Giuseppe Cesari

Giuseppe Cesari, Cavaliere d’Armino, “Battle Between the Horatii and the Curiatii”, 1612-13, Oil on Canvas

Giuseppi Cesari was an Italian Mannerist painter who was much patronized in Rome by the Popes Clement and Sixtus V. He was the head of the studio in which Caravaggio trained upon the young painter’s arrival in Rome.

The image of the painting is taken from a story of the Roman king Tullus Hostillus’ war with the city of Alba Longa. It was agreed by Hostillus and the King of Alba Longa that rather than fighting a costly war between their armies, the conflict would be settled by a fight to the death between six warriors: the Horatii, three Romah triplets, and the three triplets from Alba Longa, known as the Curiatii. Two of the Roman warriors were killed; but the third warrior, after exhausting his three opponents, slew them and took their armour.

Reblogged with many thanks to a great art blog: http://hadrian6.tumblr.com

Calendar: March 20

A Year: Day to Day Men: 20th of March

Hot Water with Bubbles

On March 20, 1852, Harriet Beecher Stowe’s “Uncle Tom’s Cabin; or, Life Among the Lowly” is published as a book.

Harriet Beecher Stowe was a Connecticut-born teacher at the Hartford Female Seminary and an active abolitionist. Her book featured the character of Uncle Tom, a long-suffering black slave around whom the stories of other characters revolve. Stowe was inspired to write this anti-slavery book by the narrative story of Josiah Henson, a formerly enslaved black man who escaped slavery in Maryland by fleeing to Ontario, Canada. There he helped other fugitive slaves settle and become self-sufficient; and there he wrote his memoirs. In 1853 Stowe acknowledged that Henson’s writings inspired “Uncle Tom’s Cabin”.

Because of the story’s popularity when it appeared as a serial in ‘The National Era”, an abolitionist periodical, the publisher John P. Jewett contacted Stowe about turning the serial into a book. Published in book form on March 20, 1852, the novel sold 3000 copies on that day alone, and sold out its complete print run. A number of other editions were soon printed including a deluxe edition in 1853 with illustrations by the artist Hammatt Billings. In the first year of publication, 300,000 copies of “Uncle Tom’s Cabin” were sold.

The book was translated into all major languages, and in the United States it became the second best-selling book after the Bible. A number of the early editions carried an introduction by Reverend James Sherman, a Congregational minister in London noted for his abolitionist views. “Uncle Tom’s Cabin” sold equally well in Britain, with the first London edition appearing in May 1852 and selling 200,000 copies. In a few years over 1.5 million copies of the book were in circulation in Britain.

In recent years, the negative associations with “Uncle Tom’s Cabin” have, to an extent, overshadowed the historical impact of the book as a vital anti-slavery tool. “Uncle Tom’s Cabin”, the first widely-read political novel in the United States, was dominated by a single theme: the evil and immorality of slavery. While Stowe weaves other sub-themes throughout her text, such as the moral authority of motherhood and the redeeming possibilities offered by Christianity, she emphasizes the connections between these and the horrors of slavery.

In 1853, Stowe went further in her fight against slavery by publishing “A Key to Uncle Tom’s Cabin” in which she criticized how the legal system supported slavery and licensed owners’ mistreatment of slaves. Thus, she put more than slavery on trial; she put the law on trial. This continued an important theme of “Uncle Tom’s Cabin”- that the shadow of law brooded over the institution of slavery and allowed owners to mistreat slaves and then avoid punishment for their mistreatment.

Danny Galieote

Six Paintings by Danny Galieote

Galieote’s unique style takes cues from the drama and technical prowess of Italian Renaissance masters and the New-World optimism of American painters like Paul Cadmus, George Bellows, Thomas Hart Benton and Grant Wood – wrapping it all up with a sinister twist of Rockwellesque humor. His work, though frequently featuring fashion and scenes from by-gone eras, does not concern itself with nostalgia; but rather with the pursuit of the universal, timeless theme of human nature. His paintings draw on elements all along this spectrum – suffusing them with an atmosphere at once dark and yet strangely sweet.

Woody Blackwell

Woody Blackwell, Fish Sculptures and the Art of Flint Knapping

Woody Blackwell is an artist with degrees in Art and Biology.

“My sculptures are made from recycled and reclaimed materials as much as possible.  Materials include galvanized sheet steel, antique advertising tins, bottle caps, paint, and wood.  And nails — lots of nails.  Each piece balances anatomical accuracy against stylized interpretation.  Many pieces are meant to look aged, as though they were made 100 years ago by an observant fisherman with an artistic eye who worked with whatever items he had at hand.

My goal is to use non-traditional materials to replicate the beauty of fish and whales (and occasionally birds and animals).  The use of a wide range of mixed media frees me to explore materials, textures, patterns, color, and juxtapositions, as well as the aesthetic of wabi sabi and the process of entropy.”- Woody Blackwell

Calendar: March 19

A Year: Day to Day Men: 19th of March

White Anchors on Black

March 19, 1928 was the birthdate of Patrick Joseph McGoohan, an American-born Irish actor, writer and director.

In 1959, ITC Entertainment production executive Lew Grade approached Patrick McGoohan about a television series in which he would play a spy named John Drake. Having learned from bad contract experiences in the past, McGoohan insisted on several conditions in the contract before agreeing to appear in the program: all the fistfights should be different, the character would always use his brain before using a gun, and, much to the horror of the executives, no kissing. The series debuted in 1960 as “Danger Man”, a half-hour program geared toward an American audience. Production lasted a year and 39 episodes.

Patrick McGoohan was one of several actors considered for the role of James Bond in the movie “Doctor No” and later for the James Bond role in “Live and Let Die”, but turned both of them down. After he had also turned down the role of Simon Templar in “The Saint”, Lew Grade asked him if he would like to give John Drake another try. The show was resurrected in 1964 as a one-hour program, now known by the name “Secret Agent”. The scripts now allowed McGoohan more range in his acting. The popularity of the series led to McGoohan becoming the highest-paid actor in the UK, and the show lasted almost three more years.

Knowing of McGoohan’s intentions of leaving “Secret Agent”, Grade asked if he would at least work on something for him. McGoohan gave him a run-down of what would later be called a miniseries, about a secret agent who resigns suddenly and wakes up to find himself in a prison disguised as a holiday resort. Grade asked for a budget, McGoohan had one ready, and they made a deal over a handshake early on a Saturday morning to produce “The Prisoner”. Apart from being the star of “The Prisoner” in his role as Number Six, McGoohan was the executive producer, forming Everyman Films with series producer David Tomblin, and also wrote and directed several episodes, in some cases using pseudonyms.

Patrick McGoohan appeared in many films and television series: “Ice Station Zebra” in 1968, “Silver Streak” in 1976, “The Man in the Iron Mask” in 1977, “Escape from Alcatraz” in 1979, and received two Emmy Awards for his performances on the show “Columbo”. His last film role was as the voice of Billy Bones in the animated film, “Treasure Planet”, released in 2002. That same year, he received the Prometheus Hall of Fame Award for his show “The Prisoner”.

Martin Zalba

Photography by Martin Zalba

Both a classical music composer and a renowned photographer, Spanish artist Martin Zalba Ibanez merges his experience in these mediums to create stunning photographs that depict breathtaking views and yet so much more. The influence of music drives his compositions, as he strives for harmony of colour, rhythm of perspective, melody of framing, orchestration of processing, and the counterpoints of shadow and light. His work shows us magical vistas, seeking continuously for the soul of light, the sound of shadows, the majesty of colours.

Yang Yongliang

Digital Photographic Artwork of Yang Yongliang

Yang Yongliang, a young artist from China, combines traditional Chinese Shan Shui (literally, mountain water) art with digital techniques to create “ghost landscapes,” which offer a dreamy techno vision of man and his environment. While the videos and pictures have a striking sense of harmony, they are also somehow unsettling. Industrial images, pollution, and waste have replaced the traditional country idyll.

“The city is the place where I live, a space that evolves with me and which contains my memories. A mirage or ghost-city is the environment towards which I reach out, but it only exists in my imagination. The water of the mountain (the landscape) suggests the imitation of the traditional art forms of my childhood, which have gradually disappeared as the city and I have evolved.

The birth of the Ghost Landscape is not an accident. The city, the landscape – I love them and hate them at the same time. If I love the city for its familiarity, I hate it even more for the staggering speed at which it grows and engulfs the environment. If I like traditional Chinese art for its depth and inclusiveness, I hate its retrogressive attitude. The ancients expressed their sentiments and appreciation of nature through landscape painting. As for me, I use my own landscape to criticize reality as I perceive it.”- Yang Yongliang