Showing posts with label moon. Show all posts
Showing posts with label moon. Show all posts

Thursday, December 12, 2019

Oil Sketches – Frederic Edwin Church (1826-1900)

Frederic Edwin Church
Study for Apotheosis to Thomas Cole
ca. 1847
oil on paper
Cooper Hewitt, Smithsonian Design Museum

"Frederic Edwin Church was perhaps the best-known representative of the Hudson River School of landscape painting as well as one of its most traveled.  Born in Hartford in 1826, he was the privileged son of Joseph Church, a jeweler and banker of that city, who interceded with Connecticut scion and collector Daniel Wadsworth to persuade the landscape painter Thomas Cole to accept his son as a pupil.  From 1844 to 1846 Church studied with Cole in his Catskill, New York studio and accompanied him on sketching sojourns in the Catskill Mountains and the Berkshires of Massachusetts.  At one point, the master characterized the student as having "the finest eye for drawing in the world."  Following his term with Cole, Church established a studio in New York City and quickly seized a reputation, less for the allegorical landscapes that had distinguished Cole's output, than for expansive New York and New England views that synthesized sketches of varying locales into vivid compositions."

– from an essay by Kevin J. Avery on the Heilbrunn Timeline of Art History at the Metropolitan Museum

Frederic Edwin Church
Cloud Study
ca. 1860-70
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Woodland Study
1865
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Moonlight, Church's Farm
ca. 1865
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Alpine Lake
1868
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Imaginary South American Landscape
ca. 1853-55
oil on paper
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Botanical Study
ca. 1865-66
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Pitajaya Fruit, Colombia
1853
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Palm Trees, Jamaica
1865
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Butterfly over Water
ca. 1865
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Parthenon at Night
1869
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Broken Column of the Parthenon
1869
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Classical Ruins, Syria
1868
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Frederic Edwin Church
Sculpture in the Theater of Dionysus, Athens
1869
oil on cardboard
Cooper Hewitt, Smithsonian Design Museum

Monday, December 3, 2018

Daguerreotypes (and other early machine-made images)

Anonymous photographer
Pair of Hands
ca. 1840-60
hand-colored daguerreotype mounted on a button
Metropolitan Museum of Art, New York

Anonymous photographer
View of San Francisco
ca. 1850
daguerreotype
Metropolitan Museum of Art, New York

Anonymous photographer
Three Men in Shepherd Attire
ca. 1850-60
hand-colored daguerreotype
Metropolitan Museum of Art, New York

William and Frederick Langenheim
Eclipse of the Sun
1854
daguerreotypes
Metropolitan Museum of Art, New York

Sonnet XVII, from Sonnets, Second Series

Roll on, sad world! not Mercury or Mars
Could swifter speed, or slower, round the sun,
Than in this year of variance thou hast done
For me. Yet pain, fear, heart-break, woes, and wars
Have natural limit; from his dread eclipse
The swift sun hastens, and the night debars
The day, but to bring in the day more bright;
The flowers renew their odorous fellowships;
The moon runs round and round; the slow earth dips,
True to her poise, and lifts; the planet-stars
Roll and return from circle to ellipse;
The day is dull and soft, the eave-trough drips;
And yet I know the splendor of the light
Will break anon: look! where the gray is white!

– Frederick Goddard Tuckerman (1821-1873)

John Adams Whipple and James Wallace Black
The Moon
ca. 1857-60
salted paper print from glass negative
Metropolitan Museum of Art, New York

W.L. Germon and W. Penny
Family Portrait
ca. 1855
salted paper print (hand-colored)
Metropolitan Museum of Art, New York

Kennedy & Schenck
Excision of the Radius of Brigadier General Penrose,
formerly Colonel of the 15th New Jersey Volunteers

ca. 1865
albumen silver print
Getty Museum, Los Angeles

Robert Macpherson
Bas-relief of the Biga, Arch of Titus, Rome
ca. 1858-63
albumen silver print
National Gallery of Canada

William Edward Kilburn
Mrs Jane Hamilton with daughters Rose and Eliza
ca. 1850
hand-colored daguerreotype
National Gallery of Canada

Anonymous photographer
Statue of Satyr and Nymph
ca. 1850-55
daguerreotype
Philadelphia Museum of Art

from Physics

To please the Sphinx
all life unreels
through black magnetic
stone-strewn fields
where pitchblende blinks
its slow decay
tic-tic-tic
de-lightedly
by alpha, beta,
gamma, delta –
time dilates
and starlight bends
in gravity
like roundelays.
All light, partic-
ulate, licks out
one way, in waves;
electric clouds
expand in spheres
whose uncracked shells
concentrically
unrecalled
across the parsecs
and the years
ring out, shift red
(like Hell), disperse
the edges of
the universe –

– Richard Kenney, from Orrery (New York: Atheneum, 1985)

Jeremiah Gurney
Relief-sculpture from a tomb (woman contemplating cross)
ca. 1850
daguerreotype
Philadelphia Museum of Art

Hansel, Sloan and Company
Portrait of a boy mounted in a gold earring
ca. 1850
daguerreotype
Fine Arts Museums of San Francisco
(Achenbach Foundation)

W.A. Mansell and Company
British Museum - Horse of Selene from the East Pediment of the Parthenon
ca. 1870
albumen silver print
Fine Arts Museums of San Francisco
(Achenbach Foundation)

W.A. Mansell and Company
British Museum - Antique Sculpture Gallery 
ca. 1870
albumen silver print
Fine Arts Museums of San Francisco
(Achenbach Foundation)

Tuesday, June 9, 2015

Young Taddeo (Part II)

Allegories of Fortitude and Patience

The story of Taddeo Zuccaro (1529-1586) during his apprenticeship in Rome continues here, as told in the wash drawings created about 1595 by his younger brother Federico Zuccaro (1541-1609). Curators at the Getty Museum believe the lozenge-shapes were intended as design-segments for ceiling frescoes, probably in Palazzo Zuccari in Rome, which the very successful Federico came to own.    

Taddeo copying Raphael's frescoes in the loggia of the Villa Farnesina

Taddeo in the Belvedere Court of the Vatican drawing the Laocoön

Taddeo drawing by moonlight in Calabrese's house

Taddeo drawing after the Antique

Taddeo in the Sistine Chapel drawing Michelangelo's Last Judgment

Taddeo's Halluncination

Discouraged by the hard life with his master and ill with fever, Taddeo begins walking home to Urbino. On the way he falls asleep and has a vision that stones on the riverbank are covered with beautiful paintings. In his delerium he gathers a sack of these stones and struggles onward. Arriving home with the sack of stones (below) he is nursed back to health by his family.

Taddeo returns Home, and is seen (at left) in bed recovering from his Fever

Taddeo returns to Rome escorted by Drawing and Spirit, toward the Three Graces

Taddeo (at age eighteen) decorates the Facade of Palazzo Mattei, while Michelangelo observes (on horseback)

Allegories of Faith and Hope, flanking the Zuccaro emblem

Taddeo's early success permitted the younger brother Federico to enter the profession with less hardship. After Taddeo's death in 1586, Federico took over the workshop and became one of the best-known and richest Italian painters of his generation.

Monday, January 13, 2014

Bolt

Dream 2

BY EILEEN MYLES
the car had a cover over it
and it was over the wheels
and it hurt my ass and I
couldn’t sleep. It seems I should move, go forward now
I was wandering through the jungle
anywhere on earth but I was a woman
in bed in New York and how many
people have died in wild places
dreaming you were still in bed
would you know. Travel well
I said to my dog when she
went on her journey thinking
of a cheap movie
I’ve thought this was an urn
turning this was on water
this was flat
but now I see light between
the trees I see water trickling
through stone this is not
made of   language but energy
that will stop when I die
the dream dies too
one bolt
Source: Poetry (December 2013)

Drawing by Wladyslav Benda, c. 1918, Moon and Milky Way, preserved at the Library of Congress

Thursday, October 18, 2012

Pharmaceutical Poetry



Ativan

That dream of a cricket
in the dark of the night
at the foot
of the gallows tree.

Virtuous
cricket. Little, hopeful
heart-
shaped face
lit up by the moon.

Little, hopeful, insistent
song
about the future
sung
to a hanged man's boots.

– Laura Kasischke (from Poetry, October 2012)

Thursday, March 24, 2011

Several Airports

San Francisco

TUESDAY 8 MARCH. For me, this counts as a long, daunting trip, lifting off from the West Coast at mid-afternoon on Monday and arriving in Rome at mid-afternoon on Tuesday. The eight-hour time-zone difference (eight or nine or some number like that) contributes its share, of course – so it’s not literally 24 hours in airports and planes – but subjectively that’s what it is (and of course I’m always readier to credit my own perceptions than to accept the authority of so-called facts.) Royal Dutch Airlines (or KLM) did a good job – not just that the staff were friendly and efficient, but that the mother-company had been smart enough to provide plenty of them, which meant that the service could be leisurely and generous. I try to remember this when I get exasperated at home by MUNI drivers, for example, who are aggressively rude more often than helpful – but MUNI is chronically understaffed and badly administered – so the workers themselves exist in a permanent state of frustration, which means that the system isn’t really giving them the chance to do a good job. KLM took care of the long leg of the flight, from SF to Amsterdam. Most of my fellow passengers appeared to be returning Europeans with body-clocks on European time. Around 6 p.m. San Francisco time, with dinner already out of the way, the lights in the cabin were lowered and virtually everybody went to sleep. There was a lonely little spotlight over my seat where I stayed awake reading for another six hours, and then dozed for the last part of the flight – when everybody else was waking up and having breakfast.


Amsterdam

Not surprising, then, that the Amsterdam airport is one endless blur in my mind, hardly a memory at all. The corridors extended for miles and miles – moving sidewalks lined up one after another after another – like a dreamscape with infinite edges. I drifted through immigration and security and customs, the compliant sleepwalker, and even the simplest questions (“what is your final destination?”) had to be asked two or three times before I could frame an answer. The Alitalia flight was more like what I was used to in America, too few employees, overworked and surly, small glitches and delays the rule rather than the exception. By the time I staggered into the empty cavernous baggage hall at Aeroporto Fiumicino – in my crumpled clothes and sunglasses – I resembled a befuddled Marcello Mastroianni in more than my usual sunny California self. The plan had been to get Euros from an ATM at the airport BEFORE collecting the luggage, but I forgot about the plan – in my eagerness to go to the bathroom and get a drink of water, both of which had (in my diminished capacity, combined with the indifferent service) seemed unobtainable during the Alitalia flight. So there I was at the carousel, already spotting my two enormous black bags, which I knew I could not carry unassisted even ten feet. But a luggage trolley could only be detached from the holding pen by depositing a one-Euro coin. Far in a corner, miles away, I saw a lighted glass wall with people moving behind it. When I trekked over there and bravely entered, four uniformed Italian airport workers sitting behind desks gazed at me in silent curiosity.


Rome

“I need a luggage cart …”  I blurted, “… and the machine wants a Euro … but I don’t have any Euros … I just have dollars … and it won’t take a credit card … what can I? …”

In truth, I did not so much finish speaking as run out of breath – and my hopes were not running high after the initial exposure to Alitalia – so I was thinking I might just curl up on top of my suitcases (once I got them off the carousel) and sleep for a while. The three chic Italian women in green suits sat behind their desks and looked at each other in consternation. Their pale plump male colleague in navy blue (with epaulets) came around the barrier and gestured me back through the glass doors.

“Let us see,” he said.

I followed him back to the cart-dispensing area where he swiftly pulled a Euro coin out of his pocket, fed it into the slot, detached a cart, and presented it to me.

"But isn’t that your own money?” I asked.

"Is fine.”

“No. I must pay you.”

“No, no, no. Only just you think This is the Italian hospitality.”

“Oh God, thank you. That is really kind, thank you.”

I no doubt should have protested more, but he was already walking away, smiling back over his shoulder, and it truly did not seem like he would let me present him with any of my useless Yankee currency.

As I yanked the bags off the carousel and fitted them onto the trolley, I was approached by a dapper young North African in a suit, with a plastic badge dangling from his neck on a cord. He asked in Italian-accented English if I needed a taxi. (Golly, how could he possibly have guessed I was an American?) Now – everything you read warns you against accepting taxi offers inside Aeroporto Fiumicino. The licensed taxis are small white vehicles – I knew this—stationed in a rank somewhere outside and their drivers are forbidden by law to come inside. It was supposed to be my next job to get myself outside and locate the authorized queue and stand in it to obtain transportation into the city, and then pay the price of 45 Euros, also fixed by law. Except I had also been told that I should have the Euros ready to hand, which I certainly did not have. And just the idea of looking for the authorized taxi rank (and/or a present supply of Euros) seemed more difficult to me than setting off and walking to Rome.

“Where are you going?” asked the dapper man with the plastic badge.

“Piazza di Spagna.” Aware of its sadly diminished state, my brain registered pride in simply being able to remember the name of my destination – and even remembering how to pronounce it, more or less.

“50 Euros,” said the unauthorized man.

“Deal,” I immediately said. “Except for one thing. I haven’t got any Euros.”

By that time he was leading me to a new gleaming four-door black Mercedes sedan. “We can put the luggage in the car and then go back inside for the ATM,” he suggested.

Relief at the very idea of unloading the luggage easily trumped the combined voices of all the guidebooks and their many warnings. Besides, would this rather large man steal my luggage? What good would he get from a dozen pair of Hugo Boss boxer briefs, size small?

“Or else credit card, 55 Euros,” he offered.

“Yes, wonderful, let’s do that.” The car was parked in a file of twenty identical Mercedes sedans along the curb, immediately outside baggage claim, while I could dimly see the small white authorized cabs lined up far, far in the distance. My new friend somehow spirited the luggage into the trunk without appearing to touch it, then with a flourish opened the rear door for me. I sank into a world of fragrant leather and abrogated all further responsibility. “If this is the Mafia, long live the Mafia,” was my sincere but shameful thought.

Ahmed, his name turned out to be. He gave me his business card. Charged me exactly what he said and delivered me swiftly to the front door of the Keats-Shelley Memorial Building at 26 Piazza di Spagna. Where I could take a shower! And the housekeeper had left me fresh milk and fresh-ground coffee!

Evening was falling as I went around the flat opening tall shutters and peering out through high windows.



I walked outside, thinking about a question my daughter had recently asked. She wondered if I had a different relationship now to the difficulties of travel, knowing as she did that these have always been substantial for me (in a neurotic and exaggerated fashion). I said no, the whole process was still terribly confusing and exhausting, but what had changed was capital-M Mortality. Certain trips, I had decided, were simply worth undertaking at whatever cost under the proximate shadow of decay and death. Of course I would like to make some sort of marvelous spiritual breakthrough and no longer be so vulnerable to workaday abrasions like traffic and avid striving mobs and mechanical conundrums, but in the absence of a complete character makeover I would just muddle along any old way, knowing that eventually, whatever I had been through, I would find myself standing at the top of the Spanish Steps with a crescent moon descending over Rome through an indigo-colored sky.


Saturday, September 25, 2010

Saturday Morning






In all the ones above I am walking west on 16th Street between the Mission and the Castro in San Francisco as the sun rises and the moon fades. Below, I look back toward the east and see Mission Dolores silhouetted against the sunrise.



Then continue west toward my bank and the all-night grocery store in the Castro because it will be a busy and very warm day and I need to get some errands run ahead of time.





Last glimpse of the morning moon, just past full.