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There should be dancing in the streets
When one fled past, a maniac maid,
And her name was Hope, she said :
But she looked more like Despair,
And she cried out in the air :
‘My father Time is weak and gray
With waiting for a better day ;
See how idiot-like he stands,
Fumbling with his palsied hands!
‘He has had child after child,
And the dust of death is piled
Over every one but me—
Misery, oh, Misery!’
Then she lay down in the street,
Right before the horses feet,
Expecting, with a patient eye,
Murder, Fraud, and Anarchy.
When between her and her foes
A mist, a light, an image rose.
Small at first, and weak, and frail
Like the vapour of a vale :
From Shelley….The Mask of Anarchy
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Dressed for the beach 1892-1922
I notice that currently there are a number of interesting books on the English seaside and it’s history.
In the first of these two articles looking at what our ancestors wore on the beach, I had reached 1890 with just a glimpse of lower leg and arm from the wild young things as they paraded themselves in the sun. Otherwise, adults only bared the absolute minimum, most even wearing hats. The only members of the family who could, in the right place, get away with anything less were children, and even they were often well covered up.
William Merritt Chase, A Sunny Day at Shinnecock Bay (1892), oil on canvas, 46.99 x 60.33 cm, Private collection. WikiArt.
The citizens of New York often went to the beaches of Long Island, NY, although here William Merritt Chase has travelled far from the crowds, out among the Hamptons, where the more affluent were building their holiday mansions. Chase was a key figure in American art in the late nineteenth century:…
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a wonderful Matisse
I have a small reproduction of Matisse’s painting hanging in my studio from a paper clip and I look at it often. I’ve even previously posted a quick, early morning drawing that I made of the picture while sitting in the gloom before dawn.
Looking at Matisse’s picture more closely, I got to wondering what the filaments are below the urn. Any thoughts? They look somewhat like coral or like onions when they sprout (though the color is all wrong for onions). I was able to find the painting’s home (the Barnes Foundation) and a little bit of descriptive information at the museum website, but no mention of the feature that puzzles me.
Thus, alas, the mystery persists.
But seeing the webpage, I knew I must share it with WordPress readers and with my future self since it has a wonderful enlargement…
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00:00:00 Gauguin 00: 25:15 Van Gogh 00:49:38 Cezanne 01:14:13 Dobson
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Dr. Richard Stemp 193 – about this painting
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Happy Sunday! 🙂
~Sunnyside
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Wycliffe Hall Chapel, Oxford OX2
Interesting, informative and splendidly illustrated.
On a visit to Oxford recently, I stayed at Wycliffe Hall as a Bed and Breakfast guest. Wycliffe Hall is on the Banbury Road in North Oxford. It offers theological training to women and men who wish to become ordained or lay ministers in the Church of England. The hall was established in 1877, on the current site, and is named for John Wycliffe, bible translator and master of Balliol College in the 14th century.
I sketched the chapel which was added in 1896, designed by architect George Wallace.
There are amazing trees in this part of Oxford. The houses are large, but the trees are larger. I had my breakfast outdoors in the garden at Wycliffe Hall, looking at a gigantic London Plane. The view from my bedroom was filled with beech tree.
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A random survey of self-portraits created by women through the centuries
Painter Françoise Gilot (1921–2023)
1. Self-Portrait Full Face, 1941 / Graphite on paper / The Metropolitan Museum of Art, NY, NY
3. Autoritratto, 1966 / Color serigraph on paper / Private collection
4. Self Portrait, 1970 / Watercolor on paper / Private collection
5. Self-portrait in Front of Bamboo, 1971 / China ink over pencil on paper / Private collection
6. Untitled (Self Portrait), 1975 / India ink and watercolor on Japon paper / Private collection
[7 embedded links above]
“Standing at the intersection of Impressionism and Realism, Potthast embraced the bustle of places such as Coney Island, Far Rockaway and Brighton Beach, the more populist haunts. Like the Realists, Potthast focused on energetic compositions rather than the kind of languid gentility often portrayed by the Impressionists; yet, like the Impressionists, he painted in a palette of high color and lightness. With artistic bravura and a painterly surface, Potthast renders Water Lilies with a masterly sense of composition as the figures’ clothes flutter in the ocean breeze. As in the present work, according to Diane Smith-Hurd, Potthast’s painting is “at its best with subtleties of color in reflected light, as well as color in…
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penwithlit 
