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Here is the thing, herringbone floors float my boat like you would not believe. I am kinda drooling as I type. Wood, White, and Gold, scream sophistication to me.... Oh, and here's the other thing, I am going antiquing tomorrow to find some old gold candlesticks, (that Mr. Crumpet dropped off in '62) to have as my centerpiece for Thanksgiving. Of course the bones of an old building in Paris don't hurt either. Drooling I tell you... Via-Bright Bazaar |
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Iris Van Dongen Born 1975 Tilburg, Netherlands Lives and works in Rotterdam, Netherlands See more here |
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| If I had a place in Paris...It might look a little like this... Erin Featherston's Home in Paris |
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I try hard to not post pics that are everywhere in blogland, but I could not help myself when I read the latest issue of Lonny, as I gasped with delight when I got to the pages of Celerie Kemble's beautifully put together home. It made me fall completely in love with the old school color of TEAL. Her home is STUNNING... |
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"Portrait of Karola Neher" 1929 This is one of my favorite portrait paintings ever... The colors and outfit of this woman are so fantastic, it seems to me I may have met this woman today, somewhere, maybe at a flea market? Karola, was her name, and she stood out from the others, in her time, I am guessing. Karola Neher was a well-known actress in Germany during the inter-war period and played Polly Peachum in the 1931 film adaptation of the theatrical hit The Threepenny Opera by Kurt Weill and Berthold Brecht. Neher was also Brecht’s mistress for a time. A Communist sympathiser, Neher fled to Moscow with her second husband Anatol Becker in 1934. There they became victims of the Stalinist purges, Becker being executed by firing squad in 1937 while Neher was sentenced to ten years in a labour camp. She died of typhoid in a camp in 1942 aged 41. This magnificent portrait was presumed lost until 2007. |
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| "Margot" |
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| "Speedy Half Nude" |
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| Drunkards Rudolph Schlichter was a German artist closely associated with the New Objectivity movement. The Nazis deemed his depictions of the realities of social life in Berlin degenerate and his studio was destroyed. His work became surrealist after the war. |
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I can appreciate all kinds of installation art, but this is the kind that makes my mouth hang wide open for days...
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Leaves falling all around...Some parts of the country already seeing some snow! This is the best time for delicious smelling kitchens, warm fires, and baking galore...What makes you happiest about fall?
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In the late nineteenth century Munich Secessionist Albert von Keller (1844–1920) was a key exponent of a new, modern painting, which sought to link the aesthetic, the scientific, and the occult. Keller’s depictions of séances, mystical healing, and dancers in a state of ecstatic trance attracted attention in Europe and America with their cachet of strangeness, contempt for banality, and fascination for the human soul. The Frye Art Museum presents the first solo exhibition of Keller’s paintings in America with loans from the renowned collection of the Kunsthaus Zürich. A 100-page, full-color, illustrated catalogue with essays by the curators, Jo-Anne Birnie Danzker and Gian Casper Bott, will be available in the Museum Store.
Séance: Albert von Keller and the Occult is organized by the Frye Art Museum and curated by Jo-Anne Birnie Danzker and Gian Casper Bott. The exhibition is funded by the Frye Foundation with the generous support of Frye Art Museum members and donors. Public programs are supported by Humanities Washington. Seasonal support is provided by ArtsFund.
