. The lighting in the Louvre painting is softer and appears warmer, but this may be the result of the tone of the varnish on the surface. In keeping with their conservative handling of Leonardo's works, the Louvre version has not undergone significant restoration or cleaning.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Angel musician side-panels by students of Leonardo (1490-95).</strong></span></td></tr>
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Two further paintings are associated with the commission: side panels each containing an angel playing a musical instrument and completed by associates of Leonardo. These are both in the National Gallery, London. The angel in red, is thought to be the work of Ambrogio de Predis while the angel in green is thought to be the work of a different assistant of Leonardo, perhaps Francesco Napoletano. In both cases the angel is standing in a grey painted niche. A reflectogram of the Angel in green with a Vielle revealed part of a painted landscape. The background of the Angel in red with a Lute could not be determined because the grey paint on that painting is thick and opaque. While it is commonly thought that the two angel panels were originally placed on either side of the central panel, an article published by the National Gallery suggests that they were placed higher up on the altarpiece.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Conjectural arrangement of the altarpiece images.</strong></span></td></tr>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-38941216913552539092020-01-06T00:01:00.000-05:002020-01-06T14:21:59.413-05:00Sabin Howard
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">The clay model for Sabin Howard's <em>A Soldier's Journey, </em></span></strong><br />
<strong><span style="font-size: small;">a large scale, high-relief sculptural "mural" to be installed </span></strong><br />
<strong><span style="font-size: small;">in Washington D.C. not far from the White House in 2024<em>.</em></span></strong></td></tr>
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For many Americans today, World War I carries little meaning. It was simply the war which came before World War II. In a sense, that's true in that the Treaty of Versailles, which ended the First World War. sewed the seeds of German discontent leading to WW II. (The last veteran of the First World War died in 2009 at the age of 111.) Some time ago I wrote on the <a href="https://art-now-and-then.blogspot.com/2018/12/the-pantheon-de-la-guerre.html">Panthéon de la Guerrea</a>, giant, French, wall mural honoring those who fought in World War I as well as their leaders. Cut down, restored, and heavily "edited" it now adorns the Liberty Memorial in Kansas City. Except for Arlington's original Tomb of the Unknown Soldier (now containing the unknown soldier remains of three American wars), this country seems to have consigned World War I to the dusty archives of military history.</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Sabin Howard poses before a clay model, which will eventually be cast in bronze.</span></strong></td></tr>
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The brilliant American sculptor, Sabin Howard, is twenty weeks into his work on the final modelling stage of <em>A Soldier’s Journey</em> (top), which will eventually become the United States’ National World War One Memorial. The 60 foot long figurative bronze was approved for installation in Pershing Park, next door to the White House in Washington, D.C. by the U.S. Commission of Fine Arts last May. Until now, Washington has had no official monument to the sacrifice of the American armed forces in the Great War. Howard's wife, novelist Traci Slatton in her book, <em>Truth Be Told</em>, details the planning process as “a real trial by fire.” The project had to be approved by <i>five</i> different government agencies in Washington. At first, the Commission of Fine Arts wanted to block the sculpture, and Howard thought the proposal might be dismissed, but adroit political maneuvering persuaded its members to sway. His proposal moved from concept to approval in record time, taking only two and a half years. In comparison, the radical architect Frank Gehry’s proposal for his memorial to General Eisenhower had taken <i>fifteen</i> years to arrive at the construction stage.</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Sabin Howard–A Soldier’s Journey, Initial Drawing, Eighteenth version.</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Howard’s sculpture painstakingly tells the dramatic story of a soldier’s journey to war and his return home, arranged cinematically in a sequence of scenes, which seamlessly blend together. Reading the narrative of the sculpture is an extraordinarily emotional experience. First, we see the soldier’s daughter handing him his helmet, and his departure from his wife is a scene of outstretched arms and high drama; he is encouraged to stride forward into the ranks by an officer, then charges headlong into battle, which is cleverly sculpted as a moment of violent intensity where some of his comrades fall, either dead or injured. Shellshock is perfectly captured in the form of the soldier facing directly out toward us, interrupting the flow of action from left to right, and forcing viewers to consider not only the horrible death experienced by many of the soldier’s comrades, but also his own experience of surviving that horror. Staggering from the violence, he is supported by female nurses, asw we witness him among the men marching home with stars and stripes aloft, and, in a moment of true pathos handing his helmet back to his daughter in the final scene. Thus, Howard’s cathartic sculpture honors not only the dead heroes of the war, but also memorializes the commitment of the families who were left behind and the trauma of the soldiers who returned transformed by their awful experiences. It emphasizes unfashionable but honorable traditional values such as duty, self-sacrifice, service to the nation, and the family. Howard says it will be “a visceral experience” for the hundreds of thousands of people who will see it. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A scale drawing of the final segment of the sculpture.</strong></span></td></tr>
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With the approval of the Commission of Fine Arts, the work of creating the full-size sculpture began. The figures were scanned from real-life military re-enactors, whose three-dimensional forms were captured using 3D photogrammetry at the Pangolin Editions foundry in Stroud, England. These scans were used to make full size 3D prints Of course, these prints are crude and lack the detail and vigor of a finished work, so they were shipped in a container from England to Howard’s New Jersey atelier, where he and two skilled assistants now work with their hands in clay on the final modelling stage. Howard says this stage will transform the scans, which resemble figures at Madame Tussaud’s wax museum, into real artistry. </div>
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There is a personal family connection in Howard's work. His daughter Madeline is the model for the little girl who begins and ends the narrative, and his wife, novelist Traci Slatton, who is also the project manager for the sculpture, appears as a nurse in the parade scene. The narrative of the sculpture is based on Joseph Campbell's <em>Hero’s Journey</em>. Howard’s team has raised $35-million of the $40-million needed to complete A Soldier’s Journey. He is confident that the remaining funds will soon be gathered.</div>
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Model, Evelyne Christina Tonn </div>
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posing as the wife and mother. </div>
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It has taken over three years of hard work to get to the point of having the full-sized 3D armature prints, Howard hacks at the foam forms with a long knife, tearing off unsatisfactory chunks of the sculpture, tossing them aside, then reworking the figures with clay, carefully examining his models, who pose for him in replicas of WW I uniforms, their arms propped up with two by fours. Once the full-sized sculptural model is complete, it will be shipped in sections to Stroud, England, where the bronze will be poured.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>(From left to right) <em>Anger, Man,</em> and <em>Faces,</em> Sabin Howard</strong></span></td></tr>
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Sabin Howard was born in New York in 1963. His work has been featured in exhibitions at the Winfield Gallery and American Legacy Fine Arts as well as in articles for the <em>ARTnews,</em> <em>The Brooklyn Rail</em> and <em>The Epoch Times. </em>In his book, <em>The Art of Life</em>, which he co-wrote with his wife, Traci, Howard explores figurative sculpture from the earliest times to the present. In addition to his own work, Howard showcases the work of ancient and classical sculptors, including that of Michelangelo, Bernini, and Canova. The book also details Howard's clay-to-bronze process, his philosophy, and his drawings. <br />
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-67567178826423900612019-12-30T00:01:00.000-05:002019-12-30T00:01:01.108-05:00Beautiul Art Museums<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/AVvXsEhuo7aCugrWfH9dlVc8n0SF5vCeUCUrWdv5nsiIpBu78zDpTjQfqpl9sgiCb45jgsJaMQUkekatireFxKmJvkgkYz1C8eKLPYWs_TlG4KCdfzVId7RYm3gtWtnSrI8u_ER_YnyBnTp_WAcp/s1600/6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="355" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuo7aCugrWfH9dlVc8n0SF5vCeUCUrWdv5nsiIpBu78zDpTjQfqpl9sgiCb45jgsJaMQUkekatireFxKmJvkgkYz1C8eKLPYWs_TlG4KCdfzVId7RYm3gtWtnSrI8u_ER_YnyBnTp_WAcp/s1600/6.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Niterói Contemporary Art Museum, Niterói, Brazil</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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A few years ago I was fortunate enough to visit the <a href="https://art-now-and-then.blogspot.com/2013/06/the-guggenheim-new-york.html">Guggenheim Museum of Art</a> on New York City's Fifth Avenue. Aside from their display of a working solid gold toilet, the brainchild of contemporary artist Maurizio Cattela, I found the museum's art offerings decidedly underwhelming. However, I was not disappointed. I had taken time from my week of New York City museum hopping not to admire the Guggenheim's art but to take in Frank Lloyd Wright's architectural landmark with its upward swirls, sensuous curves, acute angles, and cavernous rotunda. I came face to face with a museum in which the architecture boldly competed with the art it displayed, and in fact, overwhelmingly won the competition. Ever since the museum first opened its doors on October 21, 1959, Wright's design and the museum itself have been controversial for that very reason. Moreover Wright's design broke the mold as to traditional museums of all kinds. Some critics, myself included, have often bemoaned this trend, but with few exceptions every art museum built since 1959 has shared the same trait. That having been said, perhaps it's time we stopped thinking of art museums as mere housing for the world's greatest art but instead accepted them as art masterpieces in their own right. The Guggenheim is as much an art masterpiece as the <em>Mona Lisa</em> or the ancient <em>Venus de Milo</em>.</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Solomon R. Guggenheim Museum, New York City, 1959, Frank Lloyd Wright.</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Overlooking Guanabara Bay, the Niterói Contemporary Art Museum (top) looks like something out of a science fiction film when viewed from afar. Designed by <a href="https://art-now-and-then.blogspot.com/2013/02/brasilia_21.html">Oscar Niemeyer</a> – a well-known Brazilian architect key to the development of modern architecture, the museum is notable not just for its contemporary art collection. There's also a gallery which shows off a fantastic view including the bay, and Rio de Janeiro and Sugarloaf Mountain across the water. Though seen as a second generation in museum design (completed in 1996), it's not difficult to discern the influence of Wright's Manhattan masterpiece (above). Its most notable feature remains the cylindrical gallery with a ramp inside that extends from ground level up to the ceiling skylight in a long, continuous spiral. The Guggenheim's collection features Impressionist, early modern and contemporary art, including paintings by Paul Cézanne and Vasily Kandinsky. The museum's cubist office annex (lower image) was nearly as controversial as the museum itself. Critics lamented the departure from Wright's upward swirls in favor of the cubist addition. However, in comparing the two photos above, the annex does not compete with Wright's design but in fact augments it, serving as a unimposing backdrop hiding the hideous New York high-rises apartments just to its north. One can only wish that a similar structure could isolate the museum from the east</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Guggenheim Museum Bilbao, Spain, 1997, Frank Gehry</span></strong></td></tr>
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Having not seen the Guggenheim's other major art temple in Bilbao, Spain, it's hard to imaging an even <em>more </em>radical museum design. Like the Niterói Contemporary Art Museum, the <a href="https://art-now-and-then.blogspot.com/2012/09/the-guggenheim-bilbao.html">Guggenheim Bilbao</a> (above) is a second generation offspring of Wright's radical departure. It was designed by Canadian-American architect Frank Gehry and inaugurated in 1997. Since then, the museum has housed more than a hundred exhibitions, including an epic 300-piece overview of 20th-century art. As with the New York Guggenheim, the museum further changed the way both architects and people think about museums. The impact of the new museum on the city was so great that it's now known as the Bilbao effect--when a single cultural project can revive a destination.</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Foundation Louis Vuitton, Paris, France, 2006, Frank Gehry</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Another architectural influence upon Frank Gehry is Frank Gehry himself as seen in the Louis Vuitton Foundation Museum and Cultural Center in Paris, France. The museum is dedicated to the legendary French fashion designer and created to support the contemporary arts. Frank Gehry, took inspiration not just from his own Bilbao creation but from the clouds when designing the building. The structure also pays homage to other huge glass buildings in Paris, most notably the Grand Palais, and houses 11 different galleries across two floors. Every year the Foundation organizes major exhibitions, bringing together significant works of modern and contemporary art from around the world. Visitors can also discover works from emerging artists, featured in the Open Space program, as well as the Collection of the Foundation that reveals itself through display series. </div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Museo Soumaya, Mexico City, 2011, Fernando Romero</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Located on Mexico City's Nuevo Polanco, architect Fernando Romero's Museo Soumaya (above), suggests what Wright's Guggenheim might look like if turned inside out. Consisting of two buildings--Plaza Carso and Plaza Loreto--Museo Somaya is a private museum housing an impressive collection of more than 66,000 works from 30 centuries of art including sculptures from Pre-Hispanic Mesoamerica, 19th- and 20th-century Mexican art and an extensive repertoire of works by European old masters and masters of modern western art such as Auguste Rodin, Salvador Dalí, Bartolomé Esteban Murillo and Tintoretto. It is called one of the most complete collections of its kind. Recognizable by its unusual curved lines, the exterior of the building is covered in 16,000 hexagonal aluminum tiles while the interior opens into a large white gallery. Mexico's former president Felipe Calderón praised it for offering Mexicans a chance to view great art at home.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Milwaukee Art Museum, Milwaukee, Wisconsin, Santiago Calatrava</strong></span></td></tr>
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Somewhere, in some architectural handbook, it seems to be written that all 21st-century art museum must look like alien spacecraft about to soar into the clear blue sky. Far from Wright's curvilinear tradition, the Milwaukee Art Museum, in Milwaukee, Wisconsin, by Spanish architect Santiago Calatrava has created a museum containing a movable, wing-like brise soleil (an architectural feature that reduces heat gain by deflecting sunlight), opening up to a total wingspan of 217 feet (66m) during the day and folds over the arched structure at night. The Milwaukee Art Museum is actually comprised of three separate buildings but its Quadracci Pavilion that's the most noteworthy. Although it holds one of the largest collections of works by Wisconsin native Georgia O'Keeffe, like all the rest, the building itself receives just as much attention.</div>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Musée du Louvre, Paris, France, 1989, I.M. Pei</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Not to be outdone by the rival Guggenheims, Paris' Louvre has made a few waves in museum design circles starting with its new glass pyramid entrance designed by the Chinese-American architect I.M.Pei is surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace. The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989,it has become a landmark of the city of Paris. The pyramid and the underground lobby beneath it were created because of a series of problems with the Louvre's original main entrance, which could no longer handle the enormous number of visitors on an everyday basis. Visitors entering through the pyramid descend into the spacious lobby then ascend into the main Louvre buildings.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Louvre Abu Dhabi, Abu Dhabi, UAE, 2017, Jean Nouvel</strong></span></td></tr>
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About as far removed from Pei's glass pyramid and virtually every other recent art museum is the Louvre's Abu Dhabi museum located in the United Arab Emirates. With its simple lines, vast reflective pool and graceful dome, the museum opened in 2017. It immediately exceeded one million visitors in its first year. The 35,000-strong collection includes artworks from around the world, with a particular focus on bridging the gap between Eastern and Western art. The museum building's most notable feature is its web-patterned dome that appears to be floating. It's located in Abu Dhabi's Saadiyat Island's Cultural District. Designed by architect Jean Nouvel, the Louvre Abu Dhabi aims to complement the other Emirati museums in an effort to transform the art and cultural scene in the Middle East.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Victoria & Albert Museum, Dundee, UK, Kengo Kuma</strong></span></td></tr>
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Museum architectural masterpieces are not just the province of Western architects. In the unlikely venue of Dundee, UK, Japanese architect Kengo Kuma has taken radical museum design to, or very near, its outer limits with his Victoria & Albert Museum, an offshoot from the V & A Museum in London. The museum is located on the east coast of Scotland and is the first V&A museum outside of London. It's obvious the architect owes nothing to Wright or Gehry, or any other pioneer designer of either the 20th- or 21st-centuries. The building's exterior is inspired by the eastern cliff edges of Scotland and occupies a space on the newly redeveloped Dundee waterfront. The original completion date was 2017 but it was delayed to 2018. During construction a cofferdam was installed to allow the outer wing to expand onto the River Tay while 780 tons of pre-cast grey concrete slabs were added to the outside of the building at a cost of £80.1- million to complete. Is it beautiful? Let's just say that the old adage "beauty is in the eye of the beholder" is nowhere more fitting.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Hanoi Museum, Hanoi, Vietnam, 2010, Meinhard von Gerkan, Nikolaus Goetze, Klaus Lenz</strong></span><span style="font-size: small;"></span></td></tr>
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Perhaps owing some debt to I.M. Pei, there can be little doubt that Meinhard von Gerkan, Nikolaus Goetze, Klaus Lenz, though not oriental, have flawlessly incorporated Asian aesthetics into their Hanoi Museum, Hanoi, Vietnam. The pyramid is inverted and inside sloping ramps remind one of Wright's creation. The Hanoi Museum houses an impressive collection of pieces that cover the last 1,000 years of Hanoi's history, culture and architecture. The museum can be accessed by a central atrium that expands, floor by floor, into the exhibition space with the top floor purposefully built so that the visitors feel like they're floating over the landscape. The building, finished in 2010, was also designed to offer shade to the bottom floors and improve the building's energy efficiency. <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Modern Art Museum of Fort Worth, Texas, 2002, Tadao Ando</strong></span></td></tr>
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I have saved the Modern Art Museum of Fort Worth, Texas, to this spot near the end because it stands nearly alone both as a quietly beautiful art museum, but one which in no way competes with the art offerings inside. Designed by Japanese architect Tadao Ando and opened to the public in 2002, the museum building consists of five large pavilions set into a reflecting pond. The Modern's permanent collection currently consists of more than 3,000 pieces, including works by Pablo Picasso, Jackson Pollock and Cindy Sherman. The Museum currently showcases up to 150 works of art in its 53,000 square feet (4,900 m2) of gallery space. The majority of works in the collection are dated in between 1945 and present. The Modern Art Museum of Fort Worth maintains one of the foremost collections of international modern and contemporary art in the central United States. Various movements, themes, and styles are represented, including abstract expressionism, color field painting, pop art, and minimalism, as well as aspects of new image painting from the 1970s and beyond, recent developments in abstraction and figurative sculpture, and contemporary movements in photography, video, and digital imagery. <br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Ordos Museum, Ordos, China--better known as</strong></span><br />
<strong><span style="font-size: small;">"the blob."</span></strong></td></tr>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-82237865296813067262019-12-23T00:01:00.001-05:002019-12-23T00:01:06.745-05:00Christmas Gift Wrapping<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/AVvXsEiHZ_Cpk5cSLtxwrOOtUWM-ez8iBpyEMTMWSuUNveyIL3LAswgwUlcoeI6h_XUDS1taSmcWfPN9ZqQug3mtVqdXGbqyuFlaI0sHxAEB-lLfsgcEeuVwfW-3ZCk8cJb6KZ6c9G0IflEvvs9T/s1600/christmas-wrapping-paper-waste.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="367" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZ_Cpk5cSLtxwrOOtUWM-ez8iBpyEMTMWSuUNveyIL3LAswgwUlcoeI6h_XUDS1taSmcWfPN9ZqQug3mtVqdXGbqyuFlaI0sHxAEB-lLfsgcEeuVwfW-3ZCk8cJb6KZ6c9G0IflEvvs9T/s1600/christmas-wrapping-paper-waste.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">If this makes you cringe, there's also the ever-popular gift bag<br />--not very creative but it serves the purpose.</span></strong><br />
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By the time you read this, with any luck you will have wrapped up your Christmas gift wrapping. If, however, wrapping Christmas gifts is something you dread, come Christmas Eve you may still be wrestling with tissue-thin colored paper, yards of shiny ribbon, cellophane tape, and a whole box of machine-made bows you saved from last year...or the year before that. This is not just about disguising the contents of your gifts in order to enjoy the element of surprise and delight you see on a loved-one's face as they rip to shreds all your best efforts to make the gift attractive...or at least, <em>presentable. </em>Here I've culled outstanding examples of the gift-wrapper's art with the accent on the many different creative opportunities this peculiar artform has to offer. </div>
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1jjsTfZS5DY" width="560"></iframe><br />
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<strong>First of all, how NOT to wrap gifts.</strong></div>
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Perhaps more important than how <em>not</em> to wrap gifts is <em>when </em>not to wrap gifts. Two factors are involved here--size and shape. If the cost of the giftwrap begins to rival that of the gift, STOP, find the biggest bow you can buy, placing it prominently on the object and forget about the element of surprise (below). Likewise if the gift does not come in a box--six sides, four corners--don't even try. Even the experts will sometimes bungle such items. In such a case, fall back on the old gift bag (some of which are HUGE) then let the recipient deal with all that paper or plastic. In such cases a white trash bag with an attractive ribbon and bow might be the answer.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaPYu8IH33eSE4l3gQVqrJQmnqa7d-JUCVTOETgMCOjs5yYbNixgDNA9cgUQ7DXU0Cu4l4nITgiwhEvtoC93DJWYeppFBSvkCSrssu4EQBxGRFUy3nXQtcUmVTz9E2zZZw2OcuUEe0MQ1Y/s1600/When+not+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1360" data-original-width="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaPYu8IH33eSE4l3gQVqrJQmnqa7d-JUCVTOETgMCOjs5yYbNixgDNA9cgUQ7DXU0Cu4l4nITgiwhEvtoC93DJWYeppFBSvkCSrssu4EQBxGRFUy3nXQtcUmVTz9E2zZZw2OcuUEe0MQ1Y/s1600/When+not+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Laugh if you wish, but such silly extravagance happens from time to time.</strong></span><br />
<strong><span style="font-size: small;">I once tried to giftwrap a <em>football.</em></span></strong></td></tr>
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Thinking outside the box often results in some really memorable gifts. For instance, where is it written that wrapping a gift <em>must </em>hide the contents? One of the most difficult wrapping chores is that of wrapping clothing (without the store-bought box). However, if the item is quite attractive in its own right perhaps all that is needed is a little ribbon, some patience, and an attractive bow (homemade or one from a store). The white sweater below is a beautiful example.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq_AsU57Fvd5gUDz6e4D6vi1jKFrYRVhngVAScfnWa83f0bfLdFR2K74GGiUXO6mqFumsXah27tGY6nfV0Dcglm6-4B2QamRuZ3iZsR-ShNRL04iU2UotciFLUQIslukfdsMt4zoGrFDFy/s1600/christmas-gift-wrapping-ideas-38.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="501" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq_AsU57Fvd5gUDz6e4D6vi1jKFrYRVhngVAScfnWa83f0bfLdFR2K74GGiUXO6mqFumsXah27tGY6nfV0Dcglm6-4B2QamRuZ3iZsR-ShNRL04iU2UotciFLUQIslukfdsMt4zoGrFDFy/s1600/christmas-gift-wrapping-ideas-38.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Hassel-free, creative, and attractive--the perfect solution.</strong></span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKmPIBZoejD0RDgZUSkJ5BlN4lBv54umAeeBo5ErsySUVA2ExsCPlG0xu3ZvKYvQfYmnVnugHuNXIIpupGCUSKrE0x2MTtVEsgtHT3pOjaiXsscbFbxU9n4yg2Q5167mU42vxDf9TNNJnh/s1600/Wrapping-Ideas-23.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1019" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKmPIBZoejD0RDgZUSkJ5BlN4lBv54umAeeBo5ErsySUVA2ExsCPlG0xu3ZvKYvQfYmnVnugHuNXIIpupGCUSKrE0x2MTtVEsgtHT3pOjaiXsscbFbxU9n4yg2Q5167mU42vxDf9TNNJnh/s320/Wrapping-Ideas-23.jpg" width="251" /></a></div>
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Very often your choice of giftwrap can create problems. If your paper has stripes, by all means see that they match up on the <em>back </em>of the gift. Otherwise, use something with a more random design. Likewise, keep in mind the age and gender of the recipient. Stores are full of paper loaded with whimsical Santas, reindeer, snowmen, etc, which is find for children's gift. Something a bit more conservative would be better suited to grandpa's new shirt and tie giftset. </div>
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<span style="font-size: x-small;"><strong>A tidy little package with ribbon</strong></span></div>
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<strong><span style="font-size: x-small;">well-proportioned to the stripes.</span></strong></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOYe2NPDc8kpdN2p4oOhUZSM-6sWoBNXp5BTJb6NBPnDXu1k4vfrgeAgrL8cMstLDUk4QSeF6Ss-19fiLP-gMBQ0PF2XNVeU3t0PBlXwhKHSHsg8RjSqfHZai9ez53ESAMECH5iV26unK6/s1600/6a1003d088ebff28293123d11d668d48.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="821" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOYe2NPDc8kpdN2p4oOhUZSM-6sWoBNXp5BTJb6NBPnDXu1k4vfrgeAgrL8cMstLDUk4QSeF6Ss-19fiLP-gMBQ0PF2XNVeU3t0PBlXwhKHSHsg8RjSqfHZai9ez53ESAMECH5iV26unK6/s320/6a1003d088ebff28293123d11d668d48.jpg" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>There's nothing subtle here.</strong></span></td></tr>
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In deciding the appearance of your gift, there is a broad range of possibilities, from a nearly monochromatic gold on white (below), for instance to the giant red bow fastened with a rhinestone pin (left). Here the personality and age of the recipient may be the most important factor. In general, the more expensive the gift, the more conservative one should be in designing the giftwrap presentation. If your recipient comments, "It's too pretty to unwrap," you know you've made an impression and have done your job well.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaUvhtrZ75qIYljwSzesnxrLngvzHO3fgUA262cc1OY_tN2RrQPmwy-6YyrLQNINrlp04CxO8_VQRWS7_GRzocmkNbBPAhGUp7eEMswuDYe6sBJkSJWbV_NWmeHwUAg6xpTweNMGLNsyXP/s1600/Gift-Wrapping-Ideas-32.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="762" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaUvhtrZ75qIYljwSzesnxrLngvzHO3fgUA262cc1OY_tN2RrQPmwy-6YyrLQNINrlp04CxO8_VQRWS7_GRzocmkNbBPAhGUp7eEMswuDYe6sBJkSJWbV_NWmeHwUAg6xpTweNMGLNsyXP/s320/Gift-Wrapping-Ideas-32.jpg" width="230" /></a></div>
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<strong>Silver and gold on white cries out</strong></div>
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<strong>that you've spared no expense or </strong><br />
<strong>effort on your gift.</strong> </div>
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In recent years there has been a growing trend toward the use of evergreens as an integral part of sophisticated gift design. Such sprigs may be live or simulated, the effect is much the same. Using natural Christmas decorations often eliminates all but the simplest of bows and may, in fact, not involve ribbons at all but colorful yarn or simple pieces of twine in adding the finishing touches to your gift. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAET5tpohwp4ECN6TV4bVHy1YPF9L2s80VQaQUmLLd4X6uKkZQCrJ2VKeI0w3e9Jp8wZ0R9eHj8aEjPlAqzUdKO8RdaUB3EI03ujI5KyAYAcc15xzpW8afnmxKJniSVK0-ZZV7EJ2joRvT/s1600/Twine+composite.jpg" imageanchor="1"><img border="0" data-original-height="332" data-original-width="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAET5tpohwp4ECN6TV4bVHy1YPF9L2s80VQaQUmLLd4X6uKkZQCrJ2VKeI0w3e9Jp8wZ0R9eHj8aEjPlAqzUdKO8RdaUB3EI03ujI5KyAYAcc15xzpW8afnmxKJniSVK0-ZZV7EJ2joRvT/s1600/Twine+composite.jpg" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-CffqlxoXuN-o2t0XHRHTVAwFs-S91Ul_owJpaJviyww7N94EJKLNuGdJDRTXT1j-iIXliH4nYxo28xG2R3AsC88xzX1xvhOPtDUIT-dfxP7PVp0I8tbY6o3qZ_cpXkSSZIaFLn4bcL5d/s1600/Wrapping-Ideas-40.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-CffqlxoXuN-o2t0XHRHTVAwFs-S91Ul_owJpaJviyww7N94EJKLNuGdJDRTXT1j-iIXliH4nYxo28xG2R3AsC88xzX1xvhOPtDUIT-dfxP7PVp0I8tbY6o3qZ_cpXkSSZIaFLn4bcL5d/s1600/Wrapping-Ideas-40.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Thinking outside the box is fun. Dare to be risky.</strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0fQjCB7DWGMrnhf-yEjx4uwqrJdiJG8xw3mo9-8NsKCNpVD5E3vDUal5-xjaEPbqR4wVfhetwb3JvvmdRORS6PjCScn-m7ASKT2wjeff26FTsmj5IKyRMpIhRGQNc-Js0CisB8cEUgjYt/s1600/-Wrapping-Ideas-87.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="564" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0fQjCB7DWGMrnhf-yEjx4uwqrJdiJG8xw3mo9-8NsKCNpVD5E3vDUal5-xjaEPbqR4wVfhetwb3JvvmdRORS6PjCScn-m7ASKT2wjeff26FTsmj5IKyRMpIhRGQNc-Js0CisB8cEUgjYt/s320/-Wrapping-Ideas-87.jpg" width="312" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Nothing smells more like Christmas than </strong></span><br />
<strong><span style="font-size: small;">evergreens or cinnamon sticks.</span></strong></td></tr>
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When my wife was growing up back in the 1960s, the family lived on a dairy farm and con-sequently money was always in short supply. Her father con-sidered gift wrap to be hor-rendously wasteful. Actually, he was right about that. In any case, for several months before Christmas my mother-in-law be-gan to save the color comics section of the newspaper, using it to wrap gifts for my wife and her two younger sisters. The adults got their gifts wrapped in plain, ordinary newsprint. My own mother was almost equally frugal. She wrapped our gifts in multiple layers of plain, white tissue paper, sometimes with a little ribbon, but usually not. Today, we would call these tra-ditions "less is more." Later on, my mother would buy an economy roll of children's giftwrap. All our gifts were wrapped the same. We had to look carefully for our names on each present to make sure we weren't opening one another gifts. Examples below suggests that with a few colorful bows, ribbons, and ingenuity, newsprint has not gone out of style.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF41SxnyKPsvy2n0ptOD7rzoNPT6XK1tDn9fV0hQx8N0X2t0YxT9mcpLoi0h2skEWbVfhC3bjm0joMMuqMPhoERQ3T8ZROXDPwPtZGLUF2lcu4gzuvbBBvs-cJTttVsKj8v3bJv-hJNabf/s1600/Frugal+wrapping+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="807" data-original-width="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF41SxnyKPsvy2n0ptOD7rzoNPT6XK1tDn9fV0hQx8N0X2t0YxT9mcpLoi0h2skEWbVfhC3bjm0joMMuqMPhoERQ3T8ZROXDPwPtZGLUF2lcu4gzuvbBBvs-cJTttVsKj8v3bJv-hJNabf/s1600/Frugal+wrapping+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Today, I'm partial to bright, shiny, foil gift wraps, </strong></span><br />
<span style="font-size: small;"><strong>perhaps as a reaction <strong><span style="font-size: small;">to my deprived childhood.</span></strong></strong></span></td></tr>
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And finally, few things are more "Christmasy" than cookies and candy (below). For those household without pets, these items tied in with the bows. become tasty gifts upon gifts, great for ruining kids' appetites before the big Christmas day meal. Incidentally, a thoughtful pre-Christmas gift for neighborhood friends would be a "gift wrapping kit" (below) consisting of a few rolls of paper, lots of tape, and various bows and ribbons which don't look "used." Distributed in person at the front door, such thoughtfulness might result in a reciprocal gift of pumpkin or pecan pie. Gotta go now, I still have a few more items on my giftwrapping table to disguise and decorate.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPiFTymjUramqgiPIsk3YnutqIUHvDTSSMotrOh7yO-kNDaQpApAR_-qxY_Ip2evAhr2tTKTAi8J36E2pyaUJKjYm5DDnwLN602LSrfukXty5JT85M6jslXt2q6L_wMcO8in4F_msW9hHd/s1600/Candy+toppers+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1400" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPiFTymjUramqgiPIsk3YnutqIUHvDTSSMotrOh7yO-kNDaQpApAR_-qxY_Ip2evAhr2tTKTAi8J36E2pyaUJKjYm5DDnwLN602LSrfukXty5JT85M6jslXt2q6L_wMcO8in4F_msW9hHd/s1600/Candy+toppers+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A sweet, tasteful way to add an extra element of excitement to</strong></span><br />
<strong><span style="font-size: small;">the Christmas morning orgy of gift giving.</span></strong></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A thoughtful, relatively inexpensive</strong></span><br />
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-46674382468002830952019-12-16T00:01:00.000-05:002019-12-16T00:01:08.361-05:001870s Art<div style="text-align: justify;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggku_MJplB2LSTkaFW_fOHpW4MYqqYSIEx05WoqdyqiB5jZ3fzShZh15urgXCgcsOrDiEdy7K8QEwmewvb9bQK5jFnQNc1TAHBVLY9JahWuovLeOQVExUUtrPjmODyEnU1Fq9YUFz95MrS/s1600/American+Progress%252C+1872.+John+Gast.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="409" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggku_MJplB2LSTkaFW_fOHpW4MYqqYSIEx05WoqdyqiB5jZ3fzShZh15urgXCgcsOrDiEdy7K8QEwmewvb9bQK5jFnQNc1TAHBVLY9JahWuovLeOQVExUUtrPjmODyEnU1Fq9YUFz95MrS/s1600/American+Progress%252C+1872.+John+Gast.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>American Progress</em>, 1872, John Gast</strong></span></td></tr>
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In the hope of not sounding immodest, I like to think I've come to know a great deal about art, especially painting. Yet, one of the most difficult aspects of art appreciation is knowing what works of art are "important" and which ones are merely attractive footnotes to the archives. For me the the tendency is to be too <i>inclusive</i> as to works that are groundbreaking and those which are not. In researching just this question I sat aside more than eighteen pieces by almost that many artists which a layman art lover should recognize as "important." That's far too many for an article such as this so I am still faced with the question of what to include and what to let slide by. I find it comforting to realize that even so-called "art experts" with art knowledge far excess of mine have the same difficulty. The 1870s might well be considered the most important decade in art of all the 19th-century. For example, John Gast is a little-known American painter. Likewise, the same is true of his <em>American Progress</em> (top) painted in 1872. Yet the style and theme are so typical of the early 1870s in American art, I decided it would be as good a point of departure as any in exploring the art of this decade.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu2bOGOCB9lY5Do0BDbvKa9HZ_oyOM-F-HtCdL9pdyaiU7eVF0BGDzCEZAOEJsrlV6Ocot2HG9Dj_HnjWxpjnHTaRdNlmnFF8XAmjm3X-ycB4Ir1beWSQMRAj8FghlTLLtoK5CgQHnWz7q/s1600/The+Birth+of+Venus%252C+1879%252C+William-Adolphe+Bouguereau.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="777" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu2bOGOCB9lY5Do0BDbvKa9HZ_oyOM-F-HtCdL9pdyaiU7eVF0BGDzCEZAOEJsrlV6Ocot2HG9Dj_HnjWxpjnHTaRdNlmnFF8XAmjm3X-ycB4Ir1beWSQMRAj8FghlTLLtoK5CgQHnWz7q/s1600/The+Birth+of+Venus%252C+1879%252C+William-Adolphe+Bouguereau.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>The Birth of Venus</em>, 1879, William-Adolphe Bouguereau</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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Why is this particular decade in art history so important in the overall scheme of things? With a couple major exceptions (Picasso and Matisse for example) virtually every artist from this nascent period in Modern Art was alive and well and at one stage or another in the development of their art careers. Bouguereau's <em>Birth of Venus</em> (above) won the prestigious Grand Prix de Rome Academic scholarship award for the year 1879. This overused and abused mythological subject with its antiseptic nudes was where art was coming from as Monet, Manet, Degas, Renoir, and other such household names were fighting classical Academicism to forge a new definition of art through Impressionism and all that followed. Manet called it "art for art's sake." To put it another way, this "new" art was art <em>about</em> art.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7u6BC1sI3t8eZ-jMAFGArIO2P49aNsj9jiXQMNtwiPw3Oznx0XlHBNUqymZuQjAz6Nk8Uj8DvIMkeMInL1haDvBoywAihI5ZOlHkGkfRQ7PMteSNrEkS72KKkqa5laIhCZ6U6QGLJ4cWe/s1600/Impression%252C+Soleil+Levant%252C1872%252C+Claude+Monet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="428" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7u6BC1sI3t8eZ-jMAFGArIO2P49aNsj9jiXQMNtwiPw3Oznx0XlHBNUqymZuQjAz6Nk8Uj8DvIMkeMInL1haDvBoywAihI5ZOlHkGkfRQ7PMteSNrEkS72KKkqa5laIhCZ6U6QGLJ4cWe/s1600/Impression%252C+Soleil+Levant%252C1872%252C+Claude+Monet.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Impression, Soleil Levant</em> (sunrise), 1872, Claude Monet</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkcmdvaRQfmv9AB4BsMjA6kQ6rnRUSMAuUJzYDPVhJyagZIkSTVMip5Grh6z4ocq2PJ-W4SXCcRQ-K8HdPwfNKHF3L2_FFFOivgbNl9HeGBx_1svMC7OOKBG-wusHkv4pn_s_mzWbX8eMG/s1600/Dr.+Samuel+D.+Gross+%2528The+Gross+Clinic%2529+1875%252C+Thomas+Eakins.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="682" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkcmdvaRQfmv9AB4BsMjA6kQ6rnRUSMAuUJzYDPVhJyagZIkSTVMip5Grh6z4ocq2PJ-W4SXCcRQ-K8HdPwfNKHF3L2_FFFOivgbNl9HeGBx_1svMC7OOKBG-wusHkv4pn_s_mzWbX8eMG/s320/Dr.+Samuel+D.+Gross+%2528The+Gross+Clinic%2529+1875%252C+Thomas+Eakins.jpg" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Dr. Samuel D. Gross</em> (The Gross Clinic) </span></strong><br />
<strong><span style="font-size: small;">1875, Thomas Eakins</span></strong> </td></tr>
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The 1870s were was the decade which spawned Monet's <em>Impression Soleil</em> <em>Le-vant </em>(above). Painted in 1872, even though it predates by several years Bouguereau's last gasp of Academicism, the tremendous differences between the two serve to underline the incredible progression Modern Art was struggling to instill. Compare Monet's 1872 effort with that of John Gast's <em>American Progress</em> painted the same year. All during the 19th-century, American art and artists always lagged at least a decade behind their French counterparts. That's not to say that American artists were in any way inferior to the French. The works of the Philadelphia painter, Thomas Eakins such as his <em>Max Schmitt in a Single Scull </em>(below),from 1871 or his <em>The Gross Clinic</em> (right) from 1875 hold up quite well as compared to works by Manet, Gus-tave Caillebotte, and Edgar Degas.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1-xVAUzEqAbpsHJmWOvy2sFTRT5MQvmuDRUKoBGiBBhsOkfTAx61dHCSYjDj3vucJbtui23DMslb-CZ1_BB3UyOqHsOyyBfG06IChTCncAfr1UzDg-o9nDcRtlF6Exm-_VycaHbj0jup/s1600/Max+Schmitt+in+a+Single+Scull%252C+1871+Thomas+Eakins.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="381" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1-xVAUzEqAbpsHJmWOvy2sFTRT5MQvmuDRUKoBGiBBhsOkfTAx61dHCSYjDj3vucJbtui23DMslb-CZ1_BB3UyOqHsOyyBfG06IChTCncAfr1UzDg-o9nDcRtlF6Exm-_VycaHbj0jup/s1600/Max+Schmitt+in+a+Single+Scull%252C+1871+Thomas+Eakins.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Max Schmitt in a Single Scull,</em> 1871, Thomas Eakins</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx23bnERh5PhPsYRQiMxJHY1sMTHjVAjFNnB16-nfrQOIcIilQU4BHfo8SfbN5ns76Lenauwo_UjN9Z9afu8a8mjH4Cd7-oVxNi8v5069xE5oYAtN3Cex-q5ZdskOR2WedEyhGOf37oIWc/s1600/Holy+grail.+1874%252C+Dante+Gabriel+Rosetti.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="481" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx23bnERh5PhPsYRQiMxJHY1sMTHjVAjFNnB16-nfrQOIcIilQU4BHfo8SfbN5ns76Lenauwo_UjN9Z9afu8a8mjH4Cd7-oVxNi8v5069xE5oYAtN3Cex-q5ZdskOR2WedEyhGOf37oIWc/s320/Holy+grail.+1874%252C+Dante+Gabriel+Rosetti.jpg" width="199" /></a></td></tr>
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In England during the 1870s, the Pre Raphaelite Brotherhood of William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti and a few others numbering about seven altogether reigned sup-reme. Rossetti's Holy Grail (right) from 1874 is typical of the nostalgic longings and fussy style of the others. Their work stands in stark contrast to that of Gustave Caillebotte and the clean simplicity of his <em>Paris Street; Rainy Day</em>, (below) from 1877. Edgar Degas broke new ground as he explored the gritty underbelly of the Paris drug culture in <em>L'Absinthe</em> (below-left), from the year 1876. <br />
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<strong><em>Holy Grail.</em> 1874,</strong></div>
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<strong>Dante Gabriel Rosetti</strong></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0g5JZuVqYXdqWDerEC-50nrlUB1PwCXZwpm4WqUPmL_bAU9QwaI_fZIesxdCu1WXCyRZsudkNAMhq6e0sVUgNxnrpyuQsE097pAQTRCxHgUiP32wk-2zmr2-soFNs6tpZ7KPiw_GP2GEN/s1600/L%2527Absinthe%252C+1876%252C+Edgar+Degas.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0g5JZuVqYXdqWDerEC-50nrlUB1PwCXZwpm4WqUPmL_bAU9QwaI_fZIesxdCu1WXCyRZsudkNAMhq6e0sVUgNxnrpyuQsE097pAQTRCxHgUiP32wk-2zmr2-soFNs6tpZ7KPiw_GP2GEN/s320/L%2527Absinthe%252C+1876%252C+Edgar+Degas.jpg" width="232" /></a></td></tr>
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<strong><em>L'Absinthe,</em> 1876, </strong><br />
<strong>Edgar Degas</strong><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ymSlYxAkecp8GiY2wCjI1CfC8lx4KVe0ONuAswyNqTuILuGrlIf1loobWG9npXCrfyrHynKrJG1ORPIZRX73JsvcsmKmT59ixindx4BSb7XjObc0LxEmtFtYWMvGNHM9PEZsvLM6P10X/s1600/Paris+Street%253B+Rainy+Day%252C+1877%252C+Gustave+Caillebotte.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="417" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ymSlYxAkecp8GiY2wCjI1CfC8lx4KVe0ONuAswyNqTuILuGrlIf1loobWG9npXCrfyrHynKrJG1ORPIZRX73JsvcsmKmT59ixindx4BSb7XjObc0LxEmtFtYWMvGNHM9PEZsvLM6P10X/s1600/Paris+Street%253B+Rainy+Day%252C+1877%252C+Gustave+Caillebotte.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Paris Street; Rainy Day,</em> 1877, Gustave Caillebotte</span></strong><span style="font-size: small;"></span></td></tr>
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Though they each branded Impressionism with their individual styles, Edouard Manet and Auguste Renoir each managed to obtain small victories over the prettified niceties of the centuries-old Academicism. Manet's <em>The Gare Saint-Lazare</em> (upper image, below), from 1873 quite apart from his somewhat stark, flat style displays simple genre content previously considered by the French Academy to be "unworthy" of such a large canvas. On the other hand, Renoir's <i>Dance at Le Moulin de la Galette</i> (lower image, below), from 1876, is every bit as frivolous as Bouguereau's <em>Birth of Venus</em> but without the mythological pretensions thought to be required when painting nudes.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGCFDPXl0pEoVOApgYyKBSMRL9QeXOzzncGhK0TC7ERzBgT7CXZBufE9uWeUkxsGy0Pp4p8Pqx7MsiufEIVkRjZUqrWEaq5qkdh-ftE5G95nvneG8CpaY7kj7u_CWBQ_sNHm1RgbhROzLT/s1600/Renoir+Manet+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="834" data-original-width="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGCFDPXl0pEoVOApgYyKBSMRL9QeXOzzncGhK0TC7ERzBgT7CXZBufE9uWeUkxsGy0Pp4p8Pqx7MsiufEIVkRjZUqrWEaq5qkdh-ftE5G95nvneG8CpaY7kj7u_CWBQ_sNHm1RgbhROzLT/s1600/Renoir+Manet+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Upper image: <em>The Gare Saint-Lazare</em>, 1873, Edouard Manet</span></strong><br />
<strong><span style="font-size: small;">Lower image: <em>Dance at Le Moulin de la Galette</em>, 1876, Auguste Renoir</span></strong></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Athlete Wrestling with <strong><span style="font-size: small;">a </span></strong></em></span></strong><br />
<strong><span style="font-size: small;"><strong><span style="font-size: small;"><em>Python,</em> 1877, Frederick Leighton</span></strong><span style="font-size: small;"><strong></strong></span></span></strong></td></tr>
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Nowhere are the stylistic differences between American art and the cutting-edge world of French art clearer than in the area of sculpture. In the wake of the American Civil War sculptors were kept busy carving and casting life-size or larger monuments to men such as Robert E. Lee, Jefferson Davis, U. S. Grant, and most frequently Abe Lincoln himself. Two monumental sculptures stand apart from the others, one carved from white marble, the other cast in bronze. The bronze by Randolph Rogers lords over the pigeons in Philadelphia's Fairmont Park while the pristine standing marble representation is intended to inspire lawmakers from the Capitol rotunda in Washington D.C. Meanwhile on the British side of the Atlantic, Frederic Leighton's muscular bronze athlete (right) wrestles with a mighty python akin to that of the Vatican Laocoon. Due largely to its classical purity the bronze combatants seem locked in a life-or death struggle marking this work in the eyes of Leighton's critics and admirers alike as his greatest work.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizwm7ruHWL2wIVTzPJ0-dIlQDMGqFgEM5BDAWkUfeDdAehl-yHHLSurciidpOWOj5V6lQW1FNyVEGgmWVZPIl8EDEyVYyoP_yErt54qL9RDxVNI_JDYf2r2Wai2m0kMpW9CCUwrVaduGXN/s1600/Lincoln+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1096" data-original-width="536" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizwm7ruHWL2wIVTzPJ0-dIlQDMGqFgEM5BDAWkUfeDdAehl-yHHLSurciidpOWOj5V6lQW1FNyVEGgmWVZPIl8EDEyVYyoP_yErt54qL9RDxVNI_JDYf2r2Wai2m0kMpW9CCUwrVaduGXN/s1600/Lincoln+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Upper image: <strong><em>Lincoln,</em> 1871, Randolph Rogers, Fairmount Park, Philadelphia, PA</strong></span><br />
<span style="font-size: small;">Lower image: <strong>Lincoln, 1871, Vinnie Ream, U.S. Capitol Rotunda</strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx0kV_hvkZQfXGpsXbqYWPpF-fT2uraiHpgn4a9JcpQhfvGo3a-1XBzerX9nS3EtSUdTFz7qc6BLWFjy17EgA89_Gt_A0xG1HQVwmZeLHXuit53JYFggx8coln2o6a3gVADgdSGM7cpN7p/s1600/The+Walking+Man+%2528front%2529+1878%252C+Auguste+Rodin..jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><strong><img border="0" data-original-height="733" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx0kV_hvkZQfXGpsXbqYWPpF-fT2uraiHpgn4a9JcpQhfvGo3a-1XBzerX9nS3EtSUdTFz7qc6BLWFjy17EgA89_Gt_A0xG1HQVwmZeLHXuit53JYFggx8coln2o6a3gVADgdSGM7cpN7p/s320/The+Walking+Man+%2528front%2529+1878%252C+Auguste+Rodin..jpg" width="240" /></strong></a></td></tr>
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Now, to make my point, the French sculptor, Auguste Rodin's <em>Walking Man</em> (right) from 1878 stands in stark contrast to the latent academicism of both Rogers and Ream not to mention that of Frederic Leighton whose classical tendencies were far more than latent. It's hard to imagine what Impres-sionist sculpture might look like without bringing to mind the many diverse carvings and castings of Auguste Rodin. Rodin's <i>Walking Man </i>is no one famous (he doesn't even possess a head). He pays tribute to "walking men" the world over, very much in a theretofore unseen universal homage.</div>
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<strong><em>The Walking Man</em> (front) </strong></div>
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<strong>1878, Auguste Rodin.</strong></div>
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At first glance The Walking Man appears to be nude. Closer inspection reveals that he is, in fact, wearing the appropriate garb of a wrestler. Speaking of which, having discussed the painting and sculpture of the 1870s, on a lighter note we cannot forget the men and women of high fashion who kept the textile mills humming, scissors snipping, and we, their ancestors, laughing. Although men's fashions have evolved to some degree in the past 150 years it's the ladies who (fortunately) have seen the greatest strides in the designer's art. The French illustrator, James Tissot, in his <em>Too Early</em> (below), from 1873 gives us a peak at the bustles and elaborate drapery which characterized evening dresses of the early 1870s. The gentleman is outfitted in evening dress as well though far less flamboyantly.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOQfVODidu1MhT2RcZTO18yLEeXRT6_ewmaIjfWVY_HUA-pzYYy4XPdUnvfsrZwPTeSCFfx7YdHbKfVyzdZS4v3k21cCH16AU1HO43Vzmj5BaK4DvkklB7Pvv_tjUEcu_WUHh5v9SLLScj/s1600/.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="627" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOQfVODidu1MhT2RcZTO18yLEeXRT6_ewmaIjfWVY_HUA-pzYYy4XPdUnvfsrZwPTeSCFfx7YdHbKfVyzdZS4v3k21cCH16AU1HO43Vzmj5BaK4DvkklB7Pvv_tjUEcu_WUHh5v9SLLScj/s1600/.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Too Early, 1873, James Tissot. I keep wondering how the </strong></span><br />
<span style="font-size: small;"><strong>ladies managed such frocks in going to the ladies' room.</strong></span></td></tr>
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Not to slight the gentlemen, we see below the tasteful garb of well-dressed young men whose only bow to high fashion is the "stovepipe" hat. I wonder if anyone ever made a statue of Lincoln wearing one. We know from mid-century photos that he was something of a fashion icon for his time.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWaxT6sv2b_6enb0HeAzFp0EPmFvWURbDIeme0R92FLGT99_lpLbS9vVxbizqTS9si7pTQZjLrkFKYZb4tt13b13wxzOwAAyoHKlmo8UPQTC1xwXgau4WUqOmV6sDtTjEn9QmfEQluqZ6E/s1600/well+dressed+men+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="780" data-original-width="549" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWaxT6sv2b_6enb0HeAzFp0EPmFvWURbDIeme0R92FLGT99_lpLbS9vVxbizqTS9si7pTQZjLrkFKYZb4tt13b13wxzOwAAyoHKlmo8UPQTC1xwXgau4WUqOmV6sDtTjEn9QmfEQluqZ6E/s1600/well+dressed+men+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The theme for men's fashions of the 1870 appears to be neat and, </strong></span><br />
<span style="font-size: small;"><strong>slender, with just a touch of lace strategically placed near the bow tie.</strong></span></td></tr>
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Perhaps nothing has had a more lasting effect on women's fashions than the automobile. With a carriage, there were always polite gentlemen milling about to help the distressed, over-dressed, mistress climb to her seat for a leisurely ride in the park. That was not the case as women found it necessary to fend for themselves in getting in and out of cars. Skirts gradually got shorter. Waists became looser, even hats have gradually fallen to the wayside (or been blown off). All this we find amusing as compared to the difficulties faced by the present day art appreciator.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP9TqmSM61QkFqrl_anAnOYdO6JencBexDol7qZDOx9n3DSOb2ZWmfyfgQjx88uT7JUHBba4rKPobY1nS99rKK2NAVqufgKdei4UFtOSQgx24EtINPA-cDGyPHe6GMC5yurRS7sEZGmP92/s1600/Haute+Couture+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1348" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP9TqmSM61QkFqrl_anAnOYdO6JencBexDol7qZDOx9n3DSOb2ZWmfyfgQjx88uT7JUHBba4rKPobY1nS99rKK2NAVqufgKdei4UFtOSQgx24EtINPA-cDGyPHe6GMC5yurRS7sEZGmP92/s1600/Haute+Couture+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Yards and yards of unneeded fabric stitched together with hours </strong></span><br />
<span style="font-size: small;"><strong>upon hours of wasted time to create a dress such as this.</strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCntc5LYm7cFaTf754o7qsKg0mrs6GLoYC2tQSU9L2GpabYeWetACmNpnChxFUcwy9tEybNpMDeb4TTOBi5-9muTEWp98RqD0fHxczXlfxyeA_ZEy_r6sUXvc7wrmaHfy4Pwb_3TknSjZM/s1600/Late-1870s-dumaurier-veto.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="326" data-original-width="444" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCntc5LYm7cFaTf754o7qsKg0mrs6GLoYC2tQSU9L2GpabYeWetACmNpnChxFUcwy9tEybNpMDeb4TTOBi5-9muTEWp98RqD0fHxczXlfxyeA_ZEy_r6sUXvc7wrmaHfy4Pwb_3TknSjZM/s320/Late-1870s-dumaurier-veto.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>He says: "shall we sit for a bit?"</strong></span><br />
<strong><span style="font-size: small;">She says: "I should like to but my dressmaker</span></strong><br />
<strong><span style="font-size: small;">says I mustn't."</span></strong><br />
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-48086765029004084792019-12-09T00:01:00.000-05:002019-12-09T00:01:00.200-05:00Butterfly Art<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_x83g3y5xlmnmzJBH0kKv2plKJwtBbLwloWl8sZkp5F6kdSHmh8nEPTpDY76LFU9OlQNWGAwAOMZwG60KV4L09m7iwMq3MnKDzpigPC6SQo6YO2RYvC1tERONJe4m8IVwcwmvE9sqhFyo/s1600/Blue-green+Butterfly+.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="623" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_x83g3y5xlmnmzJBH0kKv2plKJwtBbLwloWl8sZkp5F6kdSHmh8nEPTpDY76LFU9OlQNWGAwAOMZwG60KV4L09m7iwMq3MnKDzpigPC6SQo6YO2RYvC1tERONJe4m8IVwcwmvE9sqhFyo/s320/Blue-green+Butterfly+.jpg" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Oklahoma artist, Kristy Patterson utilized</strong></span><br />
<strong><span style="font-size: small;">a page from an old dictionary as a quite</span></strong><br />
<strong><span style="font-size: small;">meaningful backdrop for her butterfly <strong><span style="font-size: small;">art.</span></strong></span></strong></td></tr>
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Over the past years, I've written extensively on nearly every type of art involving living creatures. The operant word in that statement is "nearly." That is to say, that each time I did so I found myself digging deep-er and deeper in my mental men-agerie to come up with a different topic each time. A few days ago, I was startled to realize that there was yet another that is incred-ibly popular with artists and the buying public alike which I'd never considered to before--butterflies. In retrospect, their popularity has long been quite understandable. They are among the most beautiful animated gifts of en-during loveliness on God's green earth. Although they do serve a pur-pose in pollinating flowers and other plants around us, it would seem that they are, first and fore-most, ornamental in the finest sense of the word.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgUq560eSMjkKy0_-DaUHqEv_pHXYyNoObVKCvH_tjlJPojJ3p9RvMwzPowz3_8lhhiA2LHQcC6H-O9dy4UnM5j9D1NzSmbI6_dxvBzyGCIUiYLSfB-lNADkB9OppmyinPVKZErO1a3ne/s1600/Butterfly+jewelry.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgUq560eSMjkKy0_-DaUHqEv_pHXYyNoObVKCvH_tjlJPojJ3p9RvMwzPowz3_8lhhiA2LHQcC6H-O9dy4UnM5j9D1NzSmbI6_dxvBzyGCIUiYLSfB-lNADkB9OppmyinPVKZErO1a3ne/s1600/Butterfly+jewelry.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>From sterling silver to delicate gold filigree set with diamonds, a single <br />
butterfly design can be rendered in dozens of colors and variations.</strong></span></td></tr>
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One of the wonderful attributes butterflies possess is their seemingly limitless variety of shapes, colors, and designs (below). Moreover the artist's mind adores the near perfect vertical symmetry possessed by virtually every member of the macrolepidopteran clade Rhopalocera from the order Lepidoptera, (thank you Wikipedia) which also includes moths and butterflies. Among the earliest manifestations of the butterfly as a design motif can be found in early 20th-century Art Nouveau. The butterfly often appears in Art Nouveau jewelry (above) sharing the limelight with bees, beetles, and other orthopterans (such as crickets, and locusts).</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit8D5a_pXyITY6bgR64-bjvaLjxc6BEUuy-rk8kKYb7NFr5s80psM-fbRHWX_HUPv8w6y5AATm__Wf_BxuAe21l1Xo3utyUWD5gUdhlVW1ptS9X6qQMDgPqbrEJKOb1_MeecguLgdjbzVz/s1600/Butterfly+chart.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="498" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit8D5a_pXyITY6bgR64-bjvaLjxc6BEUuy-rk8kKYb7NFr5s80psM-fbRHWX_HUPv8w6y5AATm__Wf_BxuAe21l1Xo3utyUWD5gUdhlVW1ptS9X6qQMDgPqbrEJKOb1_MeecguLgdjbzVz/s1600/Butterfly+chart.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>A sampling of just a few butterfly shapes, designs, and colorations.</strong></span></td></tr>
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The delicate beauty of the butterfly has likewise inspired poets (<em>To the Butterfly</em> by William Wordsworth), composers such as Giacomo Puccini's and his opera, <em>Madame Butterfly,</em> and children's TV as seen in <em>Ninja</em> a British sitcom hybrid hosted by Ricky Martin. Rock music has also adapted the butterfly as a versatile theme as in <em>To Pimp a butterfly, </em>by Kendrick Lamar and the 1970 <em>Metamorphosis</em>, the fourth studio album by Iron Butterfly.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4v7UoWndAlYSvkDy4F6m9_pcy1t3WMp74KCet8XCj87CKMTo2FIPcNR1PdiVZbnNvssHcJasEF2FnZvMe04WWB5xcYHRCS4LqHH_Y3HbAu1lqgAGtt_4-NEFwzSdCHSj73oXdrGY094Q/s1600/Rainforest-Butterfly+sculpture.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="309" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj4v7UoWndAlYSvkDy4F6m9_pcy1t3WMp74KCet8XCj87CKMTo2FIPcNR1PdiVZbnNvssHcJasEF2FnZvMe04WWB5xcYHRCS4LqHH_Y3HbAu1lqgAGtt_4-NEFwzSdCHSj73oXdrGY094Q/s1600/Rainforest-Butterfly+sculpture.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><em>Rainforest-Butterfly</em></span> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrOFCdE8-FyUjI94M98rnU6wwbD2yc1MngGSlqL0104VIxwOsM8B1c6AyFoAOH-K3YS86VqZCoGdbbgJJvrEnpUYDD_M890ugAkY-2PsqSgcDHoHCsSdzpfnrjmyJd2POE79pMVn4qg1YE/s1600/Monarcy%252C+Ruth+Welter.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="733" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrOFCdE8-FyUjI94M98rnU6wwbD2yc1MngGSlqL0104VIxwOsM8B1c6AyFoAOH-K3YS86VqZCoGdbbgJJvrEnpUYDD_M890ugAkY-2PsqSgcDHoHCsSdzpfnrjmyJd2POE79pMVn4qg1YE/s320/Monarcy%252C+Ruth+Welter.JPG" width="240" /></a></td></tr>
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Around the 18th-century, many writers such as <a href="https://art-now-and-then.blogspot.com/2012/10/maria-sibylla-merian.html">Maria Sibylla Merian</a> were also quite adept at accurately depicting the butterfly from a scientific perspective. There are also hundreds of examples of butterfly sculp-tures, most far more intricate than the one above. Likewise, the butterfly is often pre-sent in the art of various Asian cultures as seen in <em>Monarcy,</em> by Ruth Welter (right).</div>
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<strong><em>Monarcy,</em> Ruth Welter</strong></div>
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And in a similar manner the butterfly also easily adapts to various forms of Abstract Expressionism as seen in <em>Bugs & Butterflies</em> by Lucy Arnold.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV9NB5HfFkR6zf9194pU0lvuBlx3Jq0vhl6nJ8k2vd5wqpEmCrDMKfQUvE56E7GdtOqzVqXu1X6bGIAgwS2usAtr84IMsIB4VDRhP9ytCS3mOyAzSOX0l3JwSNsIA28e5pVXffPpvPv9r-/s1600/Bugs+%2526+Butterflies+-+Fine+Art+of+Lucy+Arnold%252Cpng.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="601" data-original-width="441" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV9NB5HfFkR6zf9194pU0lvuBlx3Jq0vhl6nJ8k2vd5wqpEmCrDMKfQUvE56E7GdtOqzVqXu1X6bGIAgwS2usAtr84IMsIB4VDRhP9ytCS3mOyAzSOX0l3JwSNsIA28e5pVXffPpvPv9r-/s320/Bugs+%2526+Butterflies+-+Fine+Art+of+Lucy+Arnold%252Cpng.png" width="234" /></a></td></tr>
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<strong><em>Bugs & Butterflies</em> by Lucy Arnold</strong></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3S5o3kq8QbIZPs3WHw_h9uCYxaGNygMX0SsJsX394ccyk3XV3BmG6rqC_Db84Dg6A_TnWNq5Au6k37Dp7MzzkG1HJPj6QCY-eYhgdG8JtmcmRxZThCNuGPwe43TyIs12jbpz5hVYiYTr_/s1600/Mike+Moats+composite.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="822" data-original-width="546" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3S5o3kq8QbIZPs3WHw_h9uCYxaGNygMX0SsJsX394ccyk3XV3BmG6rqC_Db84Dg6A_TnWNq5Au6k37Dp7MzzkG1HJPj6QCY-eYhgdG8JtmcmRxZThCNuGPwe43TyIs12jbpz5hVYiYTr_/s320/Mike+Moats+composite.jpg" width="215" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Acrylic wall art by Mike Moats</strong></span>.</td></tr>
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Moreover when we think of art we first bring to mind paintings which hang on a wall to beautify our homes and it is in that context that we see the work of artists such as Mike Moats (right) and the watercolor image of the several artists working in that most-difficult medium the but-terflies seem the most versatile, but highly satisfying medium. The upper image below is titled <em>Monarch Butterfly</em> by Marian Voicu. Just below that is a watercolor rendering Demdaco, while the lower image is titled <em>Flutterby Wisps</em>, by Farrell Douglass.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeGv0oWIzKeDlhcBX1sof5vT_HfLwWwvg2nh2VijHUTpkh0ak_ipVOsD-fKnhgd-asLQxQKMH6iARkDGzlB2Kfk4VwtF5HYtX0E7CEwzlI0Hpovc3KRFraTsDOUBccIUniasiqOyvtSTzN/s1600/Watercolor+butterflies+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeGv0oWIzKeDlhcBX1sof5vT_HfLwWwvg2nh2VijHUTpkh0ak_ipVOsD-fKnhgd-asLQxQKMH6iARkDGzlB2Kfk4VwtF5HYtX0E7CEwzlI0Hpovc3KRFraTsDOUBccIUniasiqOyvtSTzN/s1600/Watercolor+butterflies+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Butterflies being light and delicate creatures, </strong><strong>many painters choose</strong></span><br />
<span style="font-size: small;"><strong>watercolor with its equally <strong><span style="font-size: small;">light and delicate virtue .</span></strong></strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSEa5JcvKkuQNGcqh41z4dmSvvvWcZ-4zAr5b0L81NsY1yEXxbCf_8BAsloOlT7AJo086YMkK_ztz8veP4055jetCZ8AFju6QSXTd3yozec6GD3dfXO-ZhSRtVmYntp8-BGeBiodljM60U/s1600/Maria+Pace-Wynters.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="491" data-original-width="368" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSEa5JcvKkuQNGcqh41z4dmSvvvWcZ-4zAr5b0L81NsY1yEXxbCf_8BAsloOlT7AJo086YMkK_ztz8veP4055jetCZ8AFju6QSXTd3yozec6GD3dfXO-ZhSRtVmYntp8-BGeBiodljM60U/s320/Maria+Pace-Wynters.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><strong>A decorative, highly romantic </strong></span></strong><br />
<strong><span style="font-size: small;"><strong>butterfly <strong><span style="font-size: small;"><strong>motif<strong><span style="font-size: small;"><strong> as <strong><span style="font-size: small;"><strong>employed </strong></span></strong></strong></span></strong></strong></span></strong></strong></span></strong><br />
<strong><span style="font-size: small;"><strong><strong><span style="font-size: small;"><strong><strong><span style="font-size: small;"><strong><strong><span style="font-size: small;"><strong>by Maria Pace-Wynters</strong></span></strong></strong></span></strong></strong></span></strong></strong></span></strong></td></tr>
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And finally, no subject matter, animal, hu-man, or natural lends itself to fantasy art more readily than the romantic, highly decorative butterfly. Whether seen at an angle while in flight or with its wings fully spread displaying its perfect vertical sym-metry, the butterfly stands in close proximity to the ubiquitous heart shape as an inter-national symbol of grace, peace, and love. Below and to the left are but two examples of the butterfly used in such a context.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiSLsPAFSICFLuptCJ0JXymB8acekk6Bi4mt9U6xzqKAwJWnAtKaPIFz2RZfZlfS5sEBxCQXFZiKFzjlCx918GiVk5Y9yG5_-LXEWBwcFXYckdVBfssbDCiDQEe_5dab0C5ll-Psczgx22/s1600/The+Bloomin%2527+couch%252C+Metal+Art+by+David+Kracov.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="384" data-original-width="215" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiSLsPAFSICFLuptCJ0JXymB8acekk6Bi4mt9U6xzqKAwJWnAtKaPIFz2RZfZlfS5sEBxCQXFZiKFzjlCx918GiVk5Y9yG5_-LXEWBwcFXYckdVBfssbDCiDQEe_5dab0C5ll-Psczgx22/s200/The+Bloomin%2527+couch%252C+Metal+Art+by+David+Kracov.jpg" width="215" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>The Bloomin' Couch</em>, </strong></span><br />
<span style="font-size: small;"><strong>Metal Art by David Kracov</strong></span></td></tr>
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-61168324762683987232019-12-02T00:01:00.000-05:002019-12-02T00:01:01.816-05:00Courbet's Burial at Ornans<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/AVvXsEjkvIKdzZ4BmymEg7YK_6jvGFCo20JsT-ziI15fVuG3XiszdcbYcVFE_xWKXblscRL8bgSqOlozDM3WiY9VpvPSa1vhCJZ1ksSVt7POcB8NF2cr620jVYhujFProPVikaHU8SKtgfLX_LjW/s1600/courbet_ornans_orsay.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkvIKdzZ4BmymEg7YK_6jvGFCo20JsT-ziI15fVuG3XiszdcbYcVFE_xWKXblscRL8bgSqOlozDM3WiY9VpvPSa1vhCJZ1ksSVt7POcB8NF2cr620jVYhujFProPVikaHU8SKtgfLX_LjW/s1600/courbet_ornans_orsay.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Gustave Courbet's <em>Burial at Ornans</em> now hangs in Paris' Orsay Museum.</strong></span></td></tr>
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Every artist dreams of creating something "important" at least once in his or her lifetime. For Picasso it was his 1937 masterpiece, <em>Guernica. </em>For Norman Rockwell it was his 1943 series, <em>Four Freedoms</em>. In the case of Leonardo it would be his <em>Last Supper</em>. Michelangelo had several such works but the Sistine Chapel ceiling probably had the greatest impact. Late in the summer of 1849 the French Realism painter, Gustave Courbet began his most "important" work. It is a massive 315 x 668 cm (more than 10 feet tall by almost 22 feet in length) group portrait <em>Burial at Ornans. </em>Ornans is a small town in eastern France not far from the Swiss border. Ornans was Courbet's birthplace in 1819. The funeral scene is that of Courbet's Great Uncle, who died in September of 1848. The painting took over a year to complete. Family members included in Courbet's scene are his mother, his three sisters, and his grandfather, Ouidot. Courbet was not the first to paint a funeral scene. El Greco's 1586 <em>Burial of Count Orgaz</em> comes to mind. Nor was he the first to paint Christian rituals. He was, however, the first to mix history painting with genre portraiture and to do so in such a massive, realistic manner.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIKiriz-iJ4cPc46LlQz9RaACnE_COZz5dVhctnp5llP1UsFBTMNDJt9kP0dHif0qmFveSZYwpu7szvvOovkOloQfWD2MtYNKWgKRx85yNcyIYoqmxIPQ6rhDgNkG1VpqBPb0hZSthyo20/s1600/Burial+at+Ornans%252C+1849-50%252C+Gustave+Courbet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="262" data-original-width="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIKiriz-iJ4cPc46LlQz9RaACnE_COZz5dVhctnp5llP1UsFBTMNDJt9kP0dHif0qmFveSZYwpu7szvvOovkOloQfWD2MtYNKWgKRx85yNcyIYoqmxIPQ6rhDgNkG1VpqBPb0hZSthyo20/s1600/Burial+at+Ornans%252C+1849-50%252C+Gustave+Courbet.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Burial at Ornans,</em> 1849-50, Gustave Courbet.</strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJIgEwfbyx4QjkdwwsUBzjdG4pnBuJSZ4ZVjV8tK2y_VjOEyVkjEDXhjPnCR4pF7hFTGyek-k-Q88CbtDRZKANOIeDAhtiUX8oi84kebYAdDte_eN_2YmBzWBCUQaHvFDYSLBtu0eX00O4/s1600/F6RJYW.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="381" data-original-width="550" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJIgEwfbyx4QjkdwwsUBzjdG4pnBuJSZ4ZVjV8tK2y_VjOEyVkjEDXhjPnCR4pF7hFTGyek-k-Q88CbtDRZKANOIeDAhtiUX8oi84kebYAdDte_eN_2YmBzWBCUQaHvFDYSLBtu0eX00O4/s320/F6RJYW.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Courbet's Ornans studio.</strong></span></td></tr>
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I've seen this painting. Over-whelming doesn't do it justice. Courbet's painting was so large it would barely fit in his Ornans studio. He complained in a letter to a friend about the lack of space in his studio where he painted this, his largest work ever. “Only a madman could work under the conditions I must put up with. I am groping blindly. I have no room to step back.” Unlike other artists of his time, Courbet did not hire models to pose for him. Courbet used the real people who had actually been at the burial. As it had such a deleterious effect on the Romantic style of painting, Courbet himself said: “The <em>Burial at Ornans</em> was, in reality, the burial of Romanticism.” <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_0MtX0Z2Ll8hNtsdPkXdoH5NmJxE5pwLLxsSUNITYY6MIZ8wSNxUTtJTZUOFRegTaV2njwL7Nw3PzwIHzW_Oio6sGyutDdplNbOth7DxWO2AA__xzUwHNOIA_75x_SVEzaapU3W5mp6es/s1600/Study-For-Burial-At-Ornans%252C-1849.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="224" data-original-width="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_0MtX0Z2Ll8hNtsdPkXdoH5NmJxE5pwLLxsSUNITYY6MIZ8wSNxUTtJTZUOFRegTaV2njwL7Nw3PzwIHzW_Oio6sGyutDdplNbOth7DxWO2AA__xzUwHNOIA_75x_SVEzaapU3W5mp6es/s1600/Study-For-Burial-At-Ornans%252C-1849.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>This preliminary sketch defines the figures and the manner in </strong></span><br />
<span style="font-size: small;"><strong>which they are grouped in the painting.</strong></span></td></tr>
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Black is the basis of the <em>Burial at Ornans</em>, and two sequences of color are played against it, over the picture's whole length. First the flesh color of the hands and faces; second, the plain white of handkerchiefs and collars, lace caps, spats, the priest's trimmings, the gravedigger's sleeves, and the glossy hide of a dog. At the left of the picture the same colors are put in negative; the black of the crucifix, caps, and belts against the surplices of the choristers, black crossbones and black tears on the pall itself. The dark tones used in Courbet's work also make it exceedingly difficult to photograph as evidenced by the numerous detail images used below. Courbet's preliminary sketch (above), is far closer to the crude straightforwardness and of the kind of intelligence which went into the work: breaking and turning the long line of heads; drawing the black into dense clusters and making the white area a more positive interval in the picture; creating just enough space, between crucifix and censer, or between priest and gravedigger, to make the various groups distinct. Nothing is enlivened. The forms of popular art show through the picture like a skeleton. No device is strong enough to obscure the basic theme, the faces etched in even light against the mass of black below them."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWI7Ch3hn9zDGgCrhsCZkH3H8cOyNbBByo-OGehWvYyFulexxMBirUVevfDm_k8AWWYKdmgnatG4jFKN2ciGTvo2mEE0Kx7d6Au3W-pUhU_52cPL30EENmPg5VLPGwNt8mj7ltNTiqeSf/s1600/Detail%252C+the+sisters+Courbet+-+Juliette%252C+Zo%25C3%25A9%252C+and+Z%25C3%25A9lie+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="496" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWI7Ch3hn9zDGgCrhsCZkH3H8cOyNbBByo-OGehWvYyFulexxMBirUVevfDm_k8AWWYKdmgnatG4jFKN2ciGTvo2mEE0Kx7d6Au3W-pUhU_52cPL30EENmPg5VLPGwNt8mj7ltNTiqeSf/s1600/Detail%252C+the+sisters+Courbet+-+Juliette%252C+Zo%25C3%25A9%252C+and+Z%25C3%25A9lie+.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Courbet 's mother and three sisters--Juliette (whose face is covered), Zoé, and Zélie</strong> </span></td></tr>
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This is the picture's structure. It is more complex than it seems at first sight, but it can be described step by step, with some kind of certainty. Beyond this point, when we start to ask about the picture's meaning, the real difficulties begin. What, to put it briefly, is the Burial's affective atmosphere? What are the mourners' attitudes and emotions, and what is Courbet's attitude to the event portrayed? We have to answer such questions in our own minds in the face of an image which deliberately avoids emotional organization. In the Burial there is no single focus of attention, no climax towards which the forms and faces turn. Least of all is the picture organized around the sacrament of burial: hardly a single face, save perhaps the gravedigger's, is turned towards the priest, and the line of heads at the right of the picture looks the other way entirely--away from the coffin and the crucifix.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1F8OcgcJp4jhlJCBuEaBg-8vSr3TvkGCAWbW31V-KfkjqJN3tAHOP79-Z6B_0xbyHitEQ23CaHOBCHouoxaZOulwX7z0RBIdgMxtgGO7gs2xvzzQILj584xke-JnuEWorMRs0wZ5Ltky/s1600/Detail+Grandather+Ouidot+an+pall+bearers%252C+Gustave+Courbet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="570" data-original-width="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1F8OcgcJp4jhlJCBuEaBg-8vSr3TvkGCAWbW31V-KfkjqJN3tAHOP79-Z6B_0xbyHitEQ23CaHOBCHouoxaZOulwX7z0RBIdgMxtgGO7gs2xvzzQILj584xke-JnuEWorMRs0wZ5Ltky/s1600/Detail+Grandather+Ouidot+an+pall+bearers%252C+Gustave+Courbet.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Grandather Ouidot and the pall bearers, Gustave Courbet</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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We are not inventing this perplexity. Critic after critic, when the Burial reached Paris late in 1850, asked the same questions, though with more rancor. It was precisely this lack of open, declared significance which offended most of all; it was the way the Burial seemed to hide its attitudes, seemed to contain within itself too many contraries--religious and secular, comic and tragic, sentimental and grotesque. It was this inclusiveness, this exact and cruel deadpan, that made the Burial the focus of such different meanings. It was an image that took on the colors of its context; as it was designed to do. 19th-century France had many political and social issues going on that were conflicting the artists working at that time. Realism was the new style that had emerged into the French art world. Gustave Courbet's paintings embodied historic events that were captured in vivid realism. <em>Burial at Ornans</em> made him one of the most famous 19th century artists in France. The harsh realism of this artwork is what offended the bourgeoisie. Many people were offended that an unheard-of-before great-uncle was given such honor and fame to his death through Courbet's painting. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUrUNAse2VGsEFKgeVZR8EefGjHwLaA5eKRz2ZF-J_b2Wmjx_WlTl3xPjUPIeJJPhfOYDUJQGFI2gk-GacBIPSrQWomnx2iEEsfcdLrUVEnj5msqOYo-en-ozDkvTrsZkIS7qnbAsYEgjR/s1600/Detail%252C+the+landscape+attendant%252C+Gustave+Courbet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="145" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUrUNAse2VGsEFKgeVZR8EefGjHwLaA5eKRz2ZF-J_b2Wmjx_WlTl3xPjUPIeJJPhfOYDUJQGFI2gk-GacBIPSrQWomnx2iEEsfcdLrUVEnj5msqOYo-en-ozDkvTrsZkIS7qnbAsYEgjR/s1600/Detail%252C+the+landscape+attendant%252C+Gustave+Courbet.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>The landscape attendant</strong></span></td></tr>
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At the Salon in 1850-1851, many people decried "the ugliness" of the people, and the ordinariness of the whole scene. Among the few admirers of the painting, one critic prophesied that it would remain "the Herculean pillars of realism in modern history". The very subject of the painting has been reinterpreted. At first regarded as anticlerical, it was finally believed that, in a composition dominated by Christ on the cross (above), bringing together the clergy, a mayor and a Masonic judge, surrounded by men and women from all walks of life, it was the idea of "universal understanding" which prevailed, a constant preoccupation in the 19th century and for the 1848 generation in particular. Courbet's approach was radically innovative at the time: he used a canvas of dimensions usually reserved for history painting, a "noble" genre, to present an ordinary subject, with no trace of idealization, which cannot pretend to be a genre scene either.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIzlbc5PDf_CCydLNThGGY9wrBxQGxP93T1WI7p8ynVCLOEdpx_m8MlB2JBH9yj-jaOlkWVWppoBhto9xek69SKrjiSKTlOgznTHI6Oo0LBp9eCVvk3pBwVbupF16eOa7Xo6hD14NbLf8M/s1600/Detail%252C+the+grave%252C+and+M.+Cassard%252C+the+grave+digger.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="570" data-original-width="554" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIzlbc5PDf_CCydLNThGGY9wrBxQGxP93T1WI7p8ynVCLOEdpx_m8MlB2JBH9yj-jaOlkWVWppoBhto9xek69SKrjiSKTlOgznTHI6Oo0LBp9eCVvk3pBwVbupF16eOa7Xo6hD14NbLf8M/s1600/Detail%252C+the+grave%252C+and+M.+Cassard%252C+the+grave+digger.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong> The grave, and M. Cassard, the grave digger.</strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdsBZtqXSw9-68gJ0lIgxWAPYkBFti3xcFvjt26Ywn4539dD5CLt240ll4vYq9RVCGhH4UQ0uiYWm9WBAVWRd926RHcvkCNPFjSofHGSBwbg3faXyqwjEwWrPDLDL_yDUaUS5hyphenhyphenExH-YH/s1600/F%25C3%25A9lix_Nadar_1820-1910_portraits_Gustave_Courbet.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="751" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdsBZtqXSw9-68gJ0lIgxWAPYkBFti3xcFvjt26Ywn4539dD5CLt240ll4vYq9RVCGhH4UQ0uiYWm9WBAVWRd926RHcvkCNPFjSofHGSBwbg3faXyqwjEwWrPDLDL_yDUaUS5hyphenhyphenExH-YH/s320/F%25C3%25A9lix_Nadar_1820-1910_portraits_Gustave_Courbet.jpg" width="234" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Félix Nadar's photographic</strong></span><br />
<span style="font-size: small;"><strong>portrait of Gustave Courbet</strong></span></td></tr>
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As a prime example of Realism, the painting sticks to the facts of a real burial and avoids amplified spiritual connotations. Emphasizing the temporal nature of life, Courbet inten-tionally did not let the light in the painting express the eternal. While the sunset could have expressed the great transition of the soul from the temporal to the eternal, Courbet covered the evening sky with clouds so the passage of day into night is just a simple echo of the coffin passing from light into the dark of the ground. Some critics saw the adherence to the strict facts of death as slighting religion and criticized it as a shabbily composed structure with worn-faced working folk raised up to life-size in a gigantic work as if they had some kind of noble importance. Other critics such as Proudhon loved the inference of equality and virtue of all people and recognized how such a painting could help turn the course of Western art and politics.<br />
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Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-63605044837895097222019-11-25T00:01:00.000-05:002019-11-25T00:01:03.452-05:00Adam Riches<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/AVvXsEiLwxZio2GbzkpJV12CSIfFmBnNzcpVbapVhS3X48VLa_S1B2g1ybpGB_PGc8WNPQqxZySMimPzpoKJ-4FZ0WE6bo4nFzPQ0YO9Rn4X51CLW50hUXlcIkYf1B-U1fXWJz8wwsFks4q1c509/s1600/riches-5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="478" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLwxZio2GbzkpJV12CSIfFmBnNzcpVbapVhS3X48VLa_S1B2g1ybpGB_PGc8WNPQqxZySMimPzpoKJ-4FZ0WE6bo4nFzPQ0YO9Rn4X51CLW50hUXlcIkYf1B-U1fXWJz8wwsFks4q1c509/s1600/riches-5.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Adam Riches' <em>Triple Portrait. </em>(my title).</strong></span></td></tr>
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Creativity in the form of graphic self-expression begins quite early in a child's life. It might be something of an exaggeration to say it begins at birth, but quite apart from that creativity might easily be said to be life itself. Sometime during the first year of a child's life he or she is given paper and a crayon with which to entertain themselves,--if only for a few minutes--while the parent enjoys a much-need respite from the more demanding elements of child care. The child begins to experiment and quickly discovers that moving the little stick of colored wax around over the paper leaves a lasting mark (art for art's sake?) Referring to such scribbles as "art" might depend upon how broad ones definition, of the subject might be. Yet if you are broadminded enough to consider art to include <em>all</em> forms of creative self-expression, scribbling with various colored crayons would fall well within the realm of art. You could call this type of work/play primitive Expressionism. Abstract Expressionism...certainly...in that the child is drawing his inspiration from within. a few short years later this form of art evolves into a form of Expressionism in which the child begins to create imitating his or her environment, drawing inspiration from both without and within.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVeceoVwaZvBLYMyIyTi_G_MSzdZMHuyilvx6XhLv7rhR0W50sSjbY1JFrBBMfCVkt0CGmrbsCql5zOph9PLAgZBAVVo-LeIJRiGifYZ8ccx1MQOIkYBm0GxhTjAVQqgfB89YfzQ_K1Iid/s1600/riches-7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="688" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVeceoVwaZvBLYMyIyTi_G_MSzdZMHuyilvx6XhLv7rhR0W50sSjbY1JFrBBMfCVkt0CGmrbsCql5zOph9PLAgZBAVVo-LeIJRiGifYZ8ccx1MQOIkYBm0GxhTjAVQqgfB89YfzQ_K1Iid/s1600/riches-7.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Not all of Adam Riches scribbled faces are as deep, dark, and brooding </strong></span><br />
<span style="font-size: small;"><strong>as this example, but most are quite similar.</strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-VE2qgmNRu0jtJ_YUp-BRNiOKZKlm_HWe0hPOcw_VAgbKwT49RnGxrIjXLtf6pqU0n8vlMEUoOwLpY3N4o1iMu6NlXu-CciUtAziWBoLJN7J0bTrlnCSbOSeZkdesxEGUWUHZWCxsyHQ/s1600/thS5.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="592" data-original-width="474" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-VE2qgmNRu0jtJ_YUp-BRNiOKZKlm_HWe0hPOcw_VAgbKwT49RnGxrIjXLtf6pqU0n8vlMEUoOwLpY3N4o1iMu6NlXu-CciUtAziWBoLJN7J0bTrlnCSbOSeZkdesxEGUWUHZWCxsyHQ/s320/thS5.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Adam's scribbled images evolve, the </strong></span><br />
<strong><span style="font-size: small;">artist having only a vague idea of</span></strong><br />
<strong><span style="font-size: small;">their final appearance.</span></strong></td></tr>
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Adam Riches' art reflects this gradual de-velopment. It's customary to declare that an artist displayed art talent at a young age (whether true, or not). However Riches' art <em>did </em>begin at a young age...a <em>very </em>young age. Before I go further let me inject here that there are at least <em>three</em> Adam Riches, all approximately the same age, which makes researching this artist's life somewhat complicated. To make mat-ters worse, <em>two </em>of these men are artists. The other Adam Riches specializes in futurist illustrations. There's also a com-edian/singer named Adam Riches, al-though the last two may, in fact, be one and the same. In any case the latter is much more well known, perhaps even "famous" while Adam Riches the scrib-bler's reputation rests solely on his art. I looked for a possible self-portrait, but I couldn't even find a reliable photo of the man. Adam lives and works in Suffolk, England. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyEEGxMXdFEYdztn3t4HXLvPHcURL6PEyDFzf1s762j6XZkPwQ-881n2Z1fmuplhznFbf505RKe45C91W8KIVeF1Q_GPjVD-fkdk-bIFhdwuwiiV_FUIlfh7NrHaUwc-1heFvYRK_cnyE8/s1600/riches-8.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="688" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyEEGxMXdFEYdztn3t4HXLvPHcURL6PEyDFzf1s762j6XZkPwQ-881n2Z1fmuplhznFbf505RKe45C91W8KIVeF1Q_GPjVD-fkdk-bIFhdwuwiiV_FUIlfh7NrHaUwc-1heFvYRK_cnyE8/s320/riches-8.jpg" width="255" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>There is often an unfinished look to</strong></span><br />
<span style="font-size: small;"><strong>Riche's scribblings.</strong></span></td></tr>
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Rediscovering a childhood interest for "doodling" has helped this Ipswich man forge an art career. As a boy, Adam Riches used to mess around with pens and pencils and draw historical figures. His talent has led him to working as a full-time artist, with his ink-on-paper work selling for hundreds of pounds. "I was always interested in drawing as a child and drawing from my imagination... I feel lucky to take something I did when I was younger and develop that into a career."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu-tNTYYKlcrSF9B_zzmHgTav94gvSxNi481uVM2ssEEeBKdr4mfud_PnV_-yS2csMKT2nC1StOVvrE3lShaNrfWt9Y-OaZThQuEeZ29rKq7vwCwAXs8e1kJD7Qb3jLxhppjaq5N1H0BH9/s1600/riches-3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="687" data-original-width="550" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu-tNTYYKlcrSF9B_zzmHgTav94gvSxNi481uVM2ssEEeBKdr4mfud_PnV_-yS2csMKT2nC1StOVvrE3lShaNrfWt9Y-OaZThQuEeZ29rKq7vwCwAXs8e1kJD7Qb3jLxhppjaq5N1H0BH9/s200/riches-3.jpg" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Some of Riches scribble</span></strong><br />
<strong><span style="font-size: small;">works suggests female faces,</span></strong><br />
<strong><span style="font-size: small;">though sometimes it's a very</span></strong><br />
<strong><span style="font-size: small;">subtle distinction.</span></strong> </td></tr>
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Adam Riches uses pen and ink to create frenetic por-traits of brooding anonymous figures. The monochrome illustrations emerge out of blank backgrounds, with broad, gestural lines skittering and looping across the paper. Often, pen drawings fall into two stylistic cat-egories: contour drawings that capture the outlines and edges of their subject, or super-smooth ones that seem to defy the fine point of the pen with layered hatch marks. In forging his own style, Riches uses highly varied densities in his mark-making to create volume and suggest shadows, while also utilizing each line as a distinctive shape. In a recent video interview with BBC, the artist explains, “The drawings are quite intuitive and are done spontaneously. They reveal themselves as I’m making them.” Riches has certainly chosen a difficult medium in which to work. With the possible exception of watercolor, ballpoint pen and ink can be a most "unforgiving" medium of expression. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQvWvl24dEQ7FmthE7LEWctnzJRtE3h7jb6gdcm98SVvejUYuCldriLnSodJd1naZkf-D93Pdq8AXB5FsrtG96RGE_ymXHYX7uoVxr2m5rvQborPe76jIFbNuoYdzAEWRSOc246ZLO99g/s1600/riches-6.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="440" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQvWvl24dEQ7FmthE7LEWctnzJRtE3h7jb6gdcm98SVvejUYuCldriLnSodJd1naZkf-D93Pdq8AXB5FsrtG96RGE_ymXHYX7uoVxr2m5rvQborPe76jIFbNuoYdzAEWRSOc246ZLO99g/s320/riches-6.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>One of Riches more "polished" renderings</strong></span></td></tr>
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However, given his style of rendering and the anonymous, "unscripted" nature of his subject, what otherwise might be con-sidered an error can be encompassed into the overall nature of the work. Riches considers his surroundings as quite important to his creative process. He notes that he works best when alone, although he admits to the importance of being surrounded, with other creative people. He also listens to music through earphones as a means to block out the world and get lost in the process. He favors music by The Smiths, The Clash, David Bowie, Nirvana, The Pogues and several others. Riches admits to a singular weakness that often bedevils many artists--procrastination. But in his defense, he considers his bouts with pro-crastination to be sources of inspiration and motivation. Riches notes that his style evolved out of the idea for a sculpture. In choosing to make a human head from wire he made some preliminary drawings. Ironically. the sculpture never got made, but he continued with the drawings.<br />
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0tag:blogger.com,1999:blog-8355717446968368001.post-68662473944326261332019-11-18T00:01:00.000-05:002019-11-18T00:01:02.021-05:00The Color Yellow<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/AVvXsEh7bRnHmOOWykMvCyEz6r0BC_nUCvq_16APgkQAmbWWFrGiIoxwafJtnNlLcbLq8MGJz76qyVS7PJzQUk3V9oukEeMHkezPFayZe45a03QWjD6HUzF4O2lXR8eonVnYAOKbtpqllWe3CN3j/s1600/Yellow+cactus.+Grotgis+O%2527Keeffe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="390" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7bRnHmOOWykMvCyEz6r0BC_nUCvq_16APgkQAmbWWFrGiIoxwafJtnNlLcbLq8MGJz76qyVS7PJzQUk3V9oukEeMHkezPFayZe45a03QWjD6HUzF4O2lXR8eonVnYAOKbtpqllWe3CN3j/s1600/Yellow+cactus.+Grotgis+O%2527Keeffe.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;"><em>Yellow Cactus, </em>1929, Georgia O'Keeffe</span></strong><span style="font-size: small;"><strong></strong></span></td></tr>
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What's your favorite color? The chances are it's<em> not </em>yellow. In fact, for many people yellow is their <em>least</em> favorite color. When people list their favorite colors, yellow is chosen by a mere 5% while some 42% of both men and women choose <span id="goog_804443845"></span><a href="https://www.blogger.com/">blue<span id="goog_804443846"></span></a>, followed by <a href="https://art-now-and-then.blogspot.com/2019/08/the-color-red.html">red</a>, green, orange, brown, purple, and finally yellow. Gold (almost yellow) white, and silver round out the top ten. Why is yellow rejected by so many when it denotes youth, fun, joy, sunshine, and other happy feelings? With so much going for it, we might expect yellow to be a much more popular choice rather than hovering bear the bottom of the list. Perhaps it's because yellow can be anxiety producing as it is fast moving and can cause us to feel agitated. Yellow also has a tendency to make one self-critical as well as critical of others.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3GY4maDFbPNLFlIxaX1NKzyU5KLs98JZRTAYg8KgBa74AFov4gSQGHeXh8dzwkdz-JUg3ozEcLg5fg_qTKkiUWbWHdmdegmlVC2G4EGn65dAkhZtD6egA4eMPhP_WE7qxJoDwkeTiKDmB/s1600/yellow-color-meaning.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3GY4maDFbPNLFlIxaX1NKzyU5KLs98JZRTAYg8KgBa74AFov4gSQGHeXh8dzwkdz-JUg3ozEcLg5fg_qTKkiUWbWHdmdegmlVC2G4EGn65dAkhZtD6egA4eMPhP_WE7qxJoDwkeTiKDmB/s1600/yellow-color-meaning.png" /></a></div>
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Yellow is the brightest color that the human eye can see. It is a cheerful and energetic color. The color yellow is often used for children’s toys and clothes. However, designers must be careful when using this color as it is often hard to read when placed on a white background. Although yellow is a bright and cheerful color, it can quickly become dirty and unpleasant, as it approaches the darker shades. When I taught students the art of color mixing, very often they were surprised to find that black, mixed with yellow, did not render them the expected "dark yellow" but various shades of olive green instead. The color yellow is related to learning. It is a color that resonates with the left (or logical) side of the brain, where it stimulates our mentality and perception. The color yellow inspires thought and curiosity and is creative from a mental point of view--the color gives us new ideas. The yellow helps us find new ways of doing things. It suggests a practical thinker and not a dreamer.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiETsBA5OaZMJaT0HqV9tCxiSLVM2xcvAdw9k-sX_4AkRdxZCV4EEsa9Et4FrBMzaBiFB2eS0r_Tm-q-JSyfDZTHkMYNKnvkTFs71ZW0VZ-TJn3BHq__On24hCKVIhoTbzmIuj29wKnBaBk/s1600/color-thesaurus-correct-names-yellow-shades.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="343" data-original-width="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiETsBA5OaZMJaT0HqV9tCxiSLVM2xcvAdw9k-sX_4AkRdxZCV4EEsa9Et4FrBMzaBiFB2eS0r_Tm-q-JSyfDZTHkMYNKnvkTFs71ZW0VZ-TJn3BHq__On24hCKVIhoTbzmIuj29wKnBaBk/s1600/color-thesaurus-correct-names-yellow-shades.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Differing subtle shades and tints of yellow are often <span style="font-size: small;"><strong>difficult to discern </strong></span></strong></span><br />
<span style="font-size: small;"><strong><span style="font-size: small;"><strong>especially on a computer monitor. <span style="font-size: small;"><strong>Also, they may very often take on a greenish shade.</strong></span></strong></span></strong></span></td></tr>
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Yellow is found between green and orange on the spectrum of visible light. It is the color the human eye sees when it looks at light with a dominant wavelength between 570 and 590 nanometers. In color printing, yellow is one of the three colors of ink used along with magenta and cyan, which, along with black, can be overlaid in the right combination, to print any full color image. A particular yellow is used, called Process yellow (also known as "pigment yellow", "printer's yellow", and "canary yellow") subtractive primary colors, along with magenta and cyan. Process yellow is not an RGB (short for, red, green and blue) color, and there is no fixed conversion from CMYK (short for cyan, magenta, yellow and black) primaries to RGB. Different formulations are used for printer's ink, so there can be variations in the printed color that is pure yellow ink. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFXP6FS9y4RFSIThZmspgumLHTVqNTE3mIOUtYUT72jy5je7mppesseDFZipG4k_SDVCSha-Ia4fk7SbtN0eiYNFdsMf73sVgBbuIvj5pMh_cr_4K-1NAtCDha_lkBGwLdM8jKX1VrC8rZ/s1600/Yellow+landscape.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="396" data-original-width="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFXP6FS9y4RFSIThZmspgumLHTVqNTE3mIOUtYUT72jy5je7mppesseDFZipG4k_SDVCSha-Ia4fk7SbtN0eiYNFdsMf73sVgBbuIvj5pMh_cr_4K-1NAtCDha_lkBGwLdM8jKX1VrC8rZ/s1600/Yellow+landscape.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Artists would have a difficult time rendering autumn scenes without an abundant</strong></span><br />
<strong><span style="font-size: small;">supply of various yellow pigments on their palettes.</span></strong></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCRxx8tPW-rkN-X9nko66lehs_oRfeTdDFmkP5WS8nq3WF1iRtKVCdJrfpYf-Rn4Mih7883sFwKJKJe5p7vaNSWO3Ztg6ziBOZHaIXsDOjmeGy1drCPJJ-UciUUzF6-oo5ErbaRXm4ch-M/s1600/yellow+meaning.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="486" data-original-width="543" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCRxx8tPW-rkN-X9nko66lehs_oRfeTdDFmkP5WS8nq3WF1iRtKVCdJrfpYf-Rn4Mih7883sFwKJKJe5p7vaNSWO3Ztg6ziBOZHaIXsDOjmeGy1drCPJJ-UciUUzF6-oo5ErbaRXm4ch-M/s200/yellow+meaning.jpg" width="200" /></a></div>
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Because it was widely available, yellow ochre pigment was one of the first colors used in art. The Lascaux Cave in France has a painting of a yellow horse 17,000 years old. Ochre and orpiment pigments were used to represent gold and skin color in Egyptian tombs, then in the murals decorating Roman villas. In the early Christian church, yellow was the color associated with the Pope and the golden keys of the Kingdom, but was also associated with Judas Iscariot and was used to mark heretics. In the 20th century, Jews in Nazi-occupied Europe were forced to wear a yellow star. In China, bright yellow was the color of the Middle Kingdom, and could be worn only by the Emperor and his household. Special guests were welcomed on a yellow carpet. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQITP8a2hA88y9CTUPmpbmGUj-WgSSTkH5XW9uUnFTSWEKDkANu2rI5rFwZF8bU34BSX_4BzUeStkSUJIJR32lGtPFkS-JVbIqB7mKWLtxrW7UGYCYZM7sGcCfVs7ErfjLfxrw85vE6_oz/s1600/Van+Gogh%2527s+Yellows+composite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="927" data-original-width="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQITP8a2hA88y9CTUPmpbmGUj-WgSSTkH5XW9uUnFTSWEKDkANu2rI5rFwZF8bU34BSX_4BzUeStkSUJIJR32lGtPFkS-JVbIqB7mKWLtxrW7UGYCYZM7sGcCfVs7ErfjLfxrw85vE6_oz/s1600/Van+Gogh%2527s+Yellows+composite.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Few artists handle yellow pigments well Van Gogh stands out for his mastery</strong></span><br />
<strong><span style="font-size: small;">of yellows in all their radiant beauty.</span></strong></td></tr>
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When we think of the color yellow as used by famous artists from the past, Vincent van Gogh immediately pops into view. His golden yellow wheat fields and yellow on yellow sunflower paintings are nothing short of dazzling (the images here do not do them justice, by the way). However, the Impressionist (or Post-impressionist) Paul Cezanne was also lover of the color. Fellow Post-impressionist Emile Bernard lists the yellow pigments making up Cezanne's palette as brilliant yellow, naples yellow, chrome yellow, yellow ochre, and raw sienna (yes, that's considered a "yellow). Works such as <em>Terrace at Cagnes,</em> by Auguste Renoir (below) suggests yet another painter who was no stranger to the color yellow.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi-kYye8reDEH-yXmCJz7WLqqp4tAeY8X-8QauJ5lafBar0XR2BXrPUcMO7DJ9ZkxImNIixxYgnSLqZUlhK-kwsb-WhFON2c1QEThDR3V8eQ-hJ-o1hyKBvLFmwCEcNyhnJesE0SxAEP-n/s1600/terrace+at+cagnes%252C+auguste+renoir.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi-kYye8reDEH-yXmCJz7WLqqp4tAeY8X-8QauJ5lafBar0XR2BXrPUcMO7DJ9ZkxImNIixxYgnSLqZUlhK-kwsb-WhFON2c1QEThDR3V8eQ-hJ-o1hyKBvLFmwCEcNyhnJesE0SxAEP-n/s1600/terrace+at+cagnes%252C+auguste+renoir.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-size: small;">Terrace at Cagnes, 1905, Auguste Renoir. There are several versions of this </span></strong><br />
<strong><span style="font-size: small;">scene by Renoir. <strong><span style="font-size: small;">This one uses more yellow than most of the others.</span></strong></span></strong></td></tr>
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Likewise artists such as Pablo Picasso in his <em>Horta de Ebro - Houses on a Hill,</em> 1909, (below), Gustav Klimt in his <em>The Kiss</em> (1908) some might consider it gold rather than yellow (It was, in fact, gold leaf). Salvador Dali (with his cold surrealist skies), Piet Mondrian, Georgia O'Keeffe (top), and many contemporary painters have all shown an affinity for yellows. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong><em>Horta de Ebro</em> (Houses on a Hill), 1909, Pablo Picasso </strong></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnUO6vQ4ih6GbWY_gyk6w46zAfREOB3P7m5COXQknt64NNInOIfmBLXI5xg9FpFAhtMS-PhLWq8hwcgvGLXhwbtcWd9R2k1imLfytoOqK4eMG-cQe2mcDfI0xh-UqW_y77-jTpIzuU2J6V/s1600/Bananas.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="366" data-original-width="550" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnUO6vQ4ih6GbWY_gyk6w46zAfREOB3P7m5COXQknt64NNInOIfmBLXI5xg9FpFAhtMS-PhLWq8hwcgvGLXhwbtcWd9R2k1imLfytoOqK4eMG-cQe2mcDfI0xh-UqW_y77-jTpIzuU2J6V/s320/Bananas.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><strong>Photographers sometimes pick and choose </strong></span><br />
<span style="font-size: small;"><strong>content bursting with the color yellow.</strong></span></td></tr>
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<br />Jim Lanehttp://www.blogger.com/profile/05882369817190401530noreply@blogger.com0