I discovered them [the draw bridges] when returning to Seneca St. after a day’s work on "Three Boats in Winter" (1933) The time never seemed ripe to do them, however until this year. I made one trip in to look over the subject, and received a new thrill. An attack of lumbago delayed starting, but finally I felt equal to the task and went in. What a delight! what a joy it was ! The subject "over-powered me." I fell in love with it, and a great happiness came over me. (Early in the thinking about these bridges, the title "Black Iron" occurred to me as a suitable one.) It was difficult working, that first day, but I rejoiced in all the handicaps. For example the ground had not settled yet from the spring thaw, and where I stood it was all sand; engrossed in my work I did not know how treacherous it was until I went to step backward and could not move my feet at first; and I had great difficulty with-drawing them. One of the workers on the bridge seeing my predicament, went and got two box-ends for me to stand on. Then there was the wind from the south-west strong and gusty, with occasional spatters of rain; my easel was not well anchored, the legs sank in the sand loosening the guy-ropes etc. Nothing seemed to matter on this first day. By mid-afternoon the rain increased so much that I had to quit painting; but I had the main lines all blocked in, and the immense black counter-weights practically painted.
On another day a strong cold wind came out of the East; by afternoon a cold rain began to fall which soon changed to snow. The great flurries of snow-flakes as they passed the large black counter-weights were beautiful. Another time, the bridges lifted to allow a lake-freighter to go through, a fine sight.
American painter, Thomas Hart Painter studied at the Academie Julien in Paris from 1908 to 1911. He then settled in New York and painted in the Synchromist style of his schoolmate, Stanton Macdonald-Wright. In 1920, Benton switched to the Regionalist style, depicting scenes of American life. He became the director of the City Art Institute and School of Design in Kansas City, Missouri in 1935 and remained there for the rest of his life. After the decline of Regionalism, Benton began painting scenes of American history. He also wrote two autobiographies titled “An Artist in America” and “An American in Art.”
Sitting alone in the studio, the artist is surrounded by a mirror, sketches, and/or photographs, preoccupied with composition. The images look familiar; they are the artist’s own likeness. Creating figurative imagery requires hours of observation and the technical study of accurate human proportions and facial expressions. Time spent perfecting a craft and mastering a variety of media gives an artist the tools necessary to capture a model’s likeness. Artists working figuratively frequently turn to the most available model present in the studio. Themselves.
The talk is in conjunction with the exhibition “Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London,” a collection of important European paintings amassed by Edward Cecil Guinness, Lord Iveagh, that has traveled the United States while the British government-owned Kenwood House undergoes renovation.
According to researched published this year by Paula Fogarty (who quotes extensively from Scallen's work, "Rembrandt, Reputation, and the Practice of Connoisseurship"), the brewery owner collected 220 works in only five years, between 1887 and 1891, and another 18 between 1894 and 1908. Art dealers must have been beside themselves. Among the purchased works were 36 paintings by Sir Joshua Reynolds, 22 by George Romney, 15 Gainsboroughs and 32 Flemish and Netherlandish works, including the Rembrandt and a Vermeer, which, sadly, is not included in the exhibit at the Arts Center.
The talk ought to fascinating, and could be followed up by dinner, shopping and, of course, a look at the exhibition, since the Arts Center will remain open until 9 p.m.
And now for some sculpture as part of the "50 Works, 50 Weeks, 50 Years" exhibit in the Arkansas Arts Center atrium: "Matteo," by Iowan Daniel Rhodes (1911-1989). The wood-fired stoneware piece, selected for exhibition by Keith Melton, preparator and assistant registrar, was acquired in 1987 through the Decorative Arts Museum Fund.
this is fantastic.. Stаrt wоrĸing at հom℮ with Gооgl℮!. witհоսt а dоսbt its tհ℮ mоst-соmfоrtаbl℮…
Yes, I think she has a lot of surprises in store for us!
Leslie, when we saw on the evening news several days ago that Rockwell's "Saying Grace"…
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