Via Powerline’s The Week in Pictures
I was thinking I should grace the blog with a post and that it was unfortunate that while I had seen many picture-worthy things in the last few days, I had no pictures of them so I would blahblah about what’s happening here on the farm. And then I opened up a book I found
Aristotle contemplating a bust of Homer, Rembrandt van Rijm (1653) Homer, about 1040 BC Aristotle, 384-322 BC Rembrandt, 1606-1669 AD You and I, 19xx-
Via Powerline’s The Week in Pictures
Look what Daughter C painted for Mr. Big Food and I! Daughter C, Farther Along Farm’s very own Artist-in Residence.
The religious value of such a picture lies in its power to revive personal memories. Death is one of the most solemn realities in the world; it is the door by which one passes from the seen and temporal into the more immediate consciousness of things unseen and eternal. Commentary on Decent from the Cross
The unexpected math behind Van Gogh’s “Starry Night” – Natalya St. Clair via Instapundit via vaviper.
“Lights of Other Days” by John Frederick Peto (1854-1907), from The Beauty of America in Great American Art (MCMLXV– that’s 1965 for those who don’t do Roman numerals); image from Art Institute Chicago. The other day, when I told the story of the Libertarian washing machine, faithful reader Suek commented with these thoughts on light bulbs,
Daughter C posted this in comments to this post. As she said, you’ll get it at about the 2-minute mark.
by Edward Hopper. Image and discussion here. From The Beauty of America in Great American Art (1965)
LILLIES by Peter Blume from The Beauty of America in Great American Art (1965, p. 154) Why, yes! I am cleaning off my desk and trying to put some crappy old books away. How did you guess? (Also, I’m promoting America.)
I reached into the box of 40+ Horizon: A Magazine of the Arts magazines and pulled out three volumes thinking that I could clickedy clack rattle off a table of topics, contents, authors, and subjects which interested artsy cultured folks in what by chance turned out to be 1962. Can’t be done. Too much. Can’t
We have a vivid notion, though confused, of what happened yesterday, for the headlines are still fresh in our personal memories; what happened many years ago is neatly analyzed and schemed into a formal doctrine by the standard histories. But the life-time of our fathers has usually been to us neither history nor experience. From The
From “Lecture II: Traffic” in John Ruskin’s The Crown of Wild Olive: Four Lectures on Work, Traffic, War and the Future of England (ca. 1895). John Ruskin was an interesting chap. A writer, poet, artist, art critic and later social critic. According to that infallible source, his work influenced Tolstoy, Gandhi, and Proust. The final sentence
“The Cares of a Family” (1856) framed in bird’s-eye maple w/gold inset. $3750. Add it to your basket at The Old Print Shop. Or…
Currier & Ives Chronicles of America (1968, p191; reproduced here from the Library of Congress archives). “A Cotton Plantation…” was first published in 1884.
Currier & Ives (1885) Chronicle: 1. history or story; an account of events in the order that they took place. 2. write or tell the story of. Chronicles of America
How crazy is this? No way no how anyone associated with the Prairie Arts Festival knew I had chosen Currier & Ives Chronicles of America for the Crappy Old Book of September, but here was a classic– “American Homestead in Autumn” (1869)– flying high over the entrance to the festival!
I was cogitating what book to honor with the September Crappy Old Book of the Month distinction. I was thinking about doing some James Whitcome Riley Farm Rhymes and then I remembered that y’all are not super duper keen on poetry. Too bad. There’s a cultural history aspect in Farm Rhymes that needs to be explored.
Currier & Ives (1864)