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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: art

Small Obsessions

09 Saturday Jan 2016

Posted by kittycalash in Uncategorized

≈ 6 Comments

Tags

18th century, 19th century clothing, art, art history, interpretation, living history, miniatures, paint boxes, paintings, Rhode Island, Rhode Island history, women's work

IMG_5625Some of you may recall that I am a recovering artist with a fairly constant need to keep my hands busy. To encourage industry and the domestic arts, and to keep me out of trouble generally, a thoughtful friend provided me with a start to furnishing an early nineteenth century-style paint box. They’re hard to come by, these paint boxes, and extant examples fetch far more than we can afford chez Calash, being in somewhat reduced circumstances of late.

Thomas Reeves & Son Artists watercolor paint box c. 1784 to 1794. Whimsie Virtual Museum of Watercolor Materials

Thomas Reeves & Son
Artists watercolor paint box c. 1784 to 1794. Whimsie Virtual Museum of Watercolor Materials

Researching paint boxes and miniature painting in the early Federal era has been a happy fall down a deep rabbit hole. It’s clear that Reeves watercolors were being sold in Providence in the early 19th century; Peter Grinnell & Sons include “Reeves watercolor boxes” among the extensive list of items for sale in an 1809 newspaper ad. Frames and cases were also to be had; John Jenckes, gold and silver-smith and jeweler, advertised gold miniature cases in 1800.

Distraction is always easy to come by, tunnels leading from main entrance to the warren. Painting manuals, scholarly articles, and extant examples, which prove most distracting of all. SO shiny.

George Catlin Artist: John Wood Dodge (1807–1893) Date: 1835 Medium: Watercolor on ivory Dimensions: 2 3/16 x 1 13/16 in. (5.6 x 4.6 cm) Classification: Paintings Credit Line: Rogers Fund, 1926 Accession Number: 26.47

George Catlin byJohn Wood Dodge, 1835, MMA 26.47

Searching the Met’s collection, I found a portrait of George Catlin, remarkably similar in pose to an image of a friend I considered copying, but had thought too modern. My assumption has been proved wrong, and I am delighted. And then I found the HIDEOUS checked neck wear, always distracting. Historic New England provided super-tiny-bowtie man, and then I really had to focus, since I’m only enabling, not making, neck wear.

My real focus, of course, is on female miniaturists, especially in Rhode Island (gallery of RI miniatures can be found here.) From the scant number of women I’ve found advertising in the local papers, (okay, two: Miss Mary R. Smith, in 1820, and Mrs Partridge in 1829) I’ll have to expand my search geographically. Nantucket Historical Association had an image attributed to Anna Swain, and ten attributed to Sally Gardner.

Eye

The Met, repository of so many wonders, has works by six women miniaturists, including Sarah “Wowza” Goodridge and Anna Claypoole Peale. For all we know, some of the works by unidentified makers might be the work of female painters. The extant miniatures in all collections, range in quality from excellent to amateur, giving hope to those of us unpracticed in portraiture, and regaining our hand.

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The Real Thing

31 Monday Aug 2015

Posted by kittycalash in Art Rant, personal, Philosophy

≈ 9 Comments

Tags

art, art history, authenticity, interpretation, Jacob Lawrence, Meret Oppenheim

Talking with a friend about authenticity and realness, I remembered the moment when I really understood the power of the real thing.¹

Meret Oppenheim Object Paris, 1936 Museum of Modern Art, NY. 130.1946.a-c

Meret Oppenheim
Object
Paris, 1936
Museum of Modern Art, NY. 130.1946.a-c

Longer ago than I care to admit, I went to MoMA with my dad, and saw, up as close as you could get to a glass case, Meret Oppenheim’s fur lined tea cup, Object, or Luncheon in Fur. 

I’d seen slides, and illustrations in books, but only when I saw the object did I really understand what it was about. Unfortunately, even having seen Duchamp’s “Bride Stripped Bare” in person, I still don’t get that piece. Such is life.

So what is it about the fur-lined tea cup in person that makes it so different? What is it about Jacob Lawrence’s Migration series that makes it different? Or Pollock, for that matter? Why is the real thing so ineluctable?

 JACOB LAWRENCE (1917–2000) The Migration of the Negro, Panel no. 1, 1940-1941. The Phillips Collection, Acquired 1942 © The Estate of Gwendolyn Knight Lawrence / Artists Rights Society (ARS), New York.


JACOB LAWRENCE (1917–2000)
The Migration of the Negro, Panel no. 1, 1940-1941. The Phillips Collection, Acquired 1942 © The Estate of Gwendolyn Knight Lawrence / Artists Rights Society (ARS), New York.

I don’t know, really; what I do know is that it matters. I’ve held a transparency of The Migration of the Negro, Panel no. 1, in my hand before, and it’s not as good as seeing the marks Lawrence put down in gouache. I’ve held a Robert Capa print in my hand, marked on the back with publication notes from the 1940s and it still gives me goosebumps to think of it, to think of him in the water off Normandy on D-Day. Existential ambiguity of the wrecked emulsion be damned: those images, held in your hand, are more moving than you can imagine from seeing them published in Life or any monograph.

FRANCE. Normandy. June 6th, 1944. US troops assault Omaha Beach during the D-Day landings.

FRANCE. Normandy. June 6th, 1944. US troops assault Omaha Beach during the D-Day landings.BOB194404CW00003/ICP586(PAR121451)© Robert Capa © International Center of Photography/Magnum Photos

I’ve had people say to me recently that “it doesn’t matter,” that no body will know if they’re wearing 1774-1783 clothes at a 1790 event, and I disagree strongly and thoroughly. It does matter. The mattering is the whole reason museums exist. It’s why we go to see our favorite music performed instead of sitting home with Victrola or iPod listening to the crackle of Bessie Smith² or album-produced Billy Bragg. Listening at home puts us at a remove, polishes the roughness and steps back from immediacy.

To say that the image in the book or the not-really-right clothes are the same at the real thing does a disservice to ourselves and to the public. Are we really suggesting that audiences for art or history are that stupid? Or that we are so unmoved ourselves that it just doesn’t matter?

I’m too old for nihilism. Bring on the real. Let’s get it right, because it does matter. I know when it’s real, and so do you.

 

______________

¹Sadly, this goes through my head with the phrase “the real thing.” Curse you, Douglas Coupland, for capturing my generation’s fixation on pop references.
²Yes, I know she’s dead, go with me here.

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Frivolous Friday: A-Spalling Behaviour

08 Friday May 2015

Posted by kittycalash in Fail, Frivolous Friday, personal, Snark

≈ 6 Comments

Tags

19th century clothing, art, Clothing, common dress, Costume, fashion, movies, Mr. Turner, Museums, snark, some snark, style

Mr. Turner, out now on iTunes and elsewhere, won’t be for everyone: M’damsel isn’t treated very well– artists are, you know, often narcissistic, driven users– but the landscapes thrill.

We talk sometimes about going to the antique store in historical clothing and asking why our chattel is for sale. I toy with similar naughty thoughts about visiting historic house and other museums, but Mr Turner inspires a dream of a simpler pleasure: dressing in period clothes to visit a period gallery.

Classic Mr Turner in the salon

Possibly my companion would grunt as Turner does, but we might also unnerve guards by pointing walking sticks at salon-hung still lifes or reacting with disgust at the sight of an Impressionist work. (Might as well take it all the way.)

Everybody’s a critic

No takers yet for this diversion, which is just as well. I expect it would be a quick way to meet security and police staff if you didn’t coordinate with the museum/gallery in advance. Still: what a stunt. Someday I’ll pull it off.

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Getting Cultured

25 Saturday Apr 2015

Posted by kittycalash in Art Rant, Museums, personal

≈ 1 Comment

Tags

art, art history, Hudson River Valley, interpretation, New York, personal, Storm King, Travel, vacation

Mark di Suvero at Storm King

Mark di Suvero at Storm King

Cats don’t like travel. You might, therefore, expect that Kitty Calash would prefer to stay home, but I’ve had a few travel adventures, and the hardest part is usually finding decent and strong coffee early in the morning, though sometimes dinner is a challenge: like my cats, I like my own bowl.

Happily, we’ll be cooking our meals for real tomorrow, boiling roots and meat and slabbing cheese on bread. Thank goodness for the 10th Massachusetts’s own John Buss and his love of cheese, but why did I forget the Massachusetts man who carried a pound of chocolate in his militia knapsack? We could have had drinking chocolate!

We’ll be at the New Windsor Cantonment tomorrow, but today, the last blustery snow-squally day of April School Vacation, we spent at Storm King.* The Young Mr enjoyed our visit last year, so we went back again.

 

Fun with framing

Fun with framing

This year, we did another quarter or so of the park, mostly di Suveros but also Magdalena Abakanowicz and Andy Goldsworthy. It was an interesting exercise in scale, and specificity. I used to joke that the worst part about making sculpture was that once it was done, you’d have to dust it forever, but Storm King presents another issue: the sculpture that must be weeded.

In St. Louis, we experienced Mark di Suvero pieces at Laumeier Sculpture Park , but not on this scale. They’re more interesting together; as with so many things, mass makes a difference—though with di Suvero, acres of ‘gallery’ are required for mass.

Goldsworthy at Storm King

Goldsworthy at Storm King

Goldsworthy has long been a favorite, the site-specific and temporal nature of the work appealing and similar to the kind of immersive, living history performance I prefer. Here, the wall wraps the trees and runs through the lake like a low, grey and solid version of Running Fence .

It’s a funny thing, walking the acres of art, and thinking about the kind of parkland gentlemen used to maintain—Pemberley and Stately Homes—and how yesterday’s folly is today’s site-specific sculpture.

Mozart's Birthday: another di Suvero, with snow. Snow!

Mozart’s Birthday: another di Suvero, with snow. Snow!

*Not for nothin’ is it called Storm King, as they would say in No’t Providence.

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Smells Like Money: Must be Auction Season

30 Monday Mar 2015

Posted by kittycalash in Art Rant, Collecting, Snark

≈ 3 Comments

Tags

art, auctions, birds, dogs, ducks, material culture, porcelain, snark, Snarky Duck, some snark, Sotheby's, tureen

There’s nothing like a little frivolity to lighten your day when you’ve been pondering some really serious and stomach-churning topics. Hail, then, the arrival of the Sotheby’s catalog and the momentary dropping of all material culture pretenses.

This time, it’s Private Collections.  You say Private Collections, I say Disturbing and Hyper-Overpriced Gift Shop. But what does Snarky Duck say?

A Continental creamware duck tureen and cover.  Duck ways, no more hot soup, please.

A Continental creamware duck tureen and cover. Duck says, No soup for you.

Poor Strangled Parrot: I don’t think he can say much.

A Holitsch parrot-form jug and cover ca. 1760.

A Holitsch parrot-form jug and cover ca. 1760.

And these guys, described as playful dogs, look more like dyspeptic pugs to me.

A pair of Hochst fayence figures of seated pugs ca 1770.

A pair of Hochst fayence figures of seated pugs ca 1770.

It is amazing what people will make and buy (which delights me), and I’m certain that things I own would astonish and appall someone with different taste. But animal effigies always intrigue me, and (aside from Snarky Duck, our 19th century friend) figures like these could have graced the mantels and tables of the finest homes of the 19th century. It would have been a crowded and raucous world.

Here’s the whole catalog, should you care for some ormolu chairs or Aubusson drapes (which I did not know existed until today).

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