Monday, November 29, 2010

St. Joseph and the Infant Christ

As we near Christmas, and we hear the lovely stories of Jesus's birth and his young mother Mary, I always feel that we keep his earthly father, Joseph, a little on the side-lines.

I am re-posting a segment I did on St. Joseph, and on the artists who painted him. These are purely subjective choices. I don't know if the paintings are masterpieces, or if some of the painters are even recognized in the roster of the Western canon. But, in many of the paintings, I found the gentleness with which Joseph interacted with his young infant touching.

Here is the website where I found most of these images.

[I've removed some works where Christ is already a young man in my original blog post. To view the complete post, you can go here.]



Jesus's Earthly Father
Saturday, November 27, 2010

Left: St. Joseph. By Rudolph Blattler, Switzerland, 1899
Right: St. Joseph with the Christ Child.
By Giovanni Francesco Barbieri, Italy, 1600s


Left: St. Joseph and Child. By Enrico Reffo, Italy, 1800s
Right: Saint Joseph and Jesus. By Enrico Manfrini, Italy, 2000

Left: St. Joseph, The Holy Child.
By Bartolome Esteban Murillo, Spain, 1600s
Right: Holding Heaven. By Ron DiCianni, USA, 2004


Left: Saint Joseph with Child. By Brother Simeon, USA, 1900s
Right:Joseph with Infant Christ. By Bartolome Esteban Murillo,
Spain, 1655-56


The Joseph in Enrico Reffo's painting appears the oldest. But, perhaps that is true to the reality. Joseph was quite likely a mature man when he married Mary, who was half his age. Perhaps that is where his gentleness came from, entrusted as he was with a baby in his mature years. But, I don't think God would have given Jesus a harsh father. Joseph's gentleness is part of the beautiful design.

Sunday, November 28, 2010

St. Joseph and the Infant Christ - Correction of previous painting of Joseph

St. Joseph and Child.
By Enrico Reffo, Italy, 1800s


I have corrected a double posting of an image in the previous post: St. Joseph and the Infant Christ. The correct image for "St. Joseph and Child" by Enrico Reffo is now up in the original post, and above too. Other than Brother Simeon's painting of Joseph, the Joseph in Reffo's appears the oldest. But, perhaps that is true to the reality. Joseph was a quite likely a mature man when he married Mary, who was half his age. Perhaps that is where his gentleness came from, entrusted as he was with a baby in his mature years. But, I don't think God would have given Jesus a harsh father. Joseph's gentleness is part of the beautiful design.

Saturday, November 27, 2010

St. Joseph and the Infant Christ

As we near Christmas, and we hear the lovely stories of Jesus's birth and his young mother Mary, I always feel that we keep his earthly father, Joseph, a little on the side-lines.

I am re-posting a segment I did on St. Joseph, and on the artists who painted him. These are purely subjective choices. I don't know if the paintings are masterpieces, or if some of the painters are even recognized in the roster of the Western canon. But, in many of the paintings, I found the gentleness with which Joseph interacted with his young infant touching.

Here is the website where I found most of these images.

[I've removed some works where Christ is already a young man in my original blog post. To view the complete post, you can go here.]



Jesus's Earthly Father
Saturday, November 27, 2010

Left: St. Joseph. By Rudolph Blattler, Switzerland, 1899
Right: St. Joseph with the Christ Child.
By Giovanni Francesco Barbieri, Italy, 1600s


Left: St. Joseph and Child. By Enrico Reffo, Italy, 1800s
Right: Saint Joseph and Jesus. By Enrico Manfrini, Italy, 2000

Left: St. Joseph, The Holy Child.
By Bartolome Esteban Murillo, Spain, 1600s
Right: Holding Heaven. By Ron DiCianni, USA, 2004


Left: Saint Joseph with Child. By Brother Simeon, USA, 1900s
Right:Joseph with Infant Christ. By Bartolome Esteban Murillo,
Spain, 1655-56



Thursday, November 25, 2010

Happy Thanksgiving

George Washington
The Athenaeum Portrait
, 1796.
By Stuart Gilbert.
[Click here to view a larger version]

Happy Thanksgiving



Sunday, November 21, 2010

Sarah Palin’s Lost Opportunity At Change

Bristol, finalist in Dancing with the Stars
                              *
"These days, it is quite acceptable for a
seventeen-year-old girl to parade her
out-of- wedlock pregnancy, and to have
her mother’s (and family’s) full support."

-------------------------------------------------------------------------------

Sarah Palin's Lost Opportunity
By Kidist Paulos Asrat
06/21/2009
Chornwatch.com

These days, it is quite acceptable for a seventeen-year-old girl to parade her out-of- wedlock pregnancy, and to have her mother’s (and family’s) full support.

About fifty years ago, such young girls would have been sent to a secret location, given birth, and had their babies taken for adoption.

This wasn’t just a prudish precaution. Almost every culture in the world abhors out-of-wedlock births. Whole families and societies are at risk of instability if illegitimate children are nonchalantly and openly accepted in their midst. This is nothing against illegitimate children, they are hardly at fault, but against the environment which could allow illegitimate children to be the norm.

All successful cultures depend on stable families. This is a long, ritualized process, which begins with the marriage of two people, and continues with their giving birth to their children within the confines of that marriage. Each step of the family-building process has its own ritual, from the marriage of the parents, the birth of their children, their baptism and spiritual initiations, their upbringing and education, all culminating with the marriage of these same children so that they can continue with the long and intricate saga of life.

When Sarah Palin paraded her young pregnant daughter Bristol and her boyfriend Levi Johnson at the Republican National Convention, she broke this ritual, and forced us to accept this strange spectacle as normal behavior.

And the conservative world consented. No conservative media reported on the non-conservative nature of the situation. When the liberal media became critical about Palin’s unorthodox family life, which also included her new-born Downs syndrome baby, conservatives descended on them with furious op-eds and commentaries.

A group of conservative women even participated in a video called “I am Sarah Palin”, supporting her working mother role, and daring anyone to say otherwise. One cannot help but wonder if this video title was alluding to an earlier militant feminist phrase, “I am woman (hear me roar).” These Palin women certainly roared.

The Huffington Post is describing the reaction to the most recent Palin incident, involving David Letterman’s jokes and the consequent fallout, as a “new wave of feminism.” I believe this new wave started when Palin went on the grand stage of the RNC as a conservative candidate, bringing her pregnant daughter and her boyfriend, and an infant child along with her. She presented herself as the epitome of the working mom, balancing teenaged children, a special needs child and a demanding career. She was the poster for the modern woman who is not content to stay at home and take care of her family, but who thinks she can do it all.

Letterman’s critique – in the form of acerbic jokes rather than articles - of Palin’s family was met with the roaring force Sarah Palin herself. Palin went on a media blitz, doing her rounds with the morning and evening shows in New York calling, demanding, for Letterman’s apology. How could he attack a young girl with such cruel jokes? she loudly lamented. This is nothing but harmful to the self-esteem of young girls, to be the brunt of “rape” jokes by lecherous old men like Letterman, she continued.

And women around America supported her. There was no longer the Democratic and Republican divide that was still strong when Hillary, the First Potential Woman President was running for the presidency. The self-esteem of young girls eroded by sexist and lecherous old men trumped all that. Here was a movement that was a continuation of the “I am Sarah Palin” pioneer group.

Letterman apologized profusely. In fact he apologized twice. And CBS, his station, still continues to receive threats of sponsorship withdrawals after The Olive Garden and the Embassy Suites Hotels already removed their ads.

In a normal world, the sharp tongue of a comedian would have revealed the truth of a situation, forcing the targeted individual to reassess his situation and either make things better, or just leave town.

Palin remained in Letterman’s town, and attacked him instead, absolutely oblivious to the situation she had created. Her headlong immersion into her political career had obviously left gaps in her family life. Levi Johnson gave a glimpse of that in his own round of talk shows a few months earlier. He revealed that he was coerced into attending the RNC with Bristol, unlike the happy family image we were being fed. He also said that he was often allowed to stay overnight at the Palin house, in Bristol’s bedroom. Bristol must have been out of control for Palin to concede to such arrangement. Family dynamics must have been pretty bad for Palin to have taken such drastic measures.

In the end, rather than face up to her failures as a mother, Palin readily took on the “victim’s” role, and entered the world of new wave feminism. She took no responsibility for her daughter’s condition, a situation which only a few decades ago would have brought shame to such a family, and especially the mother. She sacrificed the harmony of her family for an ambitious political life, with no guarantees that she will get the prize of presidentship. After all, her RNC debacle didn’t earn her anything but the airing of her family’s secrets.

Fifty years ago, it wouldn’t have been just a popular comedian who would have made those disparaging jokes. The whole attitude of the community and the neighborhood would have made it very clear to Palin that she had erred.

Now, all she has to do is call on her sisterhood of conservative and liberal new wave feminists, and talk about low self-esteem and young girls as victims of (lecherous), sexist men in the guise of comedians. This is such weak language coming from someone who hopes to lead the country sometime in the future.

Forces of Nature

George Washington
(The Athenaeum Portrait)
, 1796.
Oil on canvas. By Stuart Gilbert.
Jointly owned by the National 

Portrait Gallery, Smithsonian
Institution, Washington, and the
Museum of Fine Arts, Boston.
[Click here to view a larger version]

I posted a Gilbert Stuart portrait of George Washington at Our Changing Landscape several weeks ago. I titled the post "The State of Affairs of our Modern World." It is actually a post on Geert Wilders's efforts to save his country from destruction by encroaching Islamization. His efforts are now slowly being recognized around the world. I saw a similarity between Wilders's hairstyle, which was being pettily attacked by some "writer" and George Washington's. My point, though, was bigger than superficial appearances. We need men like Wilders and Washington who can detect what a country needs to survive, and thrive, and who can articulate that vision and make it a reality.

The portrait I've posted above is one of three references that Stuart used to paint his hundreds of portraits of Washington. This particular one is called the Athenaeum Portrait after the Boston Athenaeum which originally bought it.

Here is what the National Gallery of Art says about the portraits developed from the Athenaeum:
Stuart began what would become his most reproduced image, a depiction of Washington facing left (to his right), now called the Athenaeum portrait for the Boston library that acquired it after Stuart’s death. Although he never finished the original itself, he used it throughout his career to make approximately seventy-five replicas, and the image––carefully built up with contrasting flesh tones––is one of Stuart’s most accomplished portraits.
Here is what the Metrepolitan Museum of Art says about Stuart's technique for the Athenaeum portrait:
The strikingly fresh aspect of this life portrait of Washington comes from Stuart's application of subtly varied skin tones in separate, unblended touches of the brush. His technique is visible even in the shaded areas under the chin, where Stuart alternated darker and lighter flesh tones to indicate shadow and reflected light. The president's white-powdered hair and blue eyes stand out in contrast.
The other originals which Stuart used as references are the Vaughan Portrait (Washington facing to his left),and the Lansdowne Portrait (Washington in full-length). The names are the owners of these originals. In the Athenaeum, Washington is facing to his right.

I wonder what prevented Stuart from finishing the Athenaeum? Apparently Washington was irritable when it came to having his portrait painted and didn't like the small talk (or the long sittings). But Stuart found his method, and engaged him with conversations on his favorite topic of horses. Still, Washington's portraits all exude a calm and steady temperament. Perhaps he felt that portrait-painting took too much time away from his important responsibilities. We should thank Stuart that he persevered, and that he painted these masterpieces. Pictures don't lie, at least I don't think they do. And they often succinctly tell us truths which can easily be camouflaged by clever words.

The Athenaeum is especially intriguing because it was unfinished. Perhaps Stuart was aiming for something bigger than he could handle. It is as though he was trying to emerge Washington out of some primordial matter, a force entering our world. But Stuart was trying to capture this with mere paint and canvas. If he erred with his approach, I don't think he erred with the subject he chose to attempt his idea with. This reminds me of another artist, sculptor Rodin, who says he chose the stones to sculpt from because he could already see the forms within the stones.

Friday, November 19, 2010

A Picture is Worth a Thousand Words. And Two Pictures?

Mr. and Mrs. Brimelow, with infant child in tow.
(Photo from the H.L. Mencken Club site)

I've been debating whether to post these photos. But, they are on public sites, and are obviously meant to be looked at and commented on.

Look at the first photograph, with Peter Brimelow as a "new" (old) father but closer in age to being a great-grandfather. He's with his new wife, Vdare contributor Lydia Sullivan who writes under the pen name Athena Kerry, who is holding their infant child. From what I've read at Brimelow's site Vdare and what Wikipedia tells me, his new wife is forty years younger than him! Still, Sullivan has a hard glint in eyes like someone that goes after what she wants, and gets it. Such character doesn't discriminate by age.

The top photo was taken at the 2010 M.L. Mencken conference where Brimelow presented a paper. He took the infant girl along. I presume he did this to show her. But why that awkward expression, as though he's in the wrong place, with the wrong people, at the wrong time? Also, he shows a strange deference towards Sullivan, the way he's leaning a little too humbly towards her and the infant. Usually, a new father stands proud and straight next to his family, especially in a public setting.

Didn't Lydia Sullivan, a.k.a. Athena Brimelow, have any family members, a concerned and conservative mother who said "under no circumstances" at the prospect of this marriage? Brimelow is close to seventy. Some father he will be to a young child. Was there no one thinking of the ensuing babies, who was concerned by the prospect that they might be born, and endure such a life?

Such is the case with "conservatives" these days, who really behave like liberals. But Brimelow is an avowed libertarian, so his motto is, "I'll do what I wish, and apres moi le deluge." Yes, the whole thing is as pompous as Louis XV's famous phrase. At least his excuse was that he was King of France. What does Brimelow have? And look what happened to Louis and his reign. Or more like, what Louis wrought.

L-R: Genevieve Sullivan (sister), Grandmother Von Talbot,
Mother Deonne Sullivan, and Lydia Sullivan. (Photo source)

The second photo is of Sullivan with the female members of her family: her grandmother, mother and sister. Sullivan is at the far right. Again, I am struck by the hard edge in her eyes. Her sister is on the far left. What a difference. One would have thought that the grandmother, who looks strict and principled, might have been the one to rein things in.

Wednesday, November 17, 2010

Perfume Experts, Online

Eau Claire des Merveilles, by Hermes

It's a lot of fun reading comments (actually mini-reviews) that women post on perfume sites. They take their role as reviewers very seriously. It's nice to know what "ordinary" women think of those Chanel and Dior perfumes. Many just smell them in department store counters, and if they're lucky, or can convince the (often hard-nosed) saleswoman, they acquire a sample in a miniature tube to take home. Going at a leisurely pace through the perfume counters, admiring the flasks and spraying one or two wherever there is room on either wrist, is a small pleasure of "shopping".

Tuesday, November 16, 2010

Fall Trees

Fall Trees Triptych


Taken at the Mount Pleasant Cemetery, Toronto.

Thursday, November 11, 2010

In Flanders Fields


In Flanders Fields
By Lieutenant Colonel John McCrae, (1872-1918)

In Flanders fields the poppies grow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie,
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

---------------------------------------------------------
Bugle calls and bag pipe lament


Wednesday, November 10, 2010

Evolution of Design 8: Niagara Falls

Top: Triptych Photograph;  Middle: Preparing the 
design (using the third image from the triptych;
Bottom: Repeat pattern

Tuesday, November 9, 2010

Sunday, November 7, 2010

Friday, November 5, 2010

Fall Glows


This is a maple tree on my street, which still has the green color. Usually by now, maple leaves turn the famous rusty red which was adopted for the Canadian flag. I think there is something ethereal about the green/yellow combination, making the leaves and the surroundings glow.

The Mamas and The Papas Album Cover: Equality and Mother Earth?

The Mamas and The Papas - 
TMTP, or shoud it be TM&TP?

I've looked at several album covers for the lettering in TMTP, which I used in my previous post to shorten repeated typing of  "The Mamas and The Papas", and the majority of covers capitalize both T's as in The Mamas and The Papas. This makes for a more interesting acronym "TMTP". Usually, one would capitalize just the first T, and leave 'and' and the following 'the' in lower case.

I think thes upper case t's are perhaps an "equality" thing - as in both The Mamas and The Papas are equally important. We are talking of the sixties after all. But notice that Mamas come before Papas. Do women have to get that extra bit ahead to get on an even footing? Or it could just be respect for women, as in "ladies first"? In any case, naming anything (and deciphering any name) is an interesting exercise. And design adds another dimension of meanings.

And why Mamas and Papas? I think Mother Earth might figure in there, but Father God? Somehow I don't think so. Maybe a benign sidekick, under the thumb of the formidable feminist female...

Is it the Beatles?


"California Dreamin"' by The Mamas and The Papas

Here is a funny Youtube video of "California Dreamin'" where the person who posted the song thinks it is the Beatles. He has about one thousand emails telling him he's wrong (don't people have anything better to do?). One guy derisively writes "I Can Hear John Lennon Singin." And someone replies, also apparently in jest although I'm not so sure "...The female voice is Yoko Ono." Yoko Ono can sing?

But, the guy is right, it does have that Beatles sound despite the obvious female vocal. It has the trademark Beatles' attention to good melody, although I think all the sixties and their influences have strong (often ingenious) melodies. Many artists apparently recorded "California Dreamin'" including the Beach Boys, but not the Beatles - at least that is what Wikipedia tells me. The original song was by The Mamas and the Papas. Comparing the the above video from another which is by The Mamas and The Papas (at least no red flags there for this Youtube video!), I think the version above is also by the originals - TMTPs.

If a sixties song were to materialize now, it would be Pete Seeger's beautiful ballad "Where have all the flowers gone" modified to "Where have all the songs gone."


Wednesday, November 3, 2010

Winter's Patterns


I realized that in the previous post, Spring High-rise, I was slightly ahead of the seasons. Perhaps it is wishful thinking. Even my falls trees post is prolonging  the season (or evading the reality), and winter is really not far off.

Here is another of the tree patterns and juxtapositions I found, a photo I took several years ago and which exhibited at a local gallery. The church's spirals are interlaced with the haphazard branches of the nearby tree, and with those ubiquitous electric wires. Just looking up provides a wealth of visions.

The photo above is of the Jarvis Street Baptist Church, which is located on Church Street in downtown Toronto. Adjacent to the church is the Toronto Baptist Seminary. Church Street boasts of a church in every corner, including Toronto's Anglican cathedral, the Cathedral Church of St. James, which culminates at the grandly named King Street.

These days, Church Street is better known for the "gay village" just a few streets up from the Jarvis Street Baptist Church. How far the mighty have fallen (although I would say that even a Baptist church in downtown Toronto is a sign of the times, removed from the Anglican tradition the original English brought with them). But I do see the church doors open on (some) Sundays, so it is functioning.

Directory of the Jarvis Street Baptist Church, Toronto, August 1897.
Toronto: Dudley & Burns, Printers, 1897.
[Scroll down the above directory link to see various views and plans of the church, although the earliest photos are in 1944). Here is a more current view].

Monday, November 1, 2010

Evolution of Design 7: Spring High-rise

Clockwise: a) Black and white photograph looking up at tree and high-rise,
b) Blockprint rendition, c) Series of blockprints on paper, d) Screenprint on dark cloth, e) Screenprint on light cloth


This project started with a series of photographs of surrounding high-rises and rooftops. As I looked up, I began to notice the electric wires. The wires became a secondary focus, somehow linking (perhaps through magnetic forces) the buildings with each other and with the sky. I went through the seasons taking pictures of trees:  fall's glittering leaves, winter's intricate yet bare branches, summer's lush foliage, and spring flowers. Electric wires wove through most of the photos.