Venetian Art With a Willow Tree Fountain and a Couple
28 Aug
Fountain of Neptune (1902). John Singer Sargent (American, 1856-1925). Oil on board. Fine art Institute of Chicago.
Fountain of Neptune depicts a portion of the 16th-century fountain in the Piazza della Signoria in Florence. Painting his limerick on site, en plein air, Sargent chose an upwards-close, truncated view of the sculpture, focusing not on the god of Neptune, only on the twisting, muscular bodies of other bronze figures adorning the fountain. Sargent skillfully depicted the play of light on the intricate surfaces of architecture and sculpture.
28 Aug
Adele writing wearing a Burberry dress for Faddy United states of america, March 2016. Photograph past Annie Leibovitz.
"Once 'Hello' came out, I felt like I'd got nada to show. I'k just going to sing at present because I want to, and I'll make records when I want to and not because someone is forcing me to exercise it. Not that anyone ever has," she adds, with a wicked twinkle in her eye. 'I'd fire them if they tried!' "
27 Aug
Ragazze in lettura. Giuseppe Amisani (Italian, 1881-1941). Oil on plywood.
Amisani was a close contemporary of Umberto Boccioni and of Pablo Picasso, but completely ignored currents such as Futurism and Cubism which changed the face of fine art in the 20th century, preferring to satisfy the tastes of his clients, who were the noble, rich and the famous of his time. His reputation was for elegance and for the fresh colours of his palette.
27 Aug
A Bye to Arms. Ernest Hemingway. London: Jonathan Greatcoat, (1929). First UK edition. Original dust jacket; art past Theyre Lee-Elliott.
"When I saw her I was in love with her. Everything turned over inside of me. She looked toward the door, saw there was no one, so she sat on the side of the bed and leaned over and kissed me." ― Ernest Hemingway, A Farewell to Arms
27 Aug
Music (1876). Edward Burne-Jones (English language, 1833-1898). Oil on canvas. Ashmolean Museum.
Burne-Jones' drawings of a bong-cittern, a crwth and a viola d'amore are all closely related to examples in the Special Exhibition of Ancient Musical Instruments, South Kensington collections. The distinctive rounded contour of the bell-cittern resurfaced in his painting of Music.
27 Aug
Carol-Anne Millar as Dumpy in Cinderella. Birmingham Royal Ballet. November 2012. © Neb Cooper.
The Ugly Sisters are particular delights – one tall and sparse, the other fat: they wait impossibly sick-assorted and unlikely to always find a match, so cocky-centered are they. The Dumpy 1 is wonderfully realised by Ballad-Anne Millar, who now seems to sport a modified fat suit that is more than realistic and looks just right.
27 Aug
Dans la prairie (1876). Claude Monet (French, 1840-1926). Oil on canvas.
In his Argenteuil days (1872-1878), Monet oft painted his first married woman, Camille. Here is a perhaps lesser known piece of work where Camille is almost submerged in the eye of a wealth of flowers as she reads her volume. The painting was commencement shown at an exhibition in Paris in 1877. Its colour-filled canvas is built with darting brushstrokes.
26 Aug
The Golden Lady. Dorothy Gardiner. Garden City, New York: Doubleday, Doran and Co. 1936. First edition. Original dust jacket.
The Golden Lady was the name given a mine belonging to an English language remittance man – and he deeded the mine, once he thought he had struck it rich, to the newborn baby of the woman he loved, hoping to requite her liberty. Instead, he gave them both added bondage – and this is the story of its working out and circular and back once again, in the inevitable treadmill of the slaves of gold.
26 Aug
Lady Beatrice Butler, Lady Pole-Carew (c.1900). Ellis William Roberts (English, 1860-1930). Oil on canvas. Antony, Cornwall.
Lady Beatrice Frances Elizabeth Pole-Carew (née Butler) (1876-1952) was the wife of Sir Reginald Pole-Carew. She was the girl of James Butler, 3rd Marquess of Ormonde. The couple and their family lived in Antony Business firm, the primary residence of the Carew family, who have endemic the estate since the mid-16th century.
26 Aug
Dorian Leigh, with artwork, wearing a taffeta gown past Jean Patou, 1955. Photo by Henry Clarke.
In his photobiography volume, published in 1951, Cecil Beaton writes that Dorian Leigh could convey "the sweetness of an 18th-century pastel, the attraction of a Sargent portrait, or the poignancy of some unfortunate woman who sat for Modigliani."
26 Aug
Disputation of St Stephen (1514). Vittore Carpaccio (Venetian, 1472-1526). Tempera on canvas. Pinacoteca di Brera, Milan.
With open books on the steps below, the saint is shown below a wide and spacious loggia, conspicuously modelled on the architecture of Pietro Lombardo. Around the deep greens and browns of the Venetian hills he has arranged a series of buildings, in a varied combination of architectural styles which suggest a fairy-tale Orient and a Western world.
25 Aug
Creeps by Night. Dashiell Hammett, editor. New York: John Day, (1931). Offset edition. Original dust jacket.
"For a long while we only stood there, looking downwards at the profound and fleshless grin. The body had plainly one time lain in the attitude of an embrace, but at present the long sleep that outlasts love, that conquers even the grimace of beloved, had cuckolded him. What was left of him, rotted beneath what was left of the nightshirt, had become inextricable from the bed in which he lay…" – A Rose for Emily, William Faulkner
25 Aug
Ophelia ("And He Will Not Come Back Again") (1865). Arthur Hughes (British, 1832-1915). Oil on canvas. Toledo Museum of Fine art.
Ophelia resonates with the archetypal beauty of an English rose; a serene visage confronts the viewer. This is hardly the mad Ophelia, depressed and raving. Hughes' Ophelia stands quietly, hanging her flowers in the fronds of a willow tree; some willow pieces trail through her red, flowing hair in lieu of a bridal headdress.
25 Aug
Ai Tominaga with books torn disconnected in "So Fashionable" for Vogue Italia, September 2010. Photographer: Miles Aldridge.
"Abito di pizzo macramé su corsetto di elastico con inserti di pizzo, ciondolo di decolletees di satin."
25 Aug
Portrait of an unknown woman (1840s). Sergey Zaryanko (Russian, 1818-1870). Oil on canvas. Tumen Regional Museum of Fine Arts.
In 1843, Zaryanko moved to Moscow, where he taught drawing in Alexandrovsky Constitute for Orphans and Moscow Architectural College. In 1846, he returned to St. Petersburg to teach cartoon. He lived in St. Petersburg for 10 years and painted his best portraits in that location, such as this lady reading books.
Source: https://books0977.tumblr.com/page/663
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