Freedom from Want

As you know, my argument is that we’re in another economic depression now, and my day in New York made the comparisons to the 1930s striking.

Thomas Hart Benton Instruments of Power America Today mural series 1930-1

Thomas Hart Benton
Instruments of Power
America Today mural series
1930-1

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America Today

I started at the Met, where I finally got to see America Today, the murals by Thomas Hart Benton that have been re-homed from the New School.  Over the years there, students had rammed chairs into the murals, and they were otherwise degrading.  Now revitalized in glorious color, made richer through the darkened exhibition space, the murals tell the story of America in a moment–1930-1, when the Great Depression was just sucking away the country’s vitality.
 

 

Reginald Marsh The Bowery 1930

Reginald Marsh
The Bowery
1930 an artist also known for pulsating energy

 

Benton celebrates though.  America’s pulse, its chaos and determination, its strengths and its smarts.

Certainly compared with Reginald Marsh’s nearby The Bowery from the same year, 1930, the murals are propagandistically optimistic.  The glory of work, the ingenuity of technology, the voice of entertainment, all punctuated with clarifying red.

Benton loved red.

 

 

 

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America Today

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America Today

 

 

 

 

 

 

 

  Look at that red and those gestures!

Pieter Coecke van Aelst
Conversion of St. Paul
1563
Look at that red and those gestures!

 

While the curators draw connection to Baroque painting as an influence on Benton’s energetic compositions, I was also taken by the drama of the Renaissance tapestries, a newly opened, scintillating exhibition at the Met.  Surely Benton was influenced by the Renaissance body and borrowed from religious ecstasy for his modern passions.

 

 

 

 

Jackson Pollack Pasiphae 1943

Jackson Pollack
Pasiphae
1943

 

Detail America Today

Detail America Today

 

And where would Jackson Pollack be if he hadn’t been under the influence of his teacher’s, Benton’s, quivering, pulsating storytelling?  And Benton was completely modern, as you can see here.

But the art historian digresses.

 

 
Back on point, we, too, today crave celebrity entertainment and the refuge of technological wizardry to forget our troubles with work and the sour economy. We like to think of America’s strength, even as evidence shows the contrary.

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From the Met, I walked over to the newly-open-for-tours Roosevelt House.  After Sara Roosevelt’s death, in 1942, Hunter College bought the house and has been using it for classrooms.  Just about the only thing left from the quiet wealth of the Roosevelts is the staircase bannister.  I ran my hand up the rail where Eleanor may have, too. I haven’t washed my hand since!

I joined a tour/lecture, led by a history doctoral student.  As he told us about FDR’s and Eleanor’s accomplishments, I was most taken by the Four Freedoms speech, so relevant today.  Only the names have changed.  Have we progressed at all?

I was interested in the speech’s afterlife.  Norman Rockwell had a hard time getting support to make his monumental paintings of the same name.  Finally, the Saturday Evening  Post printed the series, which became phenomenally popular, driven by a Bentonesque vision of America.  Then the war bonds office came up with a program.  For an $18.75 war bond purchase, you would receive a set of the four posters.  And the rest is history.

Or is it?  How much do we tolerate freedom of religion post 9/11?  In light of a string of natural disasters and Ebola, how free from fear are we?  In an era of political correctness, changing mores, and lax gun laws, are we really free to speak our minds?

Grand CAnd freedom from want?  That issue was actually secondary in “Grand Concourse,” now at Playwrights.  Yes, it takes place in the Bronx today in a soup kitchen.  Yes, one of the four characters is a homeless man who teeters on the ability to get and hold a job and function well,  but I think playwright  Heidi Schrek uses her setting as a metaphor, a rumination on the nature of giving and how generosity of spirit can get twisted.  People younger than I am, though, may see the play through different eyes.  Check it out, and see what you think.

Regardless, may you be free from want this harvest season, on all levels of body and being.

Leaf Fall Season

This autumn is proving to be startlingly colorful, and what better way to celebrate than with a drive.  So a group from the Florence Griswold Museum ventured first to the Smith College Museum of Art and then to Historic Deerfield.  But first, some trivia.  Did you know that the seasonal term ‘fall’ comes from the old phrase ‘leaf fall time’?  The leaf fall was our backdrop as we set off on our journey back in time.

Our current exhibition of three Connecticut women artists includes Mary Rogers Williams, who taught under a dominant male artist presence, at Smith College for over 20 years in the 1880s and 1890s.  When she asked for recognition for her teaching service with a promotion to Assistant Professor, she was basically fired.  Even a woman’s college might not be so enlightened back in the day.

But it was fun to see her teaching domain and hear a sophomore talk about her research on Williams.  Of course, her source was the same as the exhibit’s–Eve Kahn‘s research through Williams’ papers and a trove of paintings found in a Connecticut boathouse.  I’m not kidding.  The paintings were ‘stored’ there and kept by the descendants of an artist friend Henry C. White, who inherited the works from Williams’ also unmarried sister.  Had he not safeguarded, in his way, those works and her letters, well, like so many others, Williams would have been basically forgotten.

Although we had a tour of the museum with a women artist theme, including a lackluster Lilly Martin Spencer, I was much more attracted to other women artists displayed there.

Henry-McBride-Art-Critic_large

Florine Stettheimer Henry McBride, Art Critic, 1922

 

Florine Stettheimer doesn’t show up in too many museum collections, outside of the Met and PAFA, but one surprised me here.  Her style is unmistakeable, and I’m always delighted by her sense of color and her take-no-prisoners attitude about art and being a professional and living her life her own way.  Right on, sister!

 

 

 

 

Emily Eveleth

 

I sought out the works of Smith alums.  Just loved the monumental jelly doughnuts by Emily Eveleth.

 

 

 

 

Betye Saar, Ancestral Spirit Chair, 1992

Betye Saar, Ancestral Spirit Chair, 1992

This particular Betye Saar work just makes me happy.  The back story is she was slated to speak at Smith, but that inner-flea-market- dumpster-diver took hold of her, and she went off to explore for treasure.  She bought a whole bunch of salt shakers, seen at these branch ends, like a different season’s leaf.  She was also two hours late for her talk.  What was Smith to do, except acquire the work.

Saar typically captures some folkloric, cultural, or puns on African American stereotypical content in her work.  Here the shakers stand in for a rural Southern tradition of putting bottles in tree branches to capture spirits.  The docent in the gallery said she thinks of this as a chair we can sit in and dial our ancestors.  I would have loved to have a sit in this spiritual phone booth and dial out.

Not to be missed are the “artist-designed” bathrooms.  Here’s a slide show to give you a sense of how it looks.

Historic Deerfield didn’t have a compable “historically-designed” bathroom, but its designs are equally inspiring.  I hadn’t really thought through that there were two waves of Colonial Revivalism.  One spurted off as a reaction to industrialization in the late 1800s through the 1920s or so, spinning off the Arts and Crafts Movement, Art Nouveau, and Art Deco.

In the 1940s, a second wave exploded, in response to the Cold War.  Interesting.  Moguls wanting to leave their legacy in the latest fashion built historic villages, with the Rockefellers

The docent told me that this door frame

The docent told me that this door frame is “bogus”–too ornate for the 1734 home of a minister.

reconstructing a Disneyfied Colonial Williamsburg and the Flints making their own mistakes with existing structures in Deerfield.

What’s fun is on “The Street” are the actual buildings for the post office, school, and two working farms as they existed in the 1700s.  Probate records and dendrology (using tree rings to date wood and hence structures) have helped more recent historians correct earlier mistakes, like stuffing rooms full of things, more like a gallery than someone’s Puritan home.

Probate records indicated that 360 panes of glass were bought for this house, and at 9 over 9 panes, we know there was glass for 20 windows.

Probate records indicated that 360 panes of glass were bought for this house, and at 9 over 9 panes, we know there was glass for 20 windows.

 

 

 

The Deerfield houses have these double doors seen above, because originally the houses all had a center hall chimney.  You wouldn’t have room to swing open a single door, so double doors became the style, as well as the practical solution.  Even later, when center halls were valued for entertaining and the chimneys were moved to the sides of houses, the double door style can still be seen.

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Besides small gardens associated with each house, several farmers shared acreage in a common field, where they could grown various grains.  These were used to feed the really money maker for Deerfield–stall-fed oxen.  You gotta love this oxen toy shown in the museum.

 

blue house

Who wouldn’t love this Colonial form of marketing?  It’s all in the unrelievedly blue paint.  Every bit of this facade–the dentils, the eyebrows, the pilasters–are all painted this robin egg blue.  Paint was very expensive.  Most of the houses left the cedar bare to weather.  The 1747 house has been painted this blue since 1801.  Why?   If you went into the tavern to get help resolving a dispute, you would ask for a lawyer.  The tavern keeper could then direct you to the blue house.  Unmistakable bill-boarding.  Like the leaves that fall every year, some things never change.

 

 

Sauntering in the Footsteps

This has been a weekend of sauntering–through luscious Stitches East, where those who knit, crochet, and weave are in paradise, to the creative paradise of City-Wide Open Studios at New Haven’s Armory to the cultural paradise of New York City, whose heart was captured momentarily by Oscar Wilde.

stitches east

Stitches East is the huge show that takes place somewhere in the western US  and for the eastern half in Hartford.  It’s a place where everyone is your friend, and the textural stimulation and color palettes can be pleasurably exhausting.  I went home with yummy cashmere to work up.

 

Site-specific installation at the Armory

Site-specific installation at the Armory

Julie and I tasted a different kind of yummy at the Armory.  Rather than try to see it all, we lingered with just a few artists to hear their stories.  Wonderful museum educator Jaime Ursic also makes enchanting prints.  Hearing her talk about her work makes the abstraction come alive with narrative.  We sauntered along with Jaime on the streets of Florence and the beach and…

Jaime Ursic Santa Monica Mountains 2010

Jaime Ursic
Santa Monica Mountains
2010

Jeanne Criscola makes family recipes as way to connect to her family stories and identity.  Love how she shot a close-up video of the recipes being cooked and blew up those grainy photos of our childhoods.  She told us how many people and experiments were needed to get an Italian sugar cookie just right.  Just like my grandmother’s humantashen, although no one has ever captured it.  Jeanne’s cookie was dime-sized and melted on my tongue.

eanne Criscola & Joan Fitzsimmons Oral History: A Recipe for Memory, Food, video, online database

Jeanne Criscola & Joan Fitzsimmons
Oral History: A Recipe for Memory, Food, video, online database

She calls the work an oral history project, but that’s really more for the future, as she and her art partner Joan Fitzsimmons grow the project to include all of us interactively, with photos, recipes, and stories.  Too delicious.
 

Current art in Madison Square

Current art in Madison Square

 

 

 

 

 

 

Oscar Wilde sauntered his aesthetic way through New York City, and we followed in his footsteps through Madison Square, Gramercy, Union Square, and the West Village.  Along the way, we met Washington Irving and lingered by Pete’s Tavern, where O’Henry wrote “Gift of the Magi.”
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Perfect framing of the Chrysler Building, in Gramercy Park

Perfect framing of the Chrysler Building, in Gramercy Park

Edwin Booth in Gramercy Park

Edwin Booth in Gramercy Park

 

 

 

 

 

 

 

 

 

 
But Wilde was our focus.  That ‘Midwife of Modernity.’  Only intending to stay for a few Oscar_Wilde_by_Napoleon_Sarony,_with_hat_and_cape,_1882months, his lecture tour was such a smash that he stayed a year, in 1892, spreading the aesthetic of the aesthete.  His long hair and smooth cheek were avant garde in bearded Gilded Age New York.  The trip was sponsored by D’oyly Carte, promoting their new show Patience and its aesthete character.

Oscar_Wilde_Photograph taken in 1882 by Napoleon SaronyWilde cultivated his look and image, basically inventing the modern celebrity–famous simply for being famous.  On his trip to NYC, he had a series of 30 photos made by Napoleon Sarony.  Thievery of those photos for ads for cigarettes and clothing and postcards in shop windows, all capitalizing on Wilde’s fame, led Sarony to sue.  This wasn’t the first time for such piracy of Sarony’s works, but Wilde’s fame helped his cause.  When the Supreme Court found in his favor, copyright protection for creative works was born.

Although he had only self-published a book of poetry at this point, Wilde’s lectures sold out.  Although we undereducated Americans apparently couldn’t understand his lecture on the English Renaissance and how aesthetics affect all forms of art.  I don’t think he cared much, although he did deliver a dumbed down version.  At $1 admission each, and an audience size of a thousand, Wilde got rich.

250px-Century_Association_111_East_15th_StreetNewspapers tracked his movements and published his poetry and selections from his talks.  Cartoons made fun of his effete manner.  At the male bastion Century Club, he was called a charlatan, a slur as a Charlotte Ann.

Yet he dined at the most fashionable houses, a man with “simple taste in food, satisfied by the very best.”  Bessie Marbury became his literary agent, and first woman agent, who also had what Henry James called a Boston marriage with interior designer Elsie DeWolfe.  So another literary connection, as the latter was launched by Edith Wharton’s wildly popular book, The Decoration of Houses.  New York is so tiny.

Mark Venaglia, Pastures

Mark Venaglia, Pastures

 

 

Wilde made the lily and sunflower the emblems of the aesthetes.  What fun to meet artist Mark Venaglia on the tour.  He’s famous for his sunflower paintings, selling to Julia Roberts and Wall Street types.  Today’s aesthete?

 

 

 

Photos of the day:

There’s no day when the Flatiron fails to please…

Flatiron, 10-12-14

Flatiron, 10-12-14

 

From the Flatiron to irony:

New York City, 10-12-14

New York City, 10-12-14

City-Wide Open Studios Tour

Help spread the word about the “guided tour” I’ll be leading of four artist studios in and around New Haven on October 18 at 3 p.m. as part of City-Wide Open Studios.  Here’s the info from their site:

As an Americanist, Rena Tobey gives talks and leads interactive public tours for museums, as well as writes about American art.  Her particular interest centers on the development of and challenges to American identity as read through painting.  In addition to researching historical works, she also conducts interviews and collects oral histories with contemporary artists. Rena is passionate about resuscitating awareness of nearly-forgotten American women artists.

Rena’s tour is on 10/18 from 3-5 pm, the starting location TBA, and will visit the following artists:

Karen Dow

 

Susan Clinard

 

Stephen Grossman

 

https://i0.wp.com/meddickart.webplus.net/interiorthepromise6004.jpg?resize=548%2C495

Bill Meddick

My plan for each studio is to let people look around on their own first, then join the artist and me for a dialogue in front of one work.  We’ll explore the artist’s process, intention, and underlying narratives in the particular work.  Everyone will have a chance to ask questions, too.  We’ll use the time on the shuttle bus between studios to draw connections and comparisons among the artists we visit and explore an over-arching theme for our time together.

Here’s the link for tickets.  Pre-registration is required.

Join me in meeting these artists.

Swarms of Swallows

Migrating tree swallows are gathering for a big party, before heading south, at the mouth of the Connecticut River.  So I jumped on board our birder boat, and we headed down river toward Long Island Sound.  2014-09-14 17.25.34

Along the way, we saw familiar sites, like kooky Gillette Castle…

…and several bald eagles, probably residents, not early arrivals for wintering over…

—and osprey, egrets, herons, cormorants, kingfisher…

it was a busy evening on the river.

Soon I noticed yachts were following us, and the number of kayakers was thickening.  By 6:10 p.m., we have found a spot with a good view of a channel where the tree swallows, along with their friends the purple martens and barn swallows, come to roost.  This means settle in for the night and go to sleep, after a day feeding to build up their weight to get ready to fly south.

A mature tree swallows weighs the equivalent of 2 quarters and has a wingspan of only six inches.  So they have to bulk up for their long trip, perhaps as far away as Mexico.

This is an especially pretty bird, with shimmering color that ranges from turquoise blue to iridescent purple.

 

 

Not long after we arrived, the birds did, too.  They swooped in and around from all directions, numbers increasing.

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If you enlarge this image, you will begin to get a sense of the swarm that’s about to happen.  As we looked through our binoculars, one leader said, “it’s like a spray of ground pepper across the sky.”

The swallows gather together for a sense of safety, congregating at night.  In the morning, they will burst from their perch and travel up to 30 miles before returning to just this spot at sunset.

The masses of birds begin to form in what has been called a ballet.  With the naked eye, I could see patterns forming and disbanding and changing and re-forming.  Sometimes a band would dive down, skimming the water for a drink or a bath-before-bed, then do a “fly-up” en masse.

I hope you can hear the commentary in this video.  This is the most birds the leaders had seen “in a long time.”

Estimated number of birds?  500,000.  Yep, a half a million.  And if you could see the swarm, you’d believe it.

Sunset.  7:01 p.m. The sky was so gorgeous, with different colors from each direction, that I put together this slide show.  What to watch?  The birds or the rapidly-shifting sky?

If these were paintings, they would be called fake, overly-sentimental, cloying.  But really.

Meantime, many birds are still flying overhead at sunset.  As if they had an internal alarm clock, in ten minutes, they had all found a place to roost.  But these little dive bombers did not go gently.  They literally formed a tight funnel, like a tornado, twirling and whipping, then plunging down.  I have never seen anything like it.

“Astounding.”  “Astonishing.”  “Amazing.”  The adjectives multiplied.

Then, suddenly, it was over.  We all burst out in applause.  What a performance.

 

 

Industrial Revelation

Alice and I adventured to Lowell, MA on Saturday.  I had recently read The Daring Ladies of Lowell by Kate Alcott.  Whereas the author succumbed to romance-novel tropes, I loved her description of the daily life of the mill girls.  I wanted to see for myself, and Alice was game to visit the National Park Service site there.

2014-08-16 11.17.44We started at the beginning, with the building of the power canal. This picturesque trolleyman, Thomas Tucker, took us along the railroad tracks to our boat.

There we got our first glimpse at the managed waterway.

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Clever businessmen, wanting to harvest timber for ship building in Newburyport, figured out how to maneuver a 32′ drop in the Merrimack River, turning it into a highway for the transport of goods.  Through a series of locks.

In 1796, farmers sold part of their land and then provided the labor to dig through the massive rock layers and open up trenches for the canals.  Lock chambers were constructed to manage the rise and drop of water levels that ranged from 2′ to 17′.  Our own lock experience: a 5′ water level change, after a particularly heavy rain, when it would normally be about  2-3′.

Headed toward the lock chamber.  See the lock keepers on top?  They will manually open the lock for us.

Headed toward the lock chamber. See the lock keepers on top? They will manually open the lock for us.

Butt power opens the lock

Butt power opens the lock

You might get a kick out of the import rates on the canal.  Manure cost 50 cents per boatload.  Uh huh.  Manure was imported into Lowell, not the other way around.  Some clever experimenter found out that a chemical in manure set dyes to prevent fading.  Imagine that smell!

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click to enlarge

Perhaps you’d rather import white oak pipe staves.  100 cents per M.

We bumped our way through the lock system, away from the mills toward the open river.

 

This portrait of Mr. Francis hangs in the Whistler birthplace home and museum

This portrait of Mr. Francis hangs in the nearby Whistler birthplace home and museum

 

 

We learned about the Chief of Police of Water, James Francis. This clever engineer invented a flood gate system (you’ve heard “opening the flood gates”) to protect the town during wild weather.  He was given a parade and a tea set when he saved the town from flooded catastrophe in 1848, with the first use of the 4 1/2 ton, wood gates.

 

 

 

 

The other side.  A marvel of the wide canal and nature!

The other side. A marvel of the wide canal and nature!

In 1816, the original canal system was expanded from the initial 10′ width, opening up the waterway to larger boats and more traffic.  The timing was perfect for Mr. Lowell, who, in 1810, traveled to England, well into its own Industrial Revolution, to study its mill system.  Returning in 1817, he began to invent Lowell as a mill town, but more importantly as an “industrial laboratory.”

Used to be farm land.  Now mill after mill, powered by the canal generated lock system.  A small lock here.

Used to be farm land. Now mill after mill, powered by the canal generated lock system. A small lock here.

Ironically, with the farmers looking for short-term cash, they in essence brought their way of life to an end.  In less than 30 years, the farms were gone.  The pastoral was replaced with the industrial.

By the 1830s, Lowell was a showplace of industrial prowess.  And a new labor force was created–the daughters of those nearby farmers.  Now, the girls and young women could become financially useful to their families by working for wages and living by the “clock and bell,” instead of the sun.

Boott Cotton Mill

Boott Cotton Mill

First bell, 4 a.m.  Work at 4:30 a.m.  The girls would take a 35 minute break for breakfast, and later, their other meals.  They would rush from the mill back to their boardinghouse, shared with 25-40 other girls.

A typical mill owned some 70 boardinghouse blocks, some reserved for men, who performed the awful tasks of carding the wool–a lung-killing job.  After the Civil War, mill owners were less “paternalistic” and workers could live wherever they chose in the city.  But initially, it was a factory town system.

Boarding house dining room

Boarding house dining room

Part of worker wages were garnished to pay the “Keeper,” who could then skimp or over-indulge as she pleased.  One daughter complained about her mother who couldn’t make ends meet as a Keeper, being too generous in her portions.  Some made up the difference, breaking the rules by serving non-mill residents.  Tension over pay spilled beyond the disgruntled mill girls, who in 1847, made $2 per week, after room and board was deducted.

Still $2 was enough for financial autonomy.  After sending money home, they still had some left for themselves and became instrumental in creating a consumer economy of readymade products geared toward women.  Inexpensive jewelry, hat decorations, even a book, all became desirable treats after working their 73 hour work week.  13 hours Monday through Friday, 8 hours on Saturday.  In their free time, they might ride the trolley to the end of the line for the amusement park (which encouraged the trolley use on non-work days; always thinking how to make a $).

Spinning Jenny, 2nd generation technology to speed up the spinning process

Spinning Jenny, 2nd generation technology to speed up the spinning process

 

One child who was hired to “doff the bobbins” (taking the empty bobbins to the spinners and full bobbins to the weaving floor) said that, at first, the job seemed like play.  But after doing the same thing over and over, all week long, well…

And the noise.  Perhaps the most evocative part of the day was hearing just a few weaving machines running at Boott Cotton Mill.  Incessant bang, bam, bang, bam, bang, bam.  Really Loud.  You’ll notice in this video, that the “mill girl” is wearing ear plugs.

Not so back in the day.  No surprise, the girls only lasted 3-4 years on average.  The job was a path to independence or marriage or … illness.  This is one aspect the Alcott novel explores pretty well, as does Elizabeth Gaskell’s amazing North and South.

The size of the room.  Imagine if all the machines were running.  The cloth made here is sold in the gift shop.

The size of the room. Imagine if all the machines were running. The cloth made here is sold in the gift shop.

With such efficient production, supply soon exceeded demand, and the manufacturers wanted to cut wages.  After all, the mill girls were making more than teachers.  The workforce started to shift to immigrants, desperate for the work even at lower wages.  Irish, Greeks, French Canadians, Jews, and more took over from the moral “mill girl,” and Lowell began its slow descent.

The mills lost money during the Civil War, and the genteel boarding houses for the mill girls were replaced by tenements.

 

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While the first protests were conducted by the mill girls, in 1912, a wage reduction led to a massive union strike.  Continuing financial strain prevented investing in the latest technology, too.  After World War I, “Spindle City” couldn’t compete with the mills in the South.  Some moved, others were abandoned, many torn down.  Some became artist lofts.

After the river was cleaned up.  Lowell had grade D water according to the 1972 Clean Air and Water Act.  The canal water would turn bright yellow or hot red, depending on the dyes dumped in it.  Now, the water is a B.  Technically, you can fish and swim.  Hmmm.

By 1960, it was basically over.  Some who volunteer in the museum mill, worked for the real deal in the 1980s.  But that was a last and dying breath.  For a town that prided itself on a motto like “Art is the Handmaid of Human Good,” Lowell “sacrificed its workers for dividends” and its fresh, clean environment for expediency.  “Sounds familiar,” Alice mused, referring to today’s repetition of history.

Whistler's fatherJames McNeil Whistler may have hailed from Lowell, but he saw fit to lie about it, claiming Baltimore or England as his birthplace.  But the house is in Lowell, and the Art Association is working very hard to restore it.  We were given a private, detailed tour by the director, before looking around at its small, nice art collection on our own.  After all, where else could you see Whistler’s father?

 

Inside (and outside) the studio

Over the past few weeks, I’ve visited several artist studios, artists from the past.  You can be the judge.  Does being in their studio make them seem alive, as if they just left the room?

I’d say no for the Norman Rockwell Studio, where throngs of tourists encounter a guide, who has a spiel she repeats on a loop, poor thing.  It’s all so neatly packaged.  If the studio is intended to reveal the man, we learn next to nothing about Rockwell here.  You might get a sense of that from this perfect little video, with its perky musical accompaniment.

photo 1I rather preferred Daniel Chester French’s studio. Notice the broken windows in the skylight?  Now here’s a guy who was actually working.

Yes, there’s the guide, pointing out facts about how the Lincoln maquette is scaled proportionately to the Lincoln Memorial in DC.  But he also explained a French quirk–how he used his private railroad to take pieces out into the sunshine, to see how they would look in natural light.  He could walk all around, study the shadows, and such.

photo 2So here’s the sculpture on the flatbed railroad “car.”  See if you can make out the tracks in my less than glorious picture.  The tracks run through these huge doors to the outside…

photo 3

 

 

 

 

photo 3

 

 

 

 

…where they dead end.  They simply serve the purpose.

 

photo 1

 

 

 

And he had his tools, like sample hands, at the ready.

I like this place.

 

 

Nothing quite compares to the ramshackle studio of William Kent.  Kent died in 2012, but he2014-08-05 13.32.57 lived and worked here until the end.  A real character.  No heat in that studio that had been a barn, a barn used either as a slaughterhouse or for chicken processing.  Ew.

Still, traveling up hill and down dale to get to this extraordinarily picturesque ruin would have inspired any artist.2014-08-05 13.20.06

 

 

 

 

Kent didn’t start out at Yale making art.  He studied music with Hindemith.  Interesting.  His art work has pop overtones.  The sculptures, his most interesting works, are made from wood from a nearby mill and definitely owe 2014-08-05 13.19.24something to Claes Oldenburg, another Yalie.  His everyday household objects–the scissors, the hammer, the spade–are made of layers of various types of wood, often then add a surprise.  The saw that cuts through a lightbulb or a pepper.  A safety pin piercing a wooden football.

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Here are the tools of his trade found in his dark, crammed studio.

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And a different kind of tool, the inspiration for the cartoon sculpture series.

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When the New Haven schools abandoned chalkboards for marker-erase boards, he took on the chalkboards to carve as the “plate” for crudely-executed prints, sometimes transferring to fabric, as well as paper.  Strongly political and conceptual in a Warhol mode, these works represent the other body of work he’s known for.  He used this print as a kind of calling card, as a gift when visiting a friend’s house.

I’m leaving out the overtly sexual works Kent made, which caused a furor in buttoned-up New Haven in the 1960s.  So much so that Kent lost the directorship of the child-friendly Eli Whitney Museum.  A character, to be sure.

The William Kent Foundation is selling the works in the house and studio and will exist only until the last work is sold.  The Foundation gives whatever money it makes to “indigent artists.”  With prices that range from $6000 to $48,000 for the sculptures, the works aren’t selling too quickly.  So there’s time to see this unedited studio, so revealing of the artist’s mind.

Back to the more carefully-presented, genteel, 1760s farmhouse and studios of 120 years of working artists at Weir Farm.  Now we’re talking National Park Service.

2014-08-07 13.49.36This studio is literally as pretty as a picture.  It belonged to Julian Alden Weir, an Academic painter from the “tradition,” who, from 1882 on, would escape from New York each summer, and sometimes winter, to live on this farm run by a hired manager.  His art and artist friends–Duncan Phillips, John Singer Sargent, Albert Pinkham Ryder, John Twachtman, Childe Hassam–followed.

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It’s idyllic Connecticut.  It just doesn’t get any prettier than this place.  Rolling hills, stone-walled prettyfences, gardens designed by Weir’s daughter Cora, all framed by the softest blue sky and gentlest green grass.  Weir advised “go in nature and paint with a stick,” to capture the immediacy of this beauty.

pretty as

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Yes, there’s an oddity here and there, like this dining room chandelier from the house.  But mostly, what is here is Park-Service-prescribed heavenly beauty, dated 1915.  Can you imagine working in a studio this pristine, this picturesque?

You can make out the face of Weir's daughter Cora on his paint box

You can make out the face of Weir’s daughter Cora on his paint box

 

 

 

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I walked the grounds with a printed guide to see just where Weir stood to make his paintings.  Thomas Cole’s wonderful house Cedar Grove up the Hudson River offers the same tool.  Magical!

Here, the artist story continues.  Mahonri Young, Brigham Young’s non-religious son (yes, really), comes to Connecticut to paint and marries Weir’s daughter Dorothy, another artist.  They live in the house, and

Clay maquette of a farmer, the working man subject Young preferred

Clay maquette of a farmer, the working man subject Young preferred

Mahonri builds a separate studio for his sculpture and painting.  It’s in much rougher condition and so not as charming as its Weir neighbor.

Still, who wouldn’t love this remembrance of an adult visitor?  As a child, he recalls getting in and playing in this tub of clay.  Delicious!

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Today, artists continue to paint en plein air here.  As I was leaving, the artists, too, were wrapping up their day.  A day that allowed peaceful seclusion, but also connection to like-minded spirits.  An artist’s dream.

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Mum Bet

Next time you’re wandering in the Berkshires, I recommend a stop at the Ashley House in Sheffield, MA.  It’s an interesting house for its period–a mansion for 1735–and the blending of British and Dutch cultures in the Western Massachusetts/Connecticut region.  Colonel Ashley, a Brit, made his fortune producing cannon balls.  Well somebody had to.  Hannah, his Dutch wife, took  a much harsher approach with their slaves, including the seven year old her parents gave her.  Now the story gets really interesting.

Mum Bet grew up in Ashley House, which at the time, wasn’t the worst way of life for a slave.  She had her own room off the kitchen.  Nearness was a necessity, as Mum Bet tended the  2014-07-05 13.28.52only fire in the two-story house.  But this also meant she had a nice warm room.  No sleeping in the stable for her.  She also cared for whatever infant needed her, in the adjacent alcove.

Here’s what her bed on the floor might have been like, in the plain room, but nice and toasty.

Mum Bet, who later took the name Elizabeth Freeman, was inspired to claim her freedom after a pivotal event with Hannah, and then with the Colonel.  Hannah severely burned Mum Bet, when she was trying to protect her daughter from punishment.

Then in 1773, a meeting was held in the upstairs good room.  No women, except Mum Bet, were allowed, and she listened and absorbed.  There the men drafted up the Sheffield Declaration, with Ashley, Ethan Allen, and Tapping Reed, who started the first law school in the colonies, in nearby Litchfield, CT, among others.

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The words they wrote:  “Resolved, That mankind in a state of nature are equal, free and independent to each other, and have a right to the undisturbed enjoyment of their lives, their liberty and property.”  Sound familiar?

It was adopted in Sheffield, then Boston, before moving to Philadelphia.  And so we get Thomas Jefferson’s version: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness,” an apparent direct descendant of the Sheffield Resolves.

Mum Bet heard all this and demanded her freedom.  The Colonel, more liberal than his wife, stated that as a woman she had no rights, so along with a male slave, she sued for her freedom.  A jury of all white, male farmers in Great Barrington granted it to her in 1780.  Hannah said no, but when another slave was emancipated, Mum Bet couldn’t be denied.

Elizabeth Freeman resolved the issue of where to go as a newly freed person by becoming a nanny for the Sedgewick family in Stockbridge, supplementing her income by working as a midwife.

Mumbett70

Mum Bet, age 69 or 70.  Miniature portrait, watercolor on ivory by Susan Anne Livingston Ridley Sedgwick, 1811.

One other story shows Mum Bet’s feistiness.  Shay’s Rebellion was a rowdy tax revolt by area farmers in the 1780s.  Mum Bet, hearing the men were coming to the Sedgwick house, hid the silver, replacing it with pewter.  Then she served the men wine that had turned to vinegar.  So disgusted were they by the wealthy ways of the Sedgwick’s, that they left.  Mum Bet saved the day.  Or so the story goes.

And the story was told by the Sedgwick daughter Catherine, who was raised by Mum Bet and later became a novelist of “domestic fiction.”  The account of Mum Bet appeared in Sedgwick’s essay “Slavery in New England” in Bentley’s Miscellany from 1853.  Pretty cool, eh?

Mum Bet lived to be 87 years old and is a new inspiration for me as I learn about historic, bold women who go after their passion, and their rights.  So glad to have met her!

 

Fun tidbit:

2014-07-05 13.28.21This tiny iron was used to teach children to iron (hmmm) and for ironing the lace in men’s cravats, cuffs, etc.  I think I believe the latter before the former.

Good eyes will pick out the press mold for making cookies on the left.  The mold depicts a boy on a chamber pot.  Not terribly appealing as a cookie.  Colonial humor is apparently no less scatalogical than today’s.

 

Mash-ups

2014-06-29 11.14.02Today, I’m living juxtapositions.  My day started at the Bellamy-Ferraday House, where the Connecticut Chapter of JASNA had its annual Box Hill Picnic.  First, we had a private tour of the house.  What really stood out for me are the ironies.

The land was bought from the Indians in the 1720s, and the first English families came  in the 1730s.  Well, in the winter, it was too far to go the seven miles into town for the Congregationalist Church.  So now a newly minted parish, the farming area got its own minister, a very young Yale grad named Bellamy.  This house was pretty fancy for the era and the isolated location near Bethlehem (ahem, Connecticut).

Mr. Bellamy made money from his sermons and pamphlets, but what I found so hilarious is that he wrote a best seller, True Religion Delineated, which according to our tour guide is completely unreadable today, even for ministry students.  Bellamy made enough of a splash with the book that it became popular in England, too.  Positively an 18th-century Stephen King!

His wealth came from such an unlikely source, when in the Colonies, fortunes were usually the way from trade.  Bellamy lived really well, as did his descendants.  So it took the last owner of the house to appear the most big-hearted and service-oriented.  Again defying 2014-06-29 12.13.21expectations, Caroline Ferraday ventured forward as an actress, with a glamor shot showing her to be a gorgeous lady.  She contributed to the Victorian appearance and additions to the house.  Living the good life.

But I think she’s remarkable for taking the global lead on helping the Jewish women who were experimented on at Dachau concentration camp, when literally no one else would.  The details are too graphic and disturbing to include here.  Suffice it to say, she made a difference and even became friends with some of the survivors.

The minister seemed to savor his money; the actress used hers to help others.  Ironic.

Not being too far way, I then jumped on the Northwest Connecticut Arts Council Open Your Eyes artist studio tour.  I had a wonderful conversation with Anne Delaney.  For the tour, she luscious studies for works she may paint based on the particular tour setting.  Instead of in her New York studio, this tour brought people to the Harwinton Community Hall, which also houses a jail.  Delaney Anne Delaneydid graphite works of John Brown and other more abstracted figures along this theme.

I picked up this little painting from her Family Car series, loving the back-of-the-head invitation into the painting.

She also told me about a friend who has made a documentary film on the Baroque artist Artemesia Genileschi, juxtaposing the artist’s story with her effect on women today, including the filmmaker.

Here’s the trailer from the film “A Woman Like That.”  It’s on the film festival and university circuit, so keep you eyes open for it.

Judith Bird makes these lovely mash-ups of Mexican-style retablos and the fanciful color andJudith Bird, Wild Wood Bird magic realism of an artist like Florine Stettheimer.  Bird loves using birds in her work, as they touch both heaven and earth, soar and are grounded.  I love that!

You can see the artist’s sweetness in Wild Wood Bird.”  The painting definitely has the devotional feel of the folk art retablo with her own eponymous bird symbol.

The funniest mash-ups of the day came from 84-year-old artist Salvatore Gulino.  Sal was really why I went on the tour, and we talked for almost an hour about his work and his life.  He is extremely modest about his work and that I would go ga ga over it.  But really, what art historian wouldn’t?

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Forget Modigiliani, I”m turning over in my grave.

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A classical portrait of Giovanna Tornabuoni by Ghirlandaio juxtaposed on a classic screen-shot.

 

 

 

 

 

For my 50s modern house, I couldn’t resist this mash-up from the Art Wheels SeriesNefertiti never had it so good!

Salvatore Guilino, Nefertiti

And neither will you, when you come to visit!

 

 

 

Arts & Ideas

Every year, New Haven explodes with every form of art and generation of ideas for the two  week International Festival of Arts & Ideas.  I’ve not been able to jump in until now, but my menu selections range from contemporary dance to walking tours to unusual therapy to performance theater works to aesthetic acrobatics.

Arguendo,” performed by Elevator Repair Service, arguably has an audience-pleasing premise: the Supreme Court’s weighs in on whether nude dancers, as in adult entertainers, are protected by the First Amendment.  Lifted from transcripts of the actual proceedings and montaged in a quasi dance-performance piece, the structure seemed promising.  But other than a manic five minutes (in which the attorney defending the dancers’ First Amendment rights argues his points in the nude, while justices toss papers gleefully overhead, all talking at once), I found the production surprisingly dull.  There’s a reason I’m not an attorney.

 

Celebrating a gloriously pleasant Friday afternoon with members of the Hamden Walks meet-up group and about 100 other people, my first walking tour strolled along classy St. Ronan Street with an architectural historian from The New Haven Preservation Trust.  Built mostly during the Industrial Golden Age for New Haven between 1890 and 1920, there’s nothing cookie cutter about the grandeur.  Each house is quirkily different, gently breaking architectural style rules.  The street has a coherence though.  A repeated motif of diamond-shaped windows, regular set-backs from the street, and consistent distance between each neighbor creates a pleasing harmony and peaceable splendor.

2014-06-20 17.27.30St. Ronan refers to a well or spring in a Sir Walter Scott poem, and the Hillhouse family who developed the street from their farm and estate referenced that Romantic work with the picturesque homes.  You have your 1903 12,000 foot cottage, not so different from not so far away Newport.

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And next door is this storybook house a third the size.  The house originally belonged to the women’s rights activist Agusta Troup, who along with her wealthy husband, was also a union activist.  Ironic advocacy for the uber wealthy.

 

 

Keep walking to see this gambrel-intense home of a “traveling salesman.”  Yes, a Willy Loman 2014-06-20 17.35.04type lives here now.  Hmmm.

Notice the funny mix of window styles, the emphatic asymmetry.  Very playful and fun.

 

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And what street would be complete without its mid-century modern?  Here it belongs to the widow of a former Yale President.

 

 

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The houses and stories go on and on, but like me, you are probably ready to pause and refresh.  You might want to head to the festival of food trucks in Hamden town center.  I did!  Along with the throngs mobbing about 25 different food vendors in the park adjacent to the library.  Two cupcake trucks had long lines.  This menu board might explain why.

 

 

 

A whole new day, and more adventures with Arts & Ideas.  It’s summer, officially, and the longest day of the year!  So an eleven hour day of activity began with a hike up East Rock, 2014-06-21 10.54.31that odd geological monument that serves as a marker and icon of New Haven.  East Rock and West Rock are volcanic cliffs caused by plate shifts and molten lava that cooled on the exposed face.  Weird vertical thrusts from the gentle hills of the area.

That geological phenomena created a sheer face of trap, or basalt volcanic rock.  The trap is so hard it has served as a building block, as seen on this house on St. Ronan Street.  Unlike the also local brownstone, which is soft and subject to erosion, trap is used in asphalt for durable support for intense weights or for building for the ages.

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East Rock Park was designed from 1882 to 1895 by Donald Grant Mitchell, a 19th-century pop literature author who took up scientific farming and landscape design.  Interesting combination.  This natural arch occurs right by a manmade bridge designed by Mitchell.  He2014-06-21 11.19.36 also created the paths, walkways, trails, and planting schema.

No matter what you see here, the earliest paintings of East Rock showed bare rock with no trees, so that the sandstone strata at the base was visible.  We just don’t use as much wood as they did for 19th-century fireplaces, so now New England is forested in a way it wasn’t then.

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Diane Reeves, with the New Haven Symphony Orchestra, performed on the Green, closing off a great day.  But the real highlight for me was Bibliotherapy.

 

 

Bibliotherapy (for adults) is the brainchild of Susan Elderkin, who has moved from England to Hamden, my home town.  In her book The Novel Cure and the workshop today, she explained how we can be healed by a book, instead of with drugs.  Right on, sister!

To get started, she and her best friend and co-author Ella Berthoud parked a vintage ambulance in a field in Suffolk, England and put out a blackboard with appointment times.  Then they started dispensing prescriptions of books to read.

They had developed the practice on each other, addressing wallowing and romantic problems and I-hate-men moods, etc.  Susan explained that fiction doesn’t tell us what to do, but instead shows up by example (or dis-example), leaving us to decide how to proceed on our own.  She said, we could read self-help which tells us what to do–Feel the Fear and Do It Anyway— or read To Kill a Mockingbird.  You get the idea.

You know that feeling of being transported by a book.  Well, Susan studied how the brain works, so that being transported leads to transformation.  She articulated that when we read, we hear a narrative voice that displaces our own.  We “cease to be,” we “become the story.”  Reading is similar to actually doing something about the issue.  It is an “alternative form of living” that creates a vivid, shared intimacy with the book.  The book and its world keeps us from being alone with our issue, even if the plot line is wildly different from our own.

Susan says that recommending a book is “almost as good as writing it.”  She called for us to read so we can “give the gift of recommending,” which brought tears to my eyes.  When she called for a volunteer, guess who forced her way onstage?  Yep.

Through a prescribed set of questions, Susan got to know my reading habits and preferences.  Then I stated my issue simply.  Even though I’m “following my bliss,” “doing what I love,” I’m still waiting for the “money to follow.”  Susan tenderly probed, and then she filled out a literal prescription for me to read: Stoner by John Williams and to re-read Bel Canto by Ann Patchett and Ragtime by E.L. Doctorow.  I can hardly wait to see how my world might change through this focused reading.

But first, there’s more Arts & Ideas.  Tomorrow brings a rose garden, a Split Knuckle Theatre performance piece called “Endurance” that is a mash-up of office politics and the Shackleton voyage-disaster, and a tour of a 100 year old shul.  And then there’s more and more as the week progresses…not a dull art or idea in sight!

 

Riches

Sometimes the riches are obvious, sometimes not.

In the Puritan era of Connecticut history, riches were to be made by merchants, trading down the riverways to the open ocean and world beyond.  In the 1600s, picturesque Wethersfield grew up around the Connecticut River.  Unassuming-seeming merchants amassed great fortune through the sugar and slave trades.

Over time, the family houses grew larger, yet not necessarily more ostentatious.  A Yalie Silas Deane made his fortune and built his Georgian style home in the 1760s, before he became a political star before and during the Revolution.  Yes, there are formal parlors and Portland (CT) brownstone, but as you can see here, the house isn’t over the top.

Silas Deane House Southeast Parlor

They did have a lot of chairs, over 70, I think, when most homes might not have even one.  Chairs were definitely a luxury item.  Most of us might have made do with a bench, if we were fortunate.

The oldest house on this site dates back to 1752 and Joseph Webb.  But it got a Colonial Revival makeover in the early 20th century, complete with painted murals.  Definitely not Colonial!

NE Parlor Webb House

Any wealthy Colonist would have opted for wallpaper, as you can see in the restored, rather restarined Isaac Stevens parlor.

Isaac Stevens Parlor

Together, these three houses, as guided by the wonderful docent Jay, tell a story of Colonial life among the wealthy.  You can track how kitchen technologies changed, see the kinds of toys and picture books the children had, and witness how servants lived, including slaves who bought their freedom and built separate cabins on the same property as their employers.

Together, the occupants of the houses tell the story of how Connecticut blended the New York Dutch sensibility and Massachusetts Puritanism to form a hybrid culture of tolerance and staid conservatism, liberal values and the tendency toward inbred hysteria (as with the Connecticut history of witchcraft).

Trivia tidbit: Colonists liked to paint the back of their houses red.  Why red?  While not definitive, several possibilities abound.  Red warded off the devil.  Hmmm.  Red was available from red iron oxide and when mixed with skimmed milk and lime, made a hard, durable coat.  Okay.  Red absorbs the sunshine, so makes the house warmer with the winter sun.  Plausible, and may explain why by the 1700s, the red barn became ubiquitous.  Here’s the garden view of the handsome backs of the three Colonial homes in Wethersfield.

From the rear Wethersfield, CT, 6-4-14

From the rear
Wethersfield, CT, 6-4-14

While Frances Osborne Kellogg’s Homestead is much more modest than the three houses in Wethersfield, her life was plenty rich, as was her fortune.  Her Osborne father bought the 1840 Smith farm near Oxford, CT in 1911.  His fortune was made in the manufacture of wire corsets and hoop skirts.  Let me catch my breath.

When her father passed away, Frances, now married to an architect husband Kellogg, ran the factories and subsequently sat on the boards of a bank, hospital, and church, and continued her father’s interest in funding the local library.  She was a remarkable business woman, at a time when just being a woman in business was remarkable.

She married at 43, when her husband was 49.  It was a first marriage for both, and they had no children.  They devoted creative energy according to their passions. 

 

 

 

Her husband became interested in breeding Holstein cows, and Ivanhoe here was one of the top bull sires, making the Osborne Homestead famous.  He was a founding father of a different variety–not of a nation, but of a breed.

 

So with cows on the brain, I ventured up hill and down dale and through the woods to Rich’s Ice Cream.  The ice cream is made from the milk from the dairy right there.  I had Purple Cow, a creamy raspberry with chocolate chunks.  Don’t think about it too hard.  I will say, though, it topped off my day of riches.

Rich’s Ice Cream, Oxford, CT

 

So much in common

Going to Newport, RI means excess, so no wonder I found myself most attracted to The Elms.

The little cottage just like mine

The little cottage just like mine

After all, I have the most in common with Miss Julia Berwind.  She and I both worked on our houses.  Now, Julia did spend $1.4 million in 1901, which makes me feel better about what I’ve spent in 2014.  And she only stayed there a couple of months a year there.  My house is a bargain!

The Elms is considered “quiet and sophisticated” compared to the over-the-top opulence of The Breakers, etc.  Certainly my turquoise cabinets and multi- colored counters would also be considered quiet in comparison to the gold and pink marble and molded plaster of Marble House.

And as a woman after my own heart, Julia loved mah jongg!  She regularly played it in her “real summer home for a real family.”

Alas, that’s where the similarities end.  The Elms was a “machine for entertaining,”

Welcoming you at the entrance

Welcoming you at the entrance

representing efficient, Industrial Age America.  Of course, it was also Gilded Age America.  So Julia had 43 servants, who worked 14 hour days.

Julia never saw “the dirt and grime” of the construction process or the parlor maids who, along with the dirt, were kept invisible.  Only male servants were acceptable to see.

My favorite ballroom of the five mansions I visited was also at The Elms.  It opened on all sides, so that the length of the house was accessible and visible end to end.

For the Housewarming Ball, the quadrilles started after midnight, allowing DRparticipants to show off the complex moves which could last two hours per dance.  One of the 400 guests remarked he had so much fun that he never wanted to leave.

Such fun took great planning, and Julia conducted her business, like other Newport hostesses, right from her bedroom.  This social life took great planning.  Julia managed a $300,000 budget for the season and had to plan time well, too.  She’d get mail by the sackful (and we complain about email) and had an elegant pre-printed, pre-stamped rejection letter at the ready.

For all the remaining yeses, not only did any one day require 4 to 7 clothing changes, but strict schedules had to be adhered to–one must always arrive exactly on time for any function.  Too early and one embarrasses one’s hostess; too late, and one throws a kink in the works.

Elms-diningSo please.  When you are next invited to a Newport do, be on time, and don’t put your knife in your mouth!  Rest assured though, when you break a dish or spill your wine, Julia will merely smile.  And she will keep such meticulous records that you will not be seated next to the same dinner companion twice in a season.

Oh, and she will not call you on the telephone.  How rude!  The telephone is only for communicating with the servants.  She will write you a note.  Please respond in kind.

Chances are you won’t spend the night at The Elms.  Julia only has 7 bedrooms.  Don’t worry, she has 3 guest cottages nearby.

Giovanni Boldini portrait of Elizabeth Drexel Lehr, Paris, 1905

Giovanni Boldini portrait of Elizabeth Drexel Lehr, Paris, 1905

Julia and her peers didn’t have the vote and were expected to behave.

Take this story.  Elizabeth Drexel Lehr was told by Harry, her husband, on her wedding night, that not only did he not love her, but that he was repulsed by her.  He married her for her money, and she must avoid him everywhere but in public.  They remained married for 28 years.

So as much as I like and admire Julia (and her friend Elizabeth), I’ll keep my for real cottage versus lust after her Newport one.

The Environment, BIRI, and Suzan

New London, CT harbor

New London, CT harbor

Memorial Day weekend calls for the beach.  No matter that the ferry crossing to Block Island was cold and the indoor seats smelled of mildew.  No matter that the sun couldn’t find its way.  There’s nowhere quite as sweet on a late spring day as the seashore.

On the ferry

On the ferry

 

 

Lighthouses and painted rocks and bluffs and sand and surf and cat tails and shades of gray and green.  Junk shops and galleries and fried seafood and ice cream.

Check out the slide show below.

 

And then, there’s the alpacas.  Wait!  What?

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Yes, these alpacas are part of the North Light ( named after the lighthouse) Fiber production process.  From animal to textile, they do all the steps here.  I bought several skeins of alpaca for my new rigid heddle loom.  Wish me luck!
 

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I took an island taxi tour with Barry, who showed me his house and their Norwegian Fjord horses Orion and Jenny.  These are stocky work horses, living a pretty good life on BIRI, or Block Island, RI to you land lubbers.
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Barry lives on the west side of the island, the most isolated part of this isolated place.  Historically, roads on the 10 square mile island were so bad, the west siders had their own school.  Prejudice ran high.  West siders were considered “short, ugly, and inbred.”  Now, their houses circle $1 million.

The island is still covered by 300 miles of stone walls, used to separate fields of mostly 2014-05-26 10.19.52corn and potatoes.  But today, no longer part of a farm culture, the fields and hedgerow are mostly overgrown.  The Conservancy maintains this pasture to show what the island looked like since its European settlement in 1661.

 

 

 
An environmental theme also organizes my friend Suzan Shutan’s new show at the elegant Five Points Gallerie in Torrington, CT.

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I always love Suzan’s Pom Pom pieces, here documenting Connecticut’s well water in “Mapping Ground Water.”  The Pom poms are scaled to indicate the prevalence of wells, larger means more.
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Most spectacular is “Flow: Tarpaper Seepage,” one of a series Suzan has made from tar roofing and handmade paper.  It roller coasters through the gallery space, perhaps slightly visible through my inadequate pictures.  It belongs in a museum, so let’s help Suzan make it happen!

 

The whole installation of Suzan's work

The whole installation of Suzan’s work

 

You can give me a gift like this anytime

This is Senior Week at Yale, the time leading up to their graduation.  So all kinds of events celebrate University notables from today and yesterday.

A curator from MoMA was in town to discuss a Claes Oldenburg sculpture on the Yale campus. The then-famous pop/conceptual artist was an alum, although at Yale he studied literature.  For many years, Oldenburg thought he wanted to be a writer and worked as a journalist.  Things started to change when he moved to New York and immersed himself in its streets and bric-a-brac storefronts on the Lower East Side.

He began to make works of the commercial, the mundane, and with the help of his wife, made colossal sized sculptures of hamburgers and rubber stamps and more.

He made the Yale work as a gift, and after fabrication and flat-bed trucking it to campus, literally assembled it with no warning in the Beinecke Library Plaza.

Surprise was a key element.  The year was 1969 ,and protest was in the air.

While Oldenburg doesn’t call Lipstick Ascending on Caterpillar Tracks a political work, it’s hard not to see the army tank topped by a tube of lipstick as anything but.

The inflatable lipstick deflated regularly; easy to see its erotic undertones.

From the first, students used the “monument” to post notices of protests and posters for other campus events.  Over time, apparently it was vandalized and deteriorated.

In fact, the original lipstick was made of a soft material that didn’t even last two weeks before being replaced by sturdier fiberglass.

Ultimately the sculpture was removed, at least in part because it was seen as incendiary on this traditional campus.  Ironically, it showed at the Guggenheim, where it was surrounded by stanchions–“keep off!” they communicate.

Reinstalled at Yale in 1974 after restoration, it now is a notable part of Yale’s identity.  One audience member commented that a senior rite of passage is to eat a particular greasy sandwich while sitting on the sculpture (although campus rules prohibit touching the sculpture, rarely is it seen without a rider).

We watched a film of the fabrication, done by  Lippincott in North Haven nearby.  That foundry also fabricated Barnett Newman’s works of broken obelisks.  They apparently knew what they were doing.

Frank and Ed, identified in the film, did their work while also laughing with the artist.  One commented that “I think they (Yale) should accept the sculpture because it’s fine art.” A far cry from how Oldenburg’s “low” subject matter was first received.

Still, at the time, such a hybrid sculpture as Lipstick was radical.  Not a sculpture out of steel or marble, but made of plywood and fabric.  Not a monumental subject, but an ordinary subject made monumental.  And not easily interpreted or understood, as two very different kinds of imagery were molded together.

The model in the Yale University Art Gallery

As the students gathered and began to clap the slapdash installation of the work, an official of Yale, unidentified, said, “It’s grand and beautiful and monumental.”  And so it remains today.  A commentary about the power of women, the changing university experience as Yale went co-ed, the Vietnam war, and much more can be read from it.  But it’s also silly, playful, absurd, fantastical, and fun.

If Oldenburg wants to drop a gift off in my yard, bring it on!

 

 

 

To read more about Oldenburg, check this out:

https://www.artsy.net/artist/claes-oldenburg

 

 

“The Candy that Dares to be Different”

Only a little less “Disney” than the Hersey factory visit in Hersey, PA, the self-guided Pez 2014-04-25 11.22.58factory tour in Orange, CT is a wildly popular tourist stop.  Remembering fun Pez dispensers and the somewhat blah candy of my youth, I made my way there, too.

It’s really a case study of American marketing brilliance.  The candy, named based on the German word for peppermint, was actually invented in Vienna in 1927 by Eduard Haas III as an adult breath mint and alternative to smoking.  Really.

The dispenser first showed up in 1949 at the Vienna Trade Fair and was a straightforward device, with no marketing ploys.  The candy didn’t make its way to the US until 1952, when it started operations in New York City.  Then the ideas started generating.

2014-04-25 11.08.06One of the first American dispensers was this space gun in 1956, shown with the hgihest selling dispenser of all–Santa.  I happen to really like the alien.  In fact, aliens seem to be one of the popular dispenser themes, along with Disney figures, animated movie characters, animals, sports heroes, Elvis, and the Presidents of the United States.

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Yes, POTUS.  A teacher I talked with said she plans to use them in her classroom.  Really.

 

 

 

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And also, check these out–I think that’s a policeman and a nurse.

 

 

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In 1991, the first Pez Collector Convention was held.  Given the crazy things people collect, Pez dispensers are actually pretty darn appealing.

Moreso than the candy itself, when you find out how little food value it contains.  A truckload of sugar gets dumped into a silo that holds 70,000 pounds, and this factory goes through 100,000 pounds 2014-04-25 11.12.09of sugar per week.  I’m weak in the knees from the sugar rush just thinking about it.  Add a little corn syrup and flavor and you’re ready to mold some candy.

One computerized machine, displacing what was done by hand historically, can generate 500,000 candy tablets per hour, to the tune of 12,000,000 for the factory per day.  It’s been well over 40 years since I had a Pez candy.  They are pretty disgusting.  But I guess the world doesn’t think so.  Or maybe, like me, they just like the dispensers.

2014-04-25 11.12.47I had more fun looking at how marketing genius created the pin-up Pez Girl and branded fans as Pez Heads.

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The vintage Pez vending machines are pretty awesome.  I’d love one for my retro kitchen.

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Mysteries of Nature

How does she do it?

Mother Nature has her own clock.  Take maple syrup.  The “working sugar season” lasts six weeks, but when it actually starts is up to her.

Today, in New Hampshire, sugaring has been delayed from an early February start, with the cold, cold winter.  Ideal sugaring needs a 25 degree night and 40 degree day.  We just have that today, and the sap is running.  Watch the buds on the tree as a clue for when to tap the tree, in preparation for making maple syrup.

I’ve long been confused by the grades and color of maple syrup.  Let’s see if I can clear it up for you.  All maple syrup is 67 per cent sugar, regardless of grade or color.  Grade A is lighter in color and taste, resulting from sap that started at higher sugar content and needed less boiling time.  Darker maple syrup, longer boiling times, more flavor.  The darkest are Grade B.  Grade C is really only used for cooking.  All have the same sugar content.

Got it?

Well, let me try to explain with the process.

2014-04-05 11.47.52You start with the proper tools.  When the sap starts to run, you put your spigoter spirals (yes, really) in your right pocket and hooks in your left pocket.  Then you carry you buckets.

Pick a tree that is at least ten inches in diameter.

You tap the tree in a new spot, drilling in 2 1/2 inches.  That’s how deep the spigoter spiral goes into the tree.  Put it in and hang your hook on it.  Put the bucket on the hook, cover the bucket.  Leave it alone for six weeks.
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One tap generates about ten gallons of sap per season.  This 130 year old tree has about 600 gallons of sap, that continually regenerates.  No maple trees were harmed in the making of this syrup.
 

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The sap is taken to a sugar shack, where the sugar content is measured.  The sap color ranges widely from light yellow to dark brown.  It may range from 1 to 4 (or more) per cent sugar.  Then it has to be boiled until it reaches 67 per cent sugar content.

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This room is welcomingly warm and steamy and smells just like you think maple syrup would.  I’m not a huge sweets fan, but that smell was more than fine!

After the sap reaches 67 per cent, you have maple syrup (not to be confused with syrup in the supermarket, which is made of corn syrup and a shot of Grade C maple syrup–like 2 per cent).

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Finally it is filtered through cheesecloth to get out any remaining impurities, like bark.

Fun fact:  Native Americans first started sugaring in the 1600s.  The origin myth is that little Indian girls plucked icicles covered with sap, took a lick, and saw it was good.  No one today would disagree.
 

 

 

Certainly not Mother Nature, who relishes playing the trickster and creating a good mystery, as evidenced in our next stop.

2014-04-05 15.30.43Magic Wings, a butterfly garden of 8000 sf and 4000 free flying butterflies and moths.  Wow!

Tropically warm and very serene, this place transcends time and logic.

There are the mysteries of their beauty–each species has a fingerprint, immediately recognizable.  How and why did this happen?  Where’s the Monarch butterfly travel journal that helps three successive generations complete one migration cycle Mexico to New England?

But even better is to quit trying to solve mysteries and just immerse in the beauty and sweetness of the day.  Enjoy the slide show.

Soaring like an eagle

On this first day of spring, which arrived at 12:47 p.m. EST apparently,. I ventured out with hardy birding afficionados, to sail the Connecticut River for some eagle watching.  That’s bald eagles, as goldens didn’t make an appearance today.

The Connecticut River is a prime winter holiday locale for bald eagles from Canada, New York, and all around New England.  Only four birds are residents here, owners of the most expensive real estate outside of New York City.  These four own two of only 25 Connecticut nests ,staking claim to their territory.

They reuse the same nest every year, so that it grows larger and deeper.  We saw a nest that had reached four feet square, weighing in at over 200 pounds.  That’s a lot of twigs.  And a lot of weight to support for a dead or dying tree, the eagle home site favorite.  But that’s nothing compared to the record-sized 8′ x  21′ nest that literally weighed a ton!

These are big birds, with females larger than males and having a wing span of about 8 and 1/2 feet (Connecticut eagles are about mid-sized, with bald eagles from Florida’s on the small end and from Alaska as the largest).  Move over New York co-ops!  These birds need space.

Eagles mate for life and don’t stray more than 5 miles from their nest.  Homebodies, just like me.  The female lays 3 eggs, one as insurance, as the smallest (and last born) tends to die.  One of the nests this year was a failure because of the continual and late snows.  The other has done well enough.

The eagle information and eagle-eye spotting was courtesy of Mike of Eco-Tours, part of the Connecticut Audubon Society.  My first time with this group was a winner.  Just to be out in the fresh air and sunshine after a long winter (today’s water temperature measured 39.4 degrees and air temps topped out at a balmy 40), but then also to see 18 eagles, six adults, with a group of very congenial bird-hounds, it’s all good.

Yes, we saw 18 eagles, and I didn’t snap a single pix of them.  I was just so happy to be able to spot them.  But soon, even I could pick them out, soaring overhead, eagle-eyeing their world from sandbars, poised at the tops of bare trees.

Now, here’s how you can identify the age of the eagle you’re seeing.  Go get out your binocs!

It takes the eagle four years to get its white head and tail.  At one year old, it will be tawny with speckles.  Except for its size, you might think it’s a turkey vulture.  We saw a lot of those, too.

A 2-3 year old bird will have a white belly, immediately identifiable when flying.  But only the 3 year old will also have a racoon’s mask.  Now, you’re ready to go.

We followed the path that steamers had taken 200 years ago.  But since none of us had a pig, we didn’t have to pay the extra nickel.

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The eagles aren’t the only sites along the river.  There’s Goodspeed Opera House, as pretty as a postcard from the water.

We saw the location of where, in 1814, the British burned 27 American ships in Essex Harbor, during the War of 1812.  And we saw the remains of burned out buildings from a party gone too wild last week.

 

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My pictures failed of the house with a tree growing through its deck.  And I think I have repair problems!

I do like this little red art studio built over the water (click on any image for a larger view and then you back button to return to this post).

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Then there’s the Academy at Mount St. Johns, where street-hardened boys are brought for another chance.  The motto: “better to make a boy than mend a man.”  Amen.

 

 

 

 

2014-03-20 11.42.31My favorite was Gillette Castle, the most Romantic spot, with its evocative ruins.  Gillette was an eccentric actor, who spent $1 million to build this castle in 1913.  He promised his wife he would never marry again, if she predeceased him.

And guess what?  He was good to his word.  The castle was party-central for this now-single man with more money than sense.  After his death, he didn’t want “the idiots to run it,” so he left the castle and his land to the state, and it’s now a Connecticut State Park.

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I’ve added it to the list of must-visits!

 

 

 

 

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Lots of wonderful rock formations.  Above is Elephant Rock, named for its seemingly wrinkled skin, just like a pachyderm’s.  Don’t know the name of this one.

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Then there was this moment, when the river turned glass still.  So quiet.  Pristine.  Near the cove with its 90 degree water.  And the world stopped.  Nary a bird in sight.  Just clouds and trees and sky and stillness.

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At times like this, the imagination can soar like an eagle.  So I’m glad to share an image or two with you, in case you’d like a little time to soar yourself.

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Pictures of the day:

Man.  Rock.  House

Man. Rock. House

 

Water.

Water.

 

Charlie’s World

Every walking tour adds something fresh to the now familiar streets of downtown New Haven and the old Yale campus.  Today, Charles Ives provides the layer added to the history cake.

Who knew that the experimental composer and dour organist was actually a party-hardy type at Yale?  Tracing his lineage to a New Haven founder William Ives, Charlie was a fourth generation Ives to attend the university, where he studied music.  His father, a Civil War band leader, pushed him away from his athletic prowess toward his other passion for music, after his son broke his nose playing football. Charlie was a star pitcher and probably would have relished playing at Yale’s indoor baseball field.  But he kept his word to his dad.

Jim Sinclair, right, and Kendall Crilly, Music Director, Center Church

Jim Sinclair, right, and Kendall Crilly, Music Director, Center Church

 

 

Perhaps you know Ives’s music well enough to remember the melancholy quality much of it has.  Jim Sinclair, our guide and Orchestra of New England conductor, attributed this wistful tonality to the death of his father, just weeks after Charlie arrived at Yale.

 

 

 

 

 

Wolf’s Head, Yale campus

Still, Charlie Ives was a popular, funny, frat boy, who joined a secret society, the Wolf’s Head, and generally made the most of Yale’s social life.  He played ragtime and musical stunts on the piano.  One I wish I could have heard was his 1897, two minute musical version of the Harvard-Yale football game, with Yale’s surprise victory.  He wrote songs for the frat shows at the Hyperion, with the om-pah-pah drinking song “Pass the Can Along” becoming a crowd favorite.

Knowing this biography helps me understand how pop culture music made its way into his symphonic works, along with the familiar patriotic anthems his father must have played that wind through pieces like “Fourth of July.”

Charles ives lived here for four years, in dumpy Old South Middle, now Connecticut Hall

Charles ives lived here for four years, in dumpy Old South Middle, now Connecticut Hall

 

As you might imagine, Charlie wasn’t the best academically.  Apparently, he was a “gentleman’s C,” meaning a D+ student.  Just not where he genius lay.

Sports and music were his gifts.  Ives was a professional organist by the age of 13, and when he arrived at Yale, he played for Center Church, founded along with New Haven in 1638.  He had more freedom to experiment there than he did as a music student at Yale.

We were treated to one of his student compositions on the Church’s organ, 2014-03-08 11.52.31two generations removed from the smaller and boxier one Ives played.  The three minute “C Minor Fugue” seemed like it could have been written 200 years earlier, following all the traditional compositional rules.  Nothing would indicate the kind of work he was to produce.

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Kendall Crilly plays C Minor Fugue

 

 

 

 

 

 

 

 

 

Tonight’s concert will feature Ives’s more playful college work, as well as fragments that survive, including one inspired by sunrise at East Rock.

1872 engraving of East Rock in New Haven

 

For all his liveliness, Ives could be shy, too.  He ventured with his fiance Harmony Twitchell to meet the parents in Hartford.  Her father was friends with Mark Twain, as they had been innocents abroad together.  So the family went to see the venerable author, sitting with him on his porch.

Twain recognized how uncomfortable Ives was and did nothing to ease the awkwardness.  Instead he stared.  Which only made things worse for Ives.  Eventually, Twain reportedly said, “The fore’s okay.  Let’s spin him around, and see the aft.”

Harmony and Charles Ives

 

The young couple transcended that memorable moment and grew old together.

 

 

 

 

Stories like this one turn the icon into a man.  Jim concluded the tour by commenting on the “humanity that permeates the music” of Ives.  With new insights on what can be difficult music, I hope to listen with new ears.

Another discovery:

Cornelius Vanderbilt built this dorm with its luxuriant gates for his sons' comfort while attending Yale.  Cole Porter lived here later.  This dorm is adjacent to the much more modest housing Ives inhabited.

Cornelius Vanderbilt built this dorm with its luxuriant gates for his sons’ comfort while attending Yale. Cole Porter lived here later. This dorm is adjacent to the much more modest housing Ives inhabited.

Chemistry

2013-12-05 16.50.01New York’s a pizza town.  So is New Haven, and the Elm City has bragging rights for the first pizza oven in the country at Pepe’s.  I’ve toured several of the New Haven spots, so it was time for the comparison.  My foodie friend Katherine and I signed up for Scott’s Pizza Tours, “the cheesiest guided tour,” and tonight Scott was our very own guide–for just the two of us.

We started at Keste, Katherine’s favorite pizza place.  It’s Napolitano, and since Naples was the founding location for pizza, Keste was a good starting point for our taste tour.

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Pizza started in bakeries in Naples, when bakers wanted to cool the oven down.  They would throw dough into the too-hot oven with whatever stuff they had around, like anchovies.  It was trash food.  And look at it today–probably the favorite food in America.

Chemistry is important.  The Napolitano style uses low-protein flour, so that the dough is very soft.  After fermenting for two days, the pie men at Keste leave the dough outside for two to three hours to get chilled.  I don’t know what they do in the summer.

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Then to work the dough, It’s merely pressed down gently.  Tossing the dough?  Never!  This is a marketing gimmick, originally used by Americans to attract the neophytes to their pies.  Americans have high-protein, high gluten flour that can stand up to a toss.  It would tatter the low-protein dough.  Now you know.

2013-12-05 17.07.53The wood-fired oven heats up to 920 degrees for the pizzas, and the wood fire is only on one side.  The domed oven, with no vent hole, then creates a convection, with the heat circling up around the dome.  Standing in front of it was pretty intense.  Our margharita pie took one minute and 25 seconds to cook.  Hot mama!

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Pizza is only good for a couple of minutes after leaving the oven.  Even five minutes after, it’s moister (read soggy).  Lesson learned:  eat fast!

Scott spied a pizza being made for another party, and we decided to get it, too.  Smoked mozzarella, basil and lemon slices.  For Katherine and me, the world stopped turning with this pizza.  And I was done for the night.  We went to two more places.

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But after a bite at one, coal-fired and basically disappointing, and nothing at the last (a traditional New York slice), I knew that the Sorentina pie, referencing Sorrento lemons, was the nirvana of this night.

The conversation was better than the later pizza, as I listened to the two foodies go at it.  What did I get from that?  Well, I have to try the pickle soup at P.J. Bernstein.  And food is all about good chemistry.

So speaking of chemistry, I think Katherine and Scott were hitting it off.  After all, they discovered that they each carry their own pepper grinder.  So I made my exit, heading for the train and looking forward to my next New Haven pizza.  Who knows?  Maybe I’ll find one with a lemon slice!

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Beauty here and there

Since I’m steeping myself in all things British (while training to be a docent at the Yale Center for British Art), I went to the William Kent exhibit at the Bard Gallery.  Kent started out as a painter, and studying in Italy put him close to all those wealthy Brits on a Grand Tour.

So he took up interior design and architecture, working in an Anglo-Palladian style, to help his patrons bring a bit of old world Europe home with them.   In other words, he brought an Italian style to British soil, almost ubiquitous in homes and gardens.  His style was called Georgian, named for all those George’s who were King.

This console table from Houghton Hall will give you some idea of the decorative arts style.  The lions show up on the British Royal Arms and are a symbol of power and courage, as well as knightly virtue.  The console lion is surrounded by cornucopias of fruit and flowers, showing wealth and plenty.  Of course, the blue marble slab on top is rare and precious.  This table really demonstrates the British sense of itself during its empire-building years.

 

 

 

 

 

 

 

 

Kent’s garden designs are pretty darn charming and lasting, having innovated the idea of the ‘wilderness’–so much more natural than those geometric gardens of Baroque France.  A hundred years or so later, Jane Austen would place a pivotal Pride and Prejudice scene in a “pretty sort of little wilderness.”2013-10-13 12.09.03

I found this drawing of Kent really endearing.  “Kent at his Desk” was sketched by Dorothy  Boyle, Countess of Burlington, made after 1720.  It suggests his comfortable relationship with aristocracy.

How’s yours?  If you want more practice, head across the ocean and over to New York Historical Society, just 9 short blocks away.

 

Jeannette Ovington

George Healy portrait of Jeannette Ovington, 1887

The  beauty of “Beauty’s Legacy” refers to more than just the physical; beauty was moral and social, too.  Each exhibit portrait tells a story.  Come on one of my tours to hear a few. Meet a charmer of Bob Ingersoll painted by my girl Lilly Martin Spencer, learn some weird fashion trends, and see miniatures of “notorious women” (aka women novelists).

Then if you’re so bold, you can check out NYHS’s recreation of the 1913 Armory show.  Patrons of the works in “Beauty’s Legacy” would have been shocked!  But all that investment in beauty and luxury and excess and opulence couldn’t last in the face of modernity.  Quite a story to explore!

Henri Matisse, Blue Nude, 1907

 

Marcel Duchamp, Nude Descending a Staircase, 1912