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Lucien Freud, “Rabbit on a Chair”, 1944, Pencil and Crayon on Paper, 48 x 31 cm, Private Collection
Born in Berlin in December of 1922, Lucien Michael Freud was a British painter and draftsman. He was the son of British architect Ernst L. Freud and the grandson of the founder of psychoanalysis, Sigmund Freud. Lucien Freud’s “Rabbit on a Chair”, a pencil and crayon drawing executed in 1944, is one of his most refined and charming early works. It is a good example of his fascination with nature and his ability to express tone, texture, and shape.
Due to his upbringing and studies at London’s Central School of Art, Freud was probably familiar with Jean-Baptiste-Saméon Chardin’s finely executed watercolor and gouache depictions of rabbits or hares. and Albrecht Dürer’s 1502 “Young Hare”, widely produced in the early twentieth-century as a print. Dürer gradually animated his hare’s body by the use of a dry, small paintbrush to slowly build up the hair. Freud’s rabbit is executed with clean lines outlining the body of the animal and small pencil marks which move and curtl in the various directions of real fur.
Every fine detail of the rabbit, from its black whiskers and white tail to its mottled, golden-brown pelt, is a testament to Lucien Freud’s skilled draftsmanship. He used equal care in the execution of the rabbit’s resting place, a cane chair with its broken cane fronds and fallen shadows. Completed in two tones of mustard yellow and brown, the chair seat makes a geometrical and patterned backdrop for the rabbit. The seat’s vertical and horizontal lines fix the rabbit in place and draw the viewers’ eyes to the center of the picture plane. This use of background pattern also appears in Freud’s 1987 “Blonde Girl on a Bed”, in which the figure is depicted resting on a patterned bedspread.
Note: A short biography on the life and art of Lucien Freud, which included an image of his 1967-1968 “Two Men”, was published on this site in October of 2020.
Insert Image: Clifford Coffin, “Lucien Freud”, March 1947 Studio Shoot, Silver Gelatin Print, Vogue Online September 2019
Born in December of 1883 in Novara, Felice Casorati was an Italian artist known for his sculptures and paintings, which were rendered from unusual perspectives and often featured obscure symbols. He spent his formative years in the northeastern city of Padua where he developed an interest in literature and music. Casorati studied law at the University of Padua, graduating in 1906, and frequented the atelier ofpainter and sculptor Giovanni Viannello.
Casorati began painting in 1902; his earliest paintings were influenced by the symbolism of the Vienna Secession, a movement, closely related to Art Nouveau, which sought to unite all the disciplines of art into one movement. These early works of Casorati were exhibited at the 1907 Venice Biennale. Casorati’sadherence to symbolist ideals was reinforced after meeting and seeing the work of Austrian painter Gustav Klimt, one of the founders of the Vienna Secession, at the 1910 Vienna Biennale.
Felice Casorati spent the years between 1908 and 1911 in Naples, where he often visited the Museo di Capodimonte and viewed the work of Pieter Bruegel the Elder, the Dutch Renaissance painter whom he particularly admired. Casorati relocated to Verona in 1911, where, along with poet and engraver Umberto Zerbinati and painter and graphic artist Pino Tedeschi, he founded the periodical “La Via Lattea (The Milky Way)”, for which he executed several symbolist woodcuts. For a brief period between 1914 and 1915, he abandoned his secessionist style and made expressionist woodcuts in the manner of Tuscan artists, such as Lorenzo Viani and Moses Levy.
Casorati’s first solo exhibition of his symbolist-influenced work was at the 1915 Secession III show held in Rome. Before being drafted into the Italian Army in 1915, he also executed his first sculptures in varnished terra cotta, a medium also favored by his friend, the sculptor Arturo Martini. After the end of World War I, Casorati settled at Turin in 1918 and became a prominent figure in the intellectual and artistic circles, including the conservative Return to Order movement which called for the rejection of the avant-garde in favor of a more traditionalist approach.
In Turin, Felice Casorati established friendships with composer and pianist Alfredo Casella and with the anti-fascist, political activist Piero Gobetti, who founded in February of 1922 the weekly magazine “De Rivoluzione Liberale”. Casorati supported the magazine and Gobetti , in return, championed Casorati’s work in Marxist writer and journalist Antonio Gramsci’s weekly newspaper, the “Ordine Nuovo”. Due to his radical associations, Casorati was arrested with an anti-Fascist group by the authorities for a brief period in 1923 and, subsequently, avoided antagonizing the regime.
The work Casorati produced in the 1920s was radically different from his pre-war work, which he now considered to be immature. The figures in his new work were solidly constructed and set securely in spaces organized by linear perspective theories established in the Italian Renaissance period of the fifteenth-century. Casorati was alsoinfluenced by Italian painter Andrea Mantegna’s work with its dramatically foreshortened figures, and the work of painter Piero della Francesca, known for his mathematical treatises and geometrically-composed paintings.
In 1922, Felice Casorati painted what is considered his most famous work “Silvana Cenni”, a portrait inspired by the work of Piero della Francesca, which features a stern woman in a seated, symmetrical,frontal view positioned in front of an open window. This tempera work on canvas, composed of carefully rendered volumes, became an iconic portrait of the traditional and period art of Italy which is now known as Magical Realism.
Beginning in 1923, Casotati opened his atelier to young art students in Turin, many of who would form Torino’s Group of Six, and emerging artists such as self-taught artist and writer Quinto Martini. He was also the co-founder of the Antonio Fontanesi Fine Arts Society, which organized exhibitions of both nineteenth-century and contemporary Italian and foreign art. Casorati was appointed a Professor of Interior Design in 1928 at Turin’s Accademia Albertina, a post he held until appointed as its Chair of Painting in 1941.
Felice Casorati was commissioned by his patron, Turin industrialist Ricardo Gualino, to work with architect Alberto Sartoris on the Piccolo Teatro in Milan and other decorative works. Casorati also designed costumes and sets for Milan’s Teatro alla Scala and the Maggio Musicale, the annual arts festival in Florence. Once again working with Sartoris, hedesigned a building for part of the Piedmontese Pavilion at the 1927 International Biennale in the city of Monza. Casoratiexhibited his work widely throughout Italy and won the First Prize at the 1939 Venice Biennale.
The majority of Casorati’s later paintings were done in a softer palette witha more gentle perspective. He produced over one hundred-fifty prints in his lifetime, in which he experimented with a variety of techniques that incorporated slate, papyrus and terra cotta matrixes. The simplified mannequin-like figures, which featured in Casorati’s prints of the late 1920s, remained in his etchings, linocuts, and lithographs for the length of his career.
Felice Casorati passed away on March 1, 1963. Most of his important works are in Italian private and public collections, including Trieste’s Modern Art Revoltella Museum andRome’s National Gallery of Modern Art. Museums holding Casorati’s art in their collections include the British Museum, the Metropolitan Museum of Art in New York, and the Musrum of Fine Arts in Boston, among others.
Enrique Toribio, Red Series, Limited Edition Series, Model Unknown
Enrique Toribio is a Spanish photographer who currently lives and works in Madrid. He studied Design at Madrid’s School of Arts and Crafts and later earned a degree in Industrial Pattern Design. Since the mid-1980s, Toribio has been involved in couture costume design for theatrical productions of work byChekhov, Ibsen, and Tennessee Williams. He has also designed costumes for cabaret and dance productions, both Spanish and classical.
Beginning in 2003, Toribio has concentrated on his photography with an emphasis in figurative and portraiture work. Particularly interested in the aesthetic treatment of body and facial expressions and textures, he endeavors to recreate the appearance of mid-twentieth century photography with the use of digital technology.
Enrique Toribio has participated in several international photography exhibitions, including the Second Great LGBT Photo Show at Leslie & Lohman in New York City, and multiple exhibitions in Spain, including “ABRAZOS” at the Museum of Contemporary Art Conde Duque in Madrid. He has received recognition for his work at Argentina’s FotoRevista competitions in both 2017 and 2018, and received Third Prize at FotoRevista in February of 2018. Toribio’s work has also appeared in several digital photographic magazines and has been included in Joris Buiks’ 2011 phtotographic anthology “Turnon: Tattos”, published by Bruno Gmunder.
Born in March of 1830 in Beaune, Étienne-Jules Marey was a French scientist, physiologist, and chronophotographer. The results of his work were significant for the development of aviation, cardiology, laboratory photography, cinematography, and instruments for precise measurement.
Étienne-Jules Marey traveled to Paris in 1849 and enrolled at the Faculty of Medicine to study surgery and physiology. After qualifying as a doctor in 1859, he established a small Parisian laboratory in 1864 where he studied the circulation of blood in the human body. From these studies, Marey published the 1868 “Le Mouvement dans les Fonctions de la Vie”. This book discussed the importance of recording devices in biology, Marey’s graphic method, the origin of movement, muscle contractility and elasticity, artificial stimulations of movement, and descriptions of many medical recording devices.
Beginning in 1862, Marey perfected the first elements of his graph methodology, which studied movement using recording instruments and graphs. He succeeded in analyzing through diagrams the walk of man and a horse, and the flight of birds and insects. The published results of this work, the 1873 “La Machine Animals”, led Eadweard Muybridge and Leland Stanford to pursue their own photographic researches into animal movement.
Although Étienne-Jules Marey admired the results of Muybridge’s work done at the Palo Alto studio, he was dissatisfied with the lack of precision in Muybridge’s bird movement images. Inspired by previous photographic work done by astronomer Jules Janssen, Marey, in 1882, perfected the ‘photographic gun’ with a revolving cylinder containing photographic plates that was capable of taking twelve exposures in one second. Using this instrument, he was able to shoot multiple images of a subject quickly from different angles. Later in the same year, Muray invented the chronophotographic fixed-plate camera which was equipped with a timed shutter.
Unlike the motion studies of Eadweard Muybridge, who depicted movement as a series of discrete moments on separate, sequential negatives, Marey’s analyses of motion, captured by his chronophotographic camera, are characterized by multiple exposures on a single photographic glass plate. He made improvements to his invention in 1888 by replacing the glass plate with a long strip of sensitized paper. Marey’s first multiple-exposure “film” on paper, produced by moving the strip intermittently in the camera by an electromagnet at the speed of twenty images a second, was presented at the Academy des Science on October 29th in 1888.
Two years later, Étienne-Jules Marey replaced the paper strip with a transparent celluloid film ninety millimeters wide with a length of one meter or more. A pressure-plate immobilized the film; a spring restarted the film when the pressure was released. All following cameras produced were based on the principles first applied by Marey: the intermittent movement of a sensitive film behind an objective lensand the film’s static moments corresponding with the opening of the shutter.
Between 1890 and 1900, assisted by inventor and photographerGeorges Demenÿ, and later by photographers Lucien Bull and Pierre Nogues, Marey made a large number of motion analysis filmstrips of high aesthetic and technical quality. These filmstrips were subsequentlyprocessed and archived by the Cinématheque Francaise, the French non-profit film organization founded in 1936, and totaled over four- hundred original negatives, a collection which included the recording of a moving hand, self-portraits of Demenÿ and Marey, and the now-famous falling cat filmstrip, taken in 1894.
In 1894, Étienne-Jules Marey published his collective research work under the title “Le Mouvement”. Towards the end of his life, he returned to studying the movement of more abstract forms. Marey’slast great work was the observation and photography of smoke trails, partially funded by American astronomer and inventor Samuel Pierpont Langley under the auspices of the Smithsonian Institute. In 1901 Marey built a smoke machine with fifty-eight smoke trails; this machine became one of the first aerodynamic wind tunnels.
The founding father of technical cinematic photography, Étienne-Jules Marey died on May 15th of 1904 in Paris. His research was continued by his assistants Lucien Bull and Pierre Nogues at the Marey Institute, built at the request of the International Society of Physiology by Marey to house a commission for the control of graphic instruments dedicated to physiology.At this institute, Bull and Nogues made microscopic, X-Ray and high-speed analysis films.
Born in Granada, Spain, in February of 1887, Gabriel Morcillo Raya was a painter and teacher. His oeuvre is composed mainly of figurative works and landscapes influenced by Orientalism, a movement which was particularly influential in Spain, due to Spain’s exceedingly dense and complexrelations with Islamic culture.
Gabriel Raya initially studied painting under the tutorage of his aunt Paquita Raya. He later attended Granada’s School of Fine Arts, where he studied under landscape and genre painters Miguel Vico Hernández and José de Larrocha González. In 1907, Raya relocated in Madrid to continue his studies under Valencian painter and illustrator Cecilio Plá y Gallardo: however, due to financial reasons, he was impelled to return to his hometown of Granada. In 1910, Raya received a grant from the Granada Provincial Council which enabled him to travel back to Madrid for further studies.
Raya exhibited his work during his years in Madrid and earned in 1912 an honorable mention for the work he presented at National Exhibition of Fine Arts. In the same year, he was appointed director of the Residence of Painters of the Alhambra. Two years later, Raya returned to Granada and, in 1918, was awarded a scholarship to the Academy of Painting in Rome, which he did not accept. His work began to challenge the pictorial content of the time with its more concrete detail and use of movement and color.
In 1925, Gabriel Raya became an academician of the Royal Academy of Fine Arts of San Fernando, Granada’s Royal Academy of Fine Arts, and the Royal Academy of Fine Arts at San Telmo. He accepted the position as Professor of Decorative Painting and Natural Figure in 1927 at Granada’s School of Arts and Crafts, where he influenced several generations of local artists, among whom was the painter José Guerrero whose later workbecame known for its chromatic masses of color, and Miguel Pérez Aguilera, whose development of his own pictorial language played an important role in contemporary Spanish art.
Raya had his first exhibition of his orientalist works in 1944 in Granada and achieved great success at exhibitions held in Buenos Aires, New York City, and Venice, Italy. During the period from1955 to 1960,he traveled to Madrid to paint portraits of Francisco Franco and his wife, and Admiral Carrero Blanco and other members of Madrid’s high bourgeoisie. Raya received the Silver Medal of the Red Cross, a decoration for those people whose voluntary actions supported the Spanish Red Cross, and, in 1951, the Grand Cross of the Order of Alfonso X the Wise for merit in the field of culture.
Gabriel Morcillo Raya passed away in Granada in December of 1973, at the age of eighty-five. Several of his works, including the 1916 “Dwarf El Puerto Real”, can be seen in the collection of Granada’s Museum of Fine Arts.
Note: An interesting article on the orientalist movement is “Editorial: Spain and Orientalism” by Anna McSweeney and Claudia Hopkins which is located at Taylor & Francis Online:https://doi.org/10.1080/17561310.2017.1316039
Insert Images:
Gabriel Morcillo Raya, “Muchachos”, Initial Stucy, Date Unknown, Watercolor on Paper, 57 x 47 cm, Private Collection
Gabriel Morcillo Raya, “Self Portrait”, Date Unkonw, Oil on Canvas, Private Collection
i am wielder of chaos
bearer of cozy poison
hidden son of jupiter
gestated from his thigh
supple strapping boy
follow the crooked
steps of spontaneous
capering i will soothe
your terrified gaze
summon frantic defiant
nymphs to slake
your thumping skull
with tender anarchy
my fierce priestesses
in robes of moonlight
diaphanous cobweb
will sing lilting implacable
spells to wreck
planets in their courses
wine and feral milk spouting
from tap of hyssop branch
i will swaddle you
in mother night caress
you with snake tongue
drizzle silky
secret language
of the rapacious
in your ear nudge
succulent fissure
yearning for arc
of scalding bliss
sap of brief
delectable death
Christopher Soden, Dionysus
Born in Texas, Christopher Soden is a poet, playwright, and a critic of film, literature and theater. He attended the Vermont College of Fine Arts where he received in January of 2005 his Masters of Fine Art in Poetry. Soden has taught classes on the craft and theory of poetry, English literature, and the process of publication; he currently teaches literature in the Continuing Education Program at the Dallas College Richland Campus.
Soden’s first full-length poetry collection, “Closer” was published by Rebel Satori Press in June of 2011. While realizing that one can get only so close to another being, the works in this collection, written mostly in free verse, display the persistent sense of longing that one has for another. Soden’s collection of confessional narratives present an honest look at same-gender sexuality, maleness, loss and regret, and the complexity of the human condition.
Christopher Soden’s “Queer Anarchy”, a collection of short plays, monologues and performance pieces, dealt with gay and lesbian life in America; it received the Best Stage Performance award from The Dallas Voice, the first newspaper to represent Dallas’ LBGTQ community. Two of his plays, “Water” and “A Christmas Wish” were staged at Dallas’ Bishop Arts Theater Center. Other plays written by Soden include “All That Glitters Ain’t Goldie”, “Lizards Need Love Too”, and “Space Cowboy, Aunt Velma and the Macaroon”.
Soden received a Full Fellowship to Lambda Literary’s Retreat for Emerging LBGT Voices. He is a member of the Distinguished Poets of Dallas, the Poetry Society of America’s Poetry in Motion Series, and is a Founding Member and President Emeritus of the Dallas Poets Community. Soden’s poetry has appeared in many print and online magazines, including G&L Review and Chelsea Station; he currently writes for the Dallas Art Beat, the Examiner.com, and the online theater review, sharpcritic.com.
“I remember the first time I heard Sylvia Plath’s ‘Lady Lazarus’ in a writer’s workshop I was taking. Our teacher, Jack, read it aloud, and I was unacquainted with Plath and her poetry. Didn’t even know she was dead. As anyone who knows the poem can tell you, it gathers steam and just continues to escalate by way of rage and audacity. Plath just keeps pushing and pushing until you think she couldn’t possibly go any further, and yet she does. By the time Jack finished with those three lines, ‘Herr God, Herr Lucifer, Beware. Beware. / Out of the ash I rise with my red hair, / and I eat men, like air,’ I could feel deep shudders traveling up my back. My scalp was ablaze. Until that moment I didn’t even know such poetry was possible. That was when I knew I wanted to be a poet.”
Alojz Klimo was a Slovakian painter, graphic artist and sculptor who, along with Milan Dobeš and Miloš Urbásek, is considered to be the founding representative of geometrical and constructionist art in Slovakia.
Born in Pieštany in 1922, Klimo attended the Department of Drawing and Painting of the Slovak Technical University from 1941 to 1945, where he studied under Maximillán Schurmann and Gustav Mallý, both influential in the development of Slovakian modern painting. From 1945 to 1948, he studied under painters Jan Bauch and Antonin Pelc at Prague’s University of Applied Arts. Klimo returned to Slovakia in 1948 and settled in the city of Bratislava where he lived and worked until his death in October of 2000.
Alojz Klimo developed his expression of art gradually. Inspired by prewar European modernism, he was known for his expressive paintings by the end of the 1950s. The drawings and graphic work he produced in this period were influenced by the national and folk traditions of his native country. Fascinated by the progressive technology, architecture, and industrial landscape of the early 1960s, Klimo’s work moved progressively towards abstractionism.
By the end of the 1960s, Klimo’s work was characterized by symbols, signs, and pictograms which served as commentaries on both the positive and negative manifestations of contemporary civilization. The basic building blocks of his artistic language were triangles, squares, rectangles and circles portrayed in multiple variations to form a wide spectrum of motifs. His dynamic paintings with their vivid colors and simple compositionsillustrated the possibilities of a formalized geometrical style.
Alojz Klimo regularly used symbolic motifs of urban scenery in his work. The themes of streets, crossroads, and roofs of houses appear throughout his work, either as paintings on wood panels or graphics produced with linocuts. The image areas are divided into individual fields, designated by bold black lines. Klimo’s most significant and best known “Crossroads” series depicted fields created by accentuated diagonal lines; the fields of the “Windows” and “Roofs” series were formed by systems of rectangles and squares. Each segmented field in his work was depicted by specific colors of pure tones, a technique which was similar to that used by American artist Roy Lichtenstein.
Since 1945, Klimo was a member of an artist group called August 29, and later, in 1967,became a member of the Club of Concretists, an organization of geometrical abstract artists. . The Club of Concretists was banned in Czechoslovakia in 1970 during the period of political normalization, which was characterized by the loss of the reforms gained during the more liberal government of Alexander Dubček. For Alojz Klimo, it became difficult period in which to exhibit his works. As such, he devoted his time to illustrating books, particularly children’s books, and also creating monumental sculptures for architectural details.
During his lifetime, Alojz Klimo presented his work in twenty-five solo exhibitions in Slovakia and abroad. He also participated in more than two hundred collective exhibitions in Slovakia and other countries, including the Czech Republic, Austria, Italy, Sweden, Egypt, Mexico, and the United States. In both 1958 and 1960, Klimo represented Czechoslovakia at the Twenty-Ninth and Thirtieth Venice Biennales. In 1970, he exhibited his large, moveable sculpture, entitled “Colored Transformations” at the Czechoslovak Pavilion of the World Expo in Osaka, Japan.
Klimo’s works, which include paintings, wood cuts, graphic work, and sculptures, are represented in the galleries and private collections in Slovakia, Hungary, Czech Republic, Germany and Austria.
Image Insert: Alojz Klimo, Poster for Slovak Fund of Creative Arts, 1966, Serigraph on Paper, 28.5 x 20 cm, Private Collection
Herbert List was a classically educated artist who combined his fascination withSurrealism and Classicism with his love for photography. His austere, classically posed black and white compositions, particularly his Greek and Italian homoerotic nudes, became a prominent influence on both fashion and contemporary photography.
Born in Hamburg, Germany, in October of 1903 to a wealthy business family, Herbert Liststudied art and literature between 1921 and 1923 at the University of Heidelberg. In 1923, he began to travel for the family’s coffee business, Kaffee-Import Firma List & Heineken. List made contacts and visited plantations in Costa Rica, Guatemala, Brazil and El Salvador; during this four year period, he began to record his travels photographically.
Through his connections to the European avant-garde, List became associated withAmerican photographer Andreas Bernhard, known for his dynamic black and white city scenesand natural structures. Bernhardintroduced him to the Rolleiflex camera which allowed for more sophisticated compositions. Beginning in 1930, influenced by the Bauhaus artists andthe emerging surrealist movement, List began photographing still life and portraits of friends, often employing draped fabrics, masks, and double exposures.
Once the National Socialist Party was in control of Germany, the Gestapo began to pay attention to Herbert List’s openly gay lifestyle and Jewish heritage. In 1936, he left Germany for Paris and decided to begin a professional career as a photographer. During 1937 List maintained a studio in London and held his first solo show at Galerie du Chasseur d’Images, the first Paris gallery dedicated to photography.Starting in 1936 with a reference from fashion photographer George Hoyningen-Huene to Harper’s Bazaar magazine, List began a three year period working as a fashion photographer for various magazines, including Verve, Vogue, and Life.
Dissatisfiedwith fashion photography, List returned to his still life and portraiturework. He traveled throughout Greece from 1937 to 1939 where he took photographs of ancient temples, sculptures and landscapes; two hundred of these photographs would be published in his 1953 “Licht Über Hellas: Eine Symphonie in Bildern”. During this time, List supported himself with work for magazines and the press, and by doing portraiture work.
Working in Athens, Herbert List hoped to escape World War II; however, when troops invaded Greece, he was forced in 1941 to return to Germany, where, due to a grandparent’s Jewish heritage, he was denied the ability to work or publish professionally. Near the end of the war in 1944, despite his Jewish heritage, he was drafted into the German military and served in Norway as a map designer. A trip to Paris during his military service allowed him the opportunity to photograph images of Jean Cocteau, Pablo Picasso, Georges Braque, Jean Arp, Joan Miró, and other artists.
After the war, List continued to live in Munich until 1960, where he photographed its ruins and produced freelance photo essays for newspapers and magazines such as Look, Picture Post, Heute, and Harper’s Bazaar. List was made art editor in 1948 for the Swiss-German language, daily free newspaper Heute, which was published by the Allied Forces. In 1951 through an invitation by photojournalist Robert Capa, he started contributing photographs to Magnum, an international photographic cooperative.
Through the next decade Herbert List focused his interest on photographing life in Italy. where he shot photo essays, street scenes, architectural views, and portraits using a 35 mm camera and a telephoto lens. His work became more spontaneous and was influenced by the Italian neorealist film movement and the work of his Magnum colleague Henri Cartier-Bresson. List ’s travels for his photographic work was extensive, including trips to Spain, France, Mexico, and the Caribbean.
List’s publications include “Rom”, a collection of his work in Rome, published in Munich in 1950:“Caribia”, his Caribbean Island series published in 1958: “Nigeria”, published in 1963; and “Napoli”,a 1962collaboration with Italian director Vittorio de Sica. List is best known for his1988 book “Junge Männer”, a collection of seventy images of young men lounging in the sun, wrestling, or gazing at the camera. The introduction of the book was written by English novelist Stephen Spender, who fictionalized List as Joachim Lenz in his novel “The Temple”.
Herbert List passed away in Munich on the 4th of April in 1975. His archive of photographs, originally part of the Ratjen Collection, is now housed in the National Gallery in Washington DC. His work is held in many private and public collections, including New York’s Metropolitan Museum of Art, Boston’s Museum of Fine Art, Kunsthaus Zürich, Cologne’s Museum Ludwig, Munich;s Stadtmaueum, and the Musée Picasso in Paris.
Insert Images:
Herbert List, “Self Portrait, Herrsching”, 1947, Silver Gelatin Print
Herbert List, “Man and Dog”, 1939, Gelatin Silver Print
Photographer Unknown, “Herbert List and Max Scheler, Venice”, 1952, Silver Gelatin Print, Mas Scheler Estate
Herbert List, “Young Man Under Reed Roof, Torremolinos”, 1951, Gelatin Silver Print
Ane Brun and Fleshquartet, “The Opening”, “Wallander”, Season Three Closing Theme, 2012, Vocal Recorded by Conny Wall Gig Studio
Born Ane Kvien Brunwoll in March of 1976 in Molde, Norway,Ane Brun is a songwriter, guitarist, and a vocalist of Sami origin, the indigenous Finno-Ugric people inhabiting the northern parts of Finland, Norway, Sweden and the Kola Peninsula of northwest Russia.
The daughter of jazz singer and pianist Johanne Brunwoll and lawyer Knut Brunwoll, Ane Brun studied music and law at the University of Bergen, and, during that time, began writing her own music compositions and lyrics. After playing a few minor shows, she recorded her first demos in Bergen in 1999. After settling in Stockholm in 2001, Brun focused all her energies on her musical career.
Brun’s debut album, entitled “Spending Time with Morgan”, was recorded in 2002 in both Uppsala and Stockholm, Sweden. It was released in 2003 on the DetErMine label, a company founded by Brun and Ellekari Larsson, the pianist and vocalist of the Swedish band “The Tiny”. Following two years of European concert tours, Brun released her second album, entitled “Temporary Dive”, which was produced by Katherina Nuttall and released worldwide between 2005 and 2007. The album was well received with award nominations from all over Europe; and it was awarded the Spellemannpris, the Norwegian equivalent of the Grammies, for Best Female Artist.
Ane Brun released her album “Duets” in November of 2005. This album contained duet collaborations with, among others, Canadian singer Ron Sexsmith; French musician and composer Teitur Lassen; Syd Matters, the French band of composer Jonathan Morali; and a collaboration with the band Madrugada on the single “Lift Me”, which earned Brun another Spellemannpris award. As of 2020, Brun has released a total of nine albums, of which two are gold albums, one platinum album, and two albums, “Duets” and “It All Starts with One”, which became platinum twice.
Ane Brun continues to tour and has appeared inmultiple stage arrangements from solo acoustic to a full band with string section. She currently lives in Stockholm, Sweden, where she writes, records and manages her own recording label, Balloon Ranger Recordings.
“The Opening” is a haunting and fitting theme song for the main character in the Swedish television series, “Wallander”, which stars actor Krister Henriksson in the title role. Adapted from author Henning Mankeil’s Kurt Wallander novels. the three-season series is set in Ystad, Skåne, near the southern tip of Sweden, The thirty-two episodes follow the life and cases of Detective Wallander, a man with few close friends and tentative relationships with colleagues, who towards the end of his career suffers memory loss and gradually succumbs to Alzhheimer’s disease.
“The Opening is a song whose lyrics and melody were written by myself with the music and production handled by the Fleshquartet. I got the script for the very last Wallander film, and wrote these lyrics inspired by the main character. It’s about trying to move forward when you find yourself at a standstill. It’s an encouraging song about daring to take a step in any direction when you feel stuck. Sometimes it’s just a small step or a short conversation – or sometimes just a single word – that can set off the necessary process of change.”—Ane Brun
Jasper Johns, “0 Through 9”, 1960, Lithograph, 76.2 x 55.9 cm, Private Collection
Born in May of 1930 in Augusta, Georgia, Jasper Johns is an American painter, printmaker, and sculptor who is associated with Abstract Expressionism, Pop Art, and the Neo-Dada movement of the 1950s and 1960s. He is best known for his series of flags, targets, maps, letters and numbers. In 1954, after burning all his previous artwork, Johns started introducing numbers and text into his abstract paintings. Because he incorporated well-known motifs into his art, the work is defined as both abstraction for his use of stripes and circles, and representational for his use of targets and flags.
Jasper Johns spent his early years in South Carolina, an area he considered an artistic wasteland. After making the decision to become an artist, he studied for three semesters at the University of South Carolina; he later moved to New York City where he studied briefly at the Parsons School of Design in 1949. With the advent of the Korean War, Johns was stationed in Sendai, Japan, for a two year period from 1952 to 1953.
After his return to New York, Johns met artist Robert Rauschenberg in 1954 and soon began an intense, emotional relationship and artistic collaboration. Rauschenberg was an intense, spontaneous, energetic personality; while Johns was a more shy, intellectual personality with a slow deliberate style. This contrast led to private heated moments but also great creative accomplishments. In the 1950s, during the six years they were together, Johns and Rauschenberg produced many works which today are considered iconic masterpieces, such as Johns’ two series, “Flags” and “Targets”, and Rauschenberg’s “Combines” series.
In 1959, art dealer Leo Castelli met with Rauschenberg to discuss his upcoming gallery exhibition. This meeting led to Castelli’s discovery of Jasper Johns’ downstairs apartment with its trove of paintings from the “Flags” and “Targets” series. Castelli signed Johns immediately. In the years that followed, while Rauschenberg’s career waned and, for a time, faltered, Jasper Johns’ career thrived. His first solo exhibition in 1958, based on his series of American flags, sold out with four of the works being purchased by the Museum of Modern Art. By the beginning of the 1960s, Johns’ and Rauschenberg’s aesthetic, romantic, and professional conflicts led to the break in their relationship and a concentration on their individual careers.
Johns was introduced to lithography in 1960 through an invitation by Russian-American printmaker Tatyana Grosman to produce prints at her publishing company, Universal Limited Art Editions. Hesitant to work with what at that time was considered an antiquated medium, he was encouraged to proceed by friend and artist Larry Rivers. Since 1960, Jasper Johns has worked on developing various printmaking techniques to investigate and develop his existing compositions.
Johns’ first completed print was the 1960 “Target”; however, having been exploring numeric figures since 1955, his inaugural attempt at a printed series was based on the symmetrical and easily configured number zero. This initial lithograph series, entitled “0 Through 9”, consisted of the numbers 0 to 9 superimposed over each other to create numerous compositions. Although elements of all the numbers are visible, the individual numbers, removed from their original context, become difficult to distinguish.
This reduction of the combined numbers to a numeric motif places the attention of the viewer on the work’s pictorial composition and technique. It is the numeric motif to which Johns has returned most often, exploring it in paintings, drawings, print, and sculpture. He has produced more variations on it than any other subject matter.
Often regarded as one of the fathers of conceptual art, Jasper Johns received in 1960 the Vincent van Volkmer Prize, a highly endowed biennial art prize. In 1963, he and long-time friend, American avant-garde composer John Cage, founded New York City’s Foundation for Contemporary Arts. a non-profit foundation which offers financial support and recognition to performing and visual artists. Johns received the National Medal of Arts in 1990 and the Presidential Medal of Freedom in 2011.
Insert Images:
Fred W McDarrah, “Jasper Johns- Whitney Museum”, 1977, Gelatin Silver Print
Jasper Johns, “6”, Portfolio “0 t=-9”, 1963, Lithograph, Edition of 10, 52.1 x 40 cm, Private Collection
Rachel Rosenthal, “Robert Rauschenberg and Jasper Johns- Pearl Street, New York City”, 1954, Gelatin Silver Print, Rachel Rosenthal Trust
Driving the highway from Atlanta to Phoenix
means swapping one type of heat for another.
A bead of sweat rolls over my chest,
around my belly and evaporates
so quickly I forget I’m sweating.
Body chemistry changes like the color
of my skin: from yellow to sienna.
My sisiter says, it’s a dry heat.
At dusk, lightning storms over the mesas.
Violets and grays lie down together.
Mountains are the color of father’s hands,
layers of dark–then light.
People move west to die, retire in a life
of dust, trade the pollen of the south
for a thin coat of grit, the Arizona desert– promesas, promesas.
We stop on the outskirts of town
and think about being reborn.
When he places his mouth near my mouth
because he’s so obviously thirsty,
when he moves to the well
where my tongue spouts out
because we’re mostly made of water
two-thirds of me is certain: este infierno vale la pena.
Sjohnna McCray, I Do, 1972
Born on March 7, 1972 in Cincinnati, Ohio, Sjohnna McCray is an American author and poet. He earned a Bachelor of Science degree from Ohio University and his Master of Fine Art from the University of Virginia, where he was a recipient of the Henry Hoyns Fellowship. McCray also received his Master of Arts in English Education from the Teachers College at Columbia University.
Growing up in the diverse working-class neighborhoods of Cincinnati, McCray was raised by his mother and his father, a Vietnam War veteran. Influences on his work include contemporary poets James Wright and Sharon Olds; Lucille Clifton, a finalist twice for the Pulitzer Prize for Poetry; Robert Hass, Poet Laureate from 1995 to 1997; and Robert Hayden, the first African-American to serve as Consultant to Poetry to the Library of Congress, a post now known as Poet Laureate.
Sjohnna McCray’s poetry collection “Rapture”, a chronological poetic narrative published in 2016 by Graywolf Press, was selected by Poet Laureate of the United States, Tracy K. Smith, as the winner of the 2015 Walt Whitman Award of the Academy of American Poets. The poems in the latter half of the collection portray some of the intimate and middle-age aspects of gay life. McCray has also be honored with the Intro Journal Award from the Association of Writers and Writing Programs, Ohio University’s Emerson Poetry Prize, and a Pushcart Prize nomination.
McCray’s poetry is interwoven with family memories, history, and the issues of race and desire. In addition to his poetry, he has published essays on race, mental illness, and homosexuality in numerous journals. His poems and essays have appeared in Tin House Online, The Southern Review, The Tahoma Literary Review, StorySouth, The Columbia Daily Tribune, and Harpur Palate.
Sjohnna McCray has taught in Chicago, Phoenix, and New York City. He and his partner currently live in Savannah, Georgia, where he teaches in the English department of the Savannah State University.
“My partner and I have been together for seventeen years and in retrospect, before gay marriage was legal, our commitment was sealed when we decided to mover across the country- to the desert. The poem (“I Do”) attempts to address how external shifts in landscape can transform and reflect on what’s going on internally.”- Sjohnna McCray, 2021
Lee Friedlander, Photographs from the “The Little Screens” Series
Born in Aberdeen, Washington, in July of 1934, Lee Friedlander is an artist and photographer known for his innovative images depicting America’s city streets. His candid street photography captured the light and content in the country’s urban landscapes.
At the age of eighteen, Friedlander began his formal studies of photography at the Art Center College of Design in Pasadena, California. In 1956, he settled in New York City, where he photographed jazz musicians for record album covers. Friedlander’s early work was influenced by Swiss photographer and documentary film maker Robert Frank, best known for his 1958 book “The Americans”; Walker Evans, known for his Depression Era images taken with a large-format view camera; and the French pioneer of documentary photography Eugène Atget, known for his scenes of Paris’ streets and architecture.
Awarded a Guggenheim Fellowship in 1960, Lee Friedlander was able to focus on his photography, which is primarily executed with hand-held Leica 35 mm cameras and black and white film. Friedlander’s street photography featured detached images of ordinary urban life, including structures framed by fences, gas stations, parking lots, store fronts, churches and commercial signs and posters. In his work, he cleverly used reflections and shadows, often shooting images at strange angles or through car windshields. Friedlander has also used car mirrors to frame an image within an image.
Friedlander is constantly aware of the photographer’s relationship to the picture plane; and he places at least as much importance on it as on the image’s apparent subject which could be an empty street, a store window, or an unremarkable piece of town statuary. Friedlander’s photographs often contain his shadow and/or his reflection, a self-portrait which lends an odd edge to his observations.
Friedlander had his first solo exhibition in 1963 at the International Museum of Photography located at the George Eastman House in Rochester, New York. Along with photographers Diane Arbus and Garry Winogrand, he was a key figure at curator John Szarkowski’s 1967 “New Documents” exhibition at New York’s Museum of Modern Art, an influential exhibition which generated a new look in documentary photography.
Lee Friedlander has published books regularly: the 1969 “Work from the Same House”, a collaborative effort with artist Jim Dine; “Self-Portrait” published in 1970; the 1981 “Flowers and Trees”; the 1985 retrospective “Lee Friedlander: Portraits”; “Nudes” published in 1991; and the 1992 “The Jazz People of New Orleans”. Friedlander has received a number of awards for his photography, including three Guggenheim Fellowships, five National Endowment for the Arts Fellowships, and a MacArthur Foundation Award.
Friedlander is also responsible for rescuing and printing the negatives of early twentieth-century New Orleans photographer Ernest Joseph Bellocq, remembered for his haunting photographs taken in Storyville, New Orleans’ legalized red-light district. These photographs were published in the 1996 “Bellocq: Photographs from Storyville”, with an introduction by photographer Susan Sontag.
Note: In the early 1960s, Lee Friedlander’s attention was drawn to television sets, a relatively recent luxury appliance. His series “The Little Screens” first appeared as a 1963 picture essay in Harper’s Bazaar magazine, with a commentary by photographer Walker Evans. Six untitled photographs showed television screens broadcasting glowing images of faces and figures into unoccupied rooms in homes and motels across America.
Between 1963 and 1969, “The Little Screens” series grew and, in 2001, was exhibited in full at the Fraenkel Gallery in San Francisco. The series documented not only iconographic ghostly rooms filled with bland furnishings of the period; it also revealed an emerging future reality of omnipresent television screens, and droning television voices and personalities that filled space in an increasing isolationist culture.
Insert Images: Lee Friedlander, “Self Portraits”, 1960s, Gelatin Silver Prints
Born into a Viennese Hungarian-Jewish family in February of 1862, Károly Ferenczy was a teacher and a productive painter. He initially studied law and completed a degree at Vienna’s College of Economy. Encouraged by wife and painter, Olga Fialka, Ferenczy decided to explore painting and traveled to Italy. In 1887, he studied painting in Paris at the Académie Julain and began his painting career in Hungary, where he started painting in a naturalistic style, influenced by French painter Jules Bastien-Lepage. .
In 1893, Ferenczy took hisfamily to Munich, where he attended free classes given by the Hungarian painter Simon Hollósy, a leading proponent of Realism and the Naturalist Movement.Hollósy encouraged, among his students, an appreciation for the French painters and their techniques, particularly the practice of open air painting. Returning with his family to Hungary in 1896, Ferencsy joined fellow artists István Réti and János Thorma at Nagybánya, now called Baia Mare, a municipality on the Săsar River.
In 1896, Károly Ferenczy, along with Réti and Thorma, founded a summer retreat for artists at Nagybánya. This eventually developed into an artist colony which attracted many artists from Hungary interested in learning the open-air style taught by Simon Hollósy. Ferenczy has his first exhibition in Budapest in 1903, which began his career as an artist. Three years later, he accepted a teaching position at the Royal Hungarian Drawing School, now known as the Hungarian University of Fine Art. Ferenczy, however, remained strongly associated with the artist colony, where he would return in the summers to teach.
Considered the leader of Hungarian impressionism and post-impressionism, Ferenczy concentrated on mostly studio paintings, which consisted of a traditional array of genres, including nudes, urban scenes of circus performers, and still life paintings. In his later years, his work ranged from portraits to nudes and Biblical scenes. A highly productive artist in both lithography and painting, Károly Ferenczy died in March of 1917.
The Hungarian National Gallery in Budapest holds a collection of fifty-one paintings. The museum held a major retrospective of his work in November of 2011 which included nearly one hundred-fifty paintings, eighty prints and drawings, as well as photographs, letters, and catalogues related to his life and art. His work is held in other regional institutions, including the Frenczy Károly Museum, and in many private collections.
Insert Image: Károly ferenczy, “Self Portrait”, 1893, Oil on Canvas, 69 x 52 cm, Hungarian National Gallery
Photographers Unknown, Parts and Pieces Making a Whole: Set Thirteen
Sir- As a playgoer of forty years standing, may I say that I heartily agree with Peter Pinnell in his condemnation of ‘Entertaining Mr Sloane’. I myself was nauseated by this endless parade of mental and physical perversion. And to be told that such a disgusting piece of filth now passes for humor! Today’s young playwrights take it upon themselves to flaunt their contempt for ordinary decent people. I hope that the ordinary decent people of this country will shortly strike back! Yours truly, Edna Welthorpe (Mrs)
—John Kingsley Orton, Letter Sent for Publication under the Alias of Edna Welthorpe
Born in Leicester, England in January of 1933, John Kingsley Orton, known under the pen name of Joe Orton, was a working-class, gay playwright whose outrageous black comedies shocked, outraged, and amused theatre audiences in the 1960s.
After attending secretarial classes at Clark’s College in Leicester from 1945 to 1947, Joe Orton worked as a junior clerk for three pounds a week. He began performing in theater productions beginning in1949 and joined several groups, including the Leicester Dramatic Society. Orton was accepted for a scholarship at London’s Royal Academy of Dramatic Art in November of 1950; however, due to appendicitis, his entrance was delayed until May of 1951. It was at the Royal Academy that Orton met the seven-year older Kenneth Leith Halliwell, who also was a struggling actor and writer. After moving into a West Hampstead flat, they quickly formed a strong relationship and became lovers.
After graduation, Orton and Halliwell collaborated on writing several novels, which were unsuccessful atpublishing. Due to a lack of serious work, they began to amuse themselves with pranks and hoaxes. From January 1959 to May of 1962, Orton and Halliwell removed books from several local public libraries and began to modify the blurbs and cover art. One volume of poetry by writer and broadcaster John Betjeman was found with a new dust jacket featuring a photograph of a nearly naked, tattooed middle-aged man. Discovered by the authorities in May of 1962 and later found guilty of five counts of theft and malicious damage to seventy books, the two men served six months in prison. A collection of these altered book covers are now housed in the Islington Local History Center.
In 1959, Joe Orton wrote his only novel, which wasposthumously published as “Head to Toe”, and soon began to have success in his plays’ productions. His first play “Fred and Madge” was written in 1959; and “The Visitors” followed two years later. In 1963 the BBC purchased Orton’s radio play “The Ruffian on the Stair”, which was broadcast on August 31st of 1964 and, later in 1966, adapted as a stage play.
By the end of August, Orton had also completed his play “Entertaining Mr. Sloane”, which premiered on May 6th of 1964 to reviews which ranged from praise to outrage. Although it lost money on its short run, the play tied for first in the Variety Critics’ Poll for Best New Play, and Orton came second in the category for Most Promising Playwright. By 1965, “Entertaining Mr. Sloane” was being performed in Spain, Israel, Australia, and New York, as well as being adapted into both a film and television play.
Written between June and October of 1964, Joe Orton’s next play was “Loot”, a wild parody of detective fiction, which added the blackest farce and jabs at established ideas on death, the police, religion, and justice. It underwent sweeping rewrites before it was judged fit for the West End. “Loot” was first staged in London on September 27th of 1966 to rave reviews. In November the play moved to the Criterion Theater where it ran for three hundred forty-two performances, won several awards and firmly established Orton’s fame.
Orton, over the next ten months, revised his “The Ruffian on the Stair” and his “The Erpngham Camp” for the stage as a double play entitled “Crimes of Passion”. He alsowrote his television play “Funeral Games”, the screenplay entitled “Up Against It” for the Beatles music group, and his final full-length play “What the Butler Saw”, a play of seduction, blackmail, and cross-dressing, which came to the West End stage in 1969, eighteen months after Orton’s death.
On the 9th of August of 1967, John Kingsley Orton was bludgeoned to death by Kenneth Halliwell at their home in Islington, London, killed by nine hammer blows to the head. Halliwell then committed suicide with an overdose of Nembutal. Later evidence showed that Orton had earlier confided to a friend that he wanted to end his relationship with Halliwell; and it also showed that Halliwell had spoken to his psychiatrist three times on the day of the murder. Halliwell had felt increasingly threatened and isolated by Orton’s success, and had come to rely on barbiturates and antidepressants. The bodies, along with Halliwell’s suicide note, were found on the morning of August 10th by a chauffeur who had arrived to transport Orton for a meeting in London.
The body of Joe Orton was brought into the chapel of London’s Golders Green Crematorium to a recording of the Beatles’ song “A Day in the Life”. Playwright and director Harold Pinter read the eulogy. After Orton’s cremation, his ashes and Halliwell’s ashes were mixed together and scattered in a section of the Garden of Remembrance at Golders Green; no marking memorial stone is erected there. A statue of Joe Orton was later installed in the city of Leicester and, in 1987, a film adaption of John Lahr’s 1978 biography of Orton was released under the title “Prick Up Your Ears”.
Egyptian Arched Harp (Shoulder Harp), circa 1390-1295 BCE, Wood, Diagonal Length 82 cm, Soundbox Length 36 cm, Metropolitan Museum of Art, New York
The Eighteenth Dynasty of Egypt, spanning the period from 1550 to 1292 BCE,is classified as the first dynasty of the New Kingdom, which was the era when ancient Egypt reached the peak of its power. This dynasty included the reigns of pharaohs such as Tutankhamun who ruled Egypt at a young age; Hatshepsut, the longest reigning woman pharaoh of an indigenous dynasty; and Akhenaten, the heretic pharaoh, who ruled withhis principle wife Nefertiti. Unique among the Egyptian dynasties, the Eighteenth Dynasty had two women who ruled as sole pharaoh: Hatshepsut, who ruled from 1470 to 1458 BCE, and Neferneferuaten, usually identified as Nefertiti, whose short reign extended from 1334 to 1332 BCE.
Arched harps were already in use during the Old Kingdom and remained the foremost string instruments until the end of the Middle Kingdom. From the New Kingdom onward, Egyptian arched harps co-existed with a great variety of harps in different shapes and sizes. During the later part of the New Kingdom, musicians experimented with new forms which could accommodate morestrings, eventually progressing from the arched bow harp with four or five strings to the classic full-sized arched harp with a leather soundboard and twenty-two strings.
The smaller, more portable ancient Egyptian bowed shoulder harp became briefly more popular from about the reign of Tuthmosis III, who ruled from 1479 to 1425 BCE. The arched shoulder harp with the curved neck, preserved in New York’s Metropolitan Museum of Art’s collection, is dated from 1390 to 1295 BCE. This harp has twelve strings and an open, slightly waisted sound box, whose opening was once covered with skin. Rope tuning rings under each string gave a buzzing sound to the soft-sounding tone produced. Topping the arched frame of the harp is a carved head of a Nubian captive who appears to be bound by the strings of the harp.
This type of portable, boat-shaped arched harp was a favorite during the New Kingdom and is shown in the hands of processional female musicians performing alone or in ensembles with singers, wind instruments, rattles, and sistrums, small rattling percussion instruments made of brass or bronze. Prior to the Middle Kingdom, depictions of harpists feature men as the chief musicians. Harps and other instruments were used for praise singing and entertainment at festivals, temple rituals, court functions, funerals, and military events. Today, arched harps derived from these ancient Egyptian forms are still used in parts of Africa and Asia
a dry, small paintbrush to slowly build up the hair. Freud’s rabbit is executed with clean lines outlining the body of the animal and small pencil marks which move and curtl in the various directions of real fur.
