February 28, 2013 § Leave a comment
While enjoying a lovely pre-spring walk, I snapped a photo of a favorite home in my neighborhood. Years ago, when I first saw the house, I thought the colors a bit (too) daring. Maybe even garish. But after many evening walks, these paint colors have warmed their way into my heart. I now see their combination as strong, inviting, and livable. Far from the acidic yellow and candy coated purple on the color chart, these complimentary colors truly do compliment each other.
The Eggplant and Champagne combination (and it’s variations) is timeless, provocative, and in it’s own way, quiet.
February 22, 2013 § 1 Comment
I recently discovered the Autochrome: the world’s first color process photography. I imagined color photography prior to Techicolor (the visually rich world of mid-century films like Gone With The Wind and National Velvet), would represent an either extreme or muted version of reality. However, the Autochrome’s subtle texture and soft hues capture something so real and vivid about the world that I now see digital photography as a bit more stark and sterile. Over a hundred years since their capture, these autochromes still feel alive and vital.
I would love to fill a wall with these photographs. They would enrich any room, and the lives of it’s inhabitants.
(From npr.com) In 1903, the Lumiere brothers patented the first commercially successful color process, which they called the Autochrome Lumiere. It involved glass plates, a backlight, soot and (oddly) potato starch — and it revolutionized photography. Magazines like National Geographic started dispatching photographers to shoot with autochromes; documentary fieldwork became more feasible with this relatively portable medium. For about 30 years, it was the most widely used process for capturing color.
December 31, 2012 § 1 Comment
I visited the Philadelphia Museum of Art’s exhibition, “Shipwreck! Winslow Homer and ‘The Life Line” on a blustery, snowy December day. A perfect setting to absorb the chilly, complex, and sensual shipwreck paintings curated from a diverse group of artists spanning the course of 150 years. The show’s central piece “The Life Line” is one of Homer’s best known, but not his best.
Homer, a New England native, began his career creating illustrations for Harper’s Weekly. His early paintings demonstrate a strong narrative component, of which “The Life Line” is a prime example. In this painting, we see a shipwrecked woman rescued by an anonymous (his face obscured by her scarf) man. The obvious themes (heroism, valor, human ingenuity) feel a bit cliche, even trite. Yet the collection of paintings, which bring together diverse strands of intellectual and art history, demand that the viewers address difficult questions about the value and preservation of human life amidst the demands of survival and commerce.
Well over a hundred years later, disaster at sea is far from the minds of Americans and their artists. However, our focus has now shifted to disasters of which we are not innocent bystanders, but active participants. The stunning work of Edward Burtynsky, a landscape photographer, depicts scenes of human impact on the environment. The images are profoundly different from the more Romantic works of Vernet & Homer, yet we still stare and gasp, and marvel at the shape, color and composition of disaster.
November 2, 2012 § 1 Comment
I love how the fall has a way of opening up the trees, allowing us to see their graceful limbs and delicate leaves. This year I’ve been especially inspired by my visits to nearby gardens and arboretums. Check out this fall leaves pattern I developed!
Also this fall, I discovered the artwork of Julie Anne Mann. Her haunting, spiritual drawings of trees onto large walnut panels feel both eerie and comforting. The collection, appropriately named “Forest Portraits”, presents trees with personalities, attitudes and flaws. I especially love the portrait titled “The Lovers”, on display last month at the Wexler Gallery. Hand drawn with delicate silver leaf, I would absolutely love to have it on one of my (unwallpapered) walls.