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These are very lovely, colourful and light.
By the end of the First World War, Paul Signac (1863-1935) was painting more finished watercolours than he was oils. This change was encouraged by a successful exhibition of those watercolours in Paris in November 1921.
Paul Signac (1863-1935), Saint-Tropez, Boat being Careened (1920), further details not known. Image by Finoskov, via Wikimedia Commons.
Signac’s Saint-Tropez, Boat being Careened from 1920 is an unusual view of a boat which has been deliberately grounded alongside the quay, to allow maintenance to be performed on its hull. As a longstanding yachtsman he had considerable insight into this procedure.
Paul Signac (1863-1935), Saint-Paul-de-Vence (c 1921), black chalk and watercolour, 28.4 x 44.7 cm, Albertina, Vienna, Austria. Wikimedia Commons.
Saint-Paul-de-Vence is a sketch of this hilltop mediaeval town on the Côte d’Azur, close to the border with Italy, painted in about 1921.
Paul Signac (1863-1935), Marseille, Bonne Mère (1922), further details not known. Image…
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A random survey of self-portraits created by women through the centuries
Italian painter Adriana Pincherle (1905-1996)
Self-portrait, c.1931-32 / Oil on canvas / Uffizi Gallery, Florence, Italy
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Forest Path, Pennsylvania
This looks very beautiful like a dream!
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Broken by Lynn White
Why does this remind me of Melville’s Captain Ahab?
The crack became a slash almost splitting her in two. She could have sought help, could have driven to heal it, But after a while she quite liked it. It had become part of her and she felt it became her and who knew what would emerge to wriggle and squeeze though the gap. *First published in The Drabble, May 2021*
About the Poet:
Lynn White lives in north Wales. Her work is influenced by issues of social justice and events, places and people she has known or imagined. She is especially interested in exploring the boundaries of dream, fantasy and reality. She was shortlisted in the Theatre Cloud ‘War Poetry for Today’ competition and has been nominated for a Pushcart Prize, Best of the Net and a Rhysling Award. Her poetry has appeared in many publications including: Apogee, Firewords, Capsule Stories, Light Journal…
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Watkins Glen, New York
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Glue tempera paintings 2: Nabis
Like the perspective in “In Front of the House” which has a touch of Bloomsbury about it too.
In the first of these two articles looking at paintings using glue as the binder in the artist’s paint, I showed examples from the Renaissance, and from William Blake’s revival of the medium around 1800. During much of the nineteenth century, ‘glue tempera’ fell into disuse, with oils, watercolour and pastels proving far more popular until a group of young French artists started experimenting with different media.
Pierre Bonnard (1867-1947), Stork and Four Frogs (c 1889), distemper on red-dyed cotton fabric in a three paneled screen, 159.5 x 163.5 cm, Private collection. The Athenaeum.
Among the first of these is Pierre Bonnard’s extraordinary and exquisite three-panelled Japoniste screen of The Stork and Four Frogs in about 1889, as the Nabis were forming. Using more modern pigments, Bonnard has achieved very high chroma, comparable to anything in oils, and quite unlike traditional glue tempera.
Félix Vallotton (1865–1925), Misia at Her Dressing…
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Autoportrait Day 198~ Laura Knight
A favourite and painted here in West Cornwall.
A random survey of self-portraits created by women through the centuries
English artist Dame Laura Knight, DBE RA RWS (1877-1970)
1. Laura Knight with model Ella Naper, 1913 / Oil on canvas / National Portrait Gallery, London, UK
2. Self portrait, 1921 / Oil on canvas / Museum of New Zealand, Te Papa
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Wood Cuts/Wood Engravings
Great images and interesting background too.
Wood Engravings: Eric Ravilious ‘Sussex Landscape.’ 1931. Tirzah Garwood ‘The Wife.’ 1929.
The term woodcut is often used to cover the woodcut proper and wood engraving which came much later, consequently a useful distinction is lost.
With woodcuts the design is drawn on a block and the parts which are white are cut out, cutting with the grain of the wood, leaving the surface in relief. The surface is then covered with ink and printed.
Wood-cuts are the oldest method of Relief Printing, the Chinese practised printing from wood long before moveable type was used in Europe. Just exactly when wood cuts were first used is not known but in the British Museum a Chinese manuscript bears a woodcut dated AD. 868, the earliest known illustration in a printed book. The illustration shows Buddha discoursing to Subhiti amongst a crowd of figures, all drawn in flowing black line.
Wood…
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Sounds wonderful if not quite what you expected.
Translated by Andrew Brown
Claudine’s House was book 5 of my 20 books of summer. Published in 1922, it form part of my side project to read books from 1922 throughout 2022. Historically, 1922 was a momentous year. I recently read Nick Rennison’s 1922: Scenes from a Turbulent year, published this year, which gives a brilliant overview: this is the year the USSR was formed, the Ottoman Empire fell, the post-Spanish flu pandemic ‘roaring ’20s’ got under way and, in publishing, ‘peak modernism’ was reached. Books published in 1922 include both Ulysses (which I keep eyeing warily) and the Waste Land. And this engaging sort-of memoir by Colette.
Lots of people have pointed to the book’s charm, as it evokes Colette’s childhood summers in a French country house, replete with puppies and kittens and hair fastened with ribbons. Through a series of short vignettes, life with her fluttering…
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penwithlit 