Beacon

O grace abounding, whereby I presumed
. .So deep the eternal light to search and sound
. .That my whole vision was therein consumed!

In that abyss I saw how love held bound
. .Into one volume all the leaves whose flight
. .Is scattered through the universe around;

How substance, accident, and mode unite
. .Fused, so to speak, together, in such wise
. .That this I tell of is one simple light.

Yea, of this complex I believe mine eyes
. .Beheld the universal form – in me,
. .Even as I speak, I feel such joy arise.

– Dante Alighieri, il Paradiso, Canto XXXIII

Wash sketches of me by Eleni Papageorge, created at Spring Studio:

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Heaven and Hard Times

So it looks like this summer is going to be worse than last summer, and I didn’t think that was possible. Last summer sucked majorly for a couple of reasons; painful breakup with the boyfriend which still hurts over a year later, slow art modeling, and no vacation. This summer adds a new element of tension and troubles in the form of intra-family strife that only seems to get worse by the day. Isn’t that fantastic? The hits just keep on comin’. Ugh.

Coping mechanisms? Same as always. Hunker down among the good. Jettison the bad. Cling for dear life to that which gratifies and gladdens and edifies. Oh yeah, and blogging. Keep blogging :-) Art and music are two of the best pathways to salvation, I think we can all agree on that. And I’ve got one of each to offer today. A striking linocut print of yours truly by the wonderful Christian Johnson, followed by music for Music Monday. Gospel is a dependable source of solace for me as most of you know. The track is “I’m So Glad (Trouble Don’t Last Always)” by Sam Cooke and the Soul Stirrers.

A belated Happy Father’s Day to my dad readers. Hope you had a great day! I’ll see you all very soon, friends. And Christian … thank you :-)

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Spero Meliora

Discontent is a peculiar thing. You think you can pinpoint its source but you can never really identify it with absolute certainty, no matter how much you turn yourself into knots. Where is it coming from? you ask yourself. My nonexistent romantic life is the problem. That must be it. That’s not it? Then it’s my dwindling bank account. That must be it. You seek to expose the pesky germ that is rousing your troubles. Because if you can just identify it then you can crush it, and everything will return to normal. Or so you believe.

Two nudes in studio, Jan Sluyters:

Sluyters-two-nudes-in-studio

I could, for example, point the finger squarely at the business aspect of art modeling and some of the untrustworthy and/or two-faced people who, through their egos and passive aggressive behaviors, make this field far more complicated than it need be. This isn’t brain surgery after all. I could also wonder if I should accept that a callow 20-something millennial has been placed in charge of bookings at a school upon which I depend for my income. And I could further wonder if it’s appropriate for said millennial to say to me, a 40-something model with years of hard work and experience at that school under my belt, that the reason she neglected to call me for work was because, in her exact words – “I don’t who you are, sorry”. Is that rude and hurtful? You bet it is. And I wonder how my journey through art modeling, to which I have devoted body, heart, and soul, has devolved into one insensitive, disrespectful and dismissive remark from the mouth of an art school-coddled child.

Model Sitting, Edward Hopper:

Hopper-model-sitting

On the other hand I could point the finger squarely at myself and wonder – in a wrenching exercise of humility – if I have, to some degree, worn out my welcome. In some circles that is, not all. Certainly not at Spring Studio, which is an exception in so many ways. Or I could wonder if I’ve lost the ability to let personal slights simply roll off my back, a skill I used to think I was pretty good at. Are my own insecurities and need for validation distorting my perceptions? Maybe. I don’t know. I wonder if I, as a 45 year old woman in New York City, am due once again for a “bob and weave” in life. Changing and adapting is the crucial key to survival as we all know. If you can’t bob and weave, you better learn.

The Model, Ilya Repin:

Repin-the-model-1895

While my love of art and art modeling is intact, my disillusionment with the art community and some of its players has grown exponentially over the past year. But that’s my problem, nobody else’s. Nor can I say for sure that the frustrations of the art modeling business are to blame for the way I’m feeling now. The seeds of discontent are nebulous. They refuse to show their faces and announce themselves. We are dodging an unseen adversary. Well, maybe not an adversary. Maybe – just maybe – the rumblings of discontent are not adversarial at all, but a signaling force agitating with good intention. Maybe it is the spirit of growth trying to tell you something.

Raphael and the Body Electric

A few days ago I received an email from Sedef Piker, an art history and travel blogger, in which she generously invited me to take part in an online tribute the life and work of  Hasan Niyazi - a fellow art historian and blogger who left us far, far too soon. The “Day for Hasan” would coincide with the birthday of Raphael and consist of original blog postings written for the occasion. Honored that I was even asked to participate, I contemplated what my contribution should be and decided that I would respectfully leave the art historical discourses to the experts and the intimate recollections to those of course who knew Hasan personally. What I can offer instead is the point of view of an artist’s model toward the Renaissance master who so inspired Hasan’s passion.

My world is infused with figure drawing. Yes I have sat for countless portraits and oil paintings. But my years as a professional artist’s model have made clear one incontrovertible truth about the creation of art: drawing is the most vital and essential skill an artist can master. For it is from drawing the human form that all timeless art flows. Raphael’s magnificent paintings and frescoes exist because he was, above all else, a gifted master draftsman. Easily one of the best who ever lived. And when the rules of propriety constrained artists of Raphael’s day from working from nude female models – a taboo practice -Raphael did it anyway. Gotta love him for that.

Day in and day out, I see artists drawing my body, in chalk and charcoal, pen and graphite and conte crayon. Some do it with difficulty, others with facility, aspiring to capture the gestures, lines, volume, movement, and humanity of their life subject. If I could jump in a time machine and travel back to Rome in 1508, I’d bang on Raphael’s studio door and beg to pose for him. And based on accounts of Raphael’s irresistible charms I’d bring a bottle of red wine too ;-)

Hasan regularly expressed his admiration for my work as an artist’s model. He also enjoyed my blogging content which often includes art images with poetry. So for my friend Hasan who I miss very much on 3PipeProblem, Twitter, and warm, joyful notes in my email inbox, here are some Raphael drawings accompanied by excerpts from Walt Whitman’s “I Sing The Body Electric”, for a Museworthy virtual life drawing session:

I sing the body electric,
The armies of those I love engirth me and I engirth them,
They will not let me off till I go with them, respond to them,
And discorrupt them, and charge them full with the charge of the soul.

Was it doubted that those who corrupt their own bodies conceal themselves?
And if those who defile the living are as bad as they who defile the dead?
And if the body does not do fully as much as the soul?
And if the body were not the soul, what is the soul?

Raphael-KneelingWoman

The love of the body of man or woman balks account, the body itself balks account,
That of the male is perfect, and that of the female is perfect.

The expression of the face balks account,
But the expression of a well-made man appears not only in his face,
It is in his limbs and joints also, it is curiously in the joints of his hips and wrists,
It is in his walk, the carriage of his neck, the flex of his waist and knees, dress does not           ….hide him,
The strong sweet quality he has strikes through the cotton and broadcloth,
To see him pass conveys as much as the best poem, perhaps more,
You linger to see his back, and the back of his neck and shoulder-side.

Raffaello_Sanzio_-_Figure_Studies_-_WGA18939

The sprawl and fulness of babes, the bosoms and heads of women, the folds of their
….dress, their style as we pass in the street, the contour of their shape downwards,
The swimmer naked in the swimming-bath, seen as he swims through the transparent ….green-shine, or lies with his face up and rolls silently to and fro in the heave of the water,

Raphael_psyche_offering_venus_the_water_of_styx-large

The bending forward and backward of rowers in row-boats, the horseman in his
….saddle,
Girls, mothers, house-keepers, in all their performances,
The group of laborers seated at noon-time with their open dinner-kettles, and their
….wives waiting,
The female soothing a child, the farmer’s daughter in the garden or cow-yard,
The young fellow hoeing corn, the sleigh-driver driving his six horses through the
….crowd,
The wrestle of wrestlers, two apprentice-boys, quite grown, lusty, good-natured,
….native-born, out on the vacant lot at sun-down after work,
The coats and caps thrown down, the embrace of love and resistance,
The upper-hold and under-hold, the hair rumpled over and blinding the eyes;
The march of firemen in their own costumes, the play of masculine muscle through ….clean-setting trowsers and waist-straps,

Raphael_-_Young_Man_Carrying_an_Old_Man_on_His_Back,_c._1514_-_Google_Art_Project

The slow return from the fire, the pause when the bell strikes suddenly again, and the
….listening on the alert,
The natural, perfect, varied attitudes, the bent head, the curv’d neck and the counting;
Such-like I love—I loosen myself, pass freely, am at the mother’s breast with the little child,
Swim with the swimmers, wrestle with wrestlers, march in line with the firemen, and
….pause, listen, count.

Sanzio_-_Study_for_Two_Female_Figures;_Hebe_and_Proserpine

There is something in staying close to men and women and looking on them, and in
….the contact and odor of them, that pleases the soul well,
All things please the soul, but these please the soul well.

Face Forward

Friends, I am feeling much, much better since the burglary I’m happy to report. All of you who assured me that my sense of security would return in due time? You were right. I wouldn’t say that I’m at 100% – or ever will be – but I’m currently at a good 75%. And I’ll take it! The jittery nerves, the thick knot of anxiety in my chest, the fear and vulnerability and sleepless nights have diminished significantly. So thanks again to all of you for your support and comfort, expressed through blog comments and emails. I really appreciate it :-)

This is a pencil drawing of me by Irene Vitale, which is lovely for its simplicity and loose lines.  Between the burglary (during which she was a great support) and two snowstorm cancellations of scheduled art classes, Irene and I have had a crazy couple of months! Finally, we made it to the Art League of Long Island for class, on a snow-free day, where she taught, I modeled, and all was well.

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Sloshing in the City

Who doesn’t enjoy a nice filthy slush puddle now and then? We New Yorkers are just loving it! It’s still only early February and I think it’s fair to say that this winter has been kicking our asses. But I try to look for the positives in most situations. They can be seen if we pay attention. One is the helpful, “looking out for each other” spirit that many people adopt during adversity. Someone slips and falls and folks are there right away to assist. An unspoken bond can be felt among city dwellers that we’re all in this together and once it’s over we can meet up on the Great Lawn in Central Park, bask in the  warmth of springtime and toss frisbees. In the meantime, let’s give each other a hand through this hardship. We can bitch about salt shortages and snow plows, or we can just buck up and deal with it as best we can.

Other positives include ice-encased tree branches and twigs and icicle formations, which are classically beautiful cold weather images. Also, the upper east side poodles and pomeranians in their little coats provide reasons to smile. Perhaps the most significant positive of winter in New York City is the indefatigable drive to keep everyday life going, business as usual … getting there, it’s all about getting there, slush puddles notwithstanding. Like the authentic New York City place that it is, Spring Studio keeps on going and doesn’t know the meaning of the phrase “snow day”. Instead, every day is a “drawing day”. And through the slippery subway platforms, overhead drippings, and transit delays, the faithful model shows up at the studio. She’s wet, cold, and disheveled, but she shows up :-)

Created at Spring Studio on Monday night, a drawing of me by Robert Sebastiano:

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The 2013 Museworthy Art Show

“Creativity takes courage”
Henri Matisse

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In early October I invited the readers of this blog to participate in a second art show. Our first one took place in 2011. This year, artists were asked to create an original work based on one of four modeling photos of me taken by Fred Hatt. For six years I have been known as “the muse of Museworthy”. With this special blog event, that moniker which I hold dear takes on a truer meaning than ever before. One muse, eighteen artist submissions (myself among them) and a marvelous diversity of styles and interpretations. I want to express my sincere thanks to all those who contributed. It is truly my honor to serve as blogger and muse. From my heart to yours, enjoy this celebration of online community, creative expression, and joyful participation.

Claudia  xoxo

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Todd Fife

pencil on paper

Bowling Green, Kentucky

claudia1B

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David Rockwell

oil and acrylic on canvas

New York City

Claudia Painting Phase 4 102913

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William MacDonald

graphite

Quincy, Massachusetts

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Colin Buckett

pencil and oil pastel

Ottawa, Canada

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Elaine Hajian

pastel on paper

New York City

MomPastel

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Mark Wummer

pencil and watercolor on paper

Southeastern Pennsylvania

Museworthy

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Bruce Williams

relief, plasticine clay

New York City

Claudia_Relief

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Grier Horner

Apple Aperture

Pittsfield, Massachusetts

Museworthy, bright

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Rob Carroll

charcoal on paper

Swindon, UK

Claudia --- November '13

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Derek James Tewey

oil, acrylic, mixed media

Brisbane, Australia

Claudia -Body and Soul

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Christopher Hickey

linocut

Atlanta, Georgia

Muse-Linocut

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Fred Hatt

aquarelle crayon on paper

Brooklyn, NY

fredhatt-claudia-for-museworthy-art-show-2013

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Dave Moran

pencil on paper

Ann Arbor, Michigan

image

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 Peter Howard

acrylic on board

Surrey, England

claudia painting

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Richard Rothman

Sketchbook Mobile

Rising Fawn, Georgia

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Daniel Maidman

oil on canvas

Brooklyn, NY

MAIDMAN_Study-of-Claudia_24x18 large

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Ed Ettlin

pencil, crayon, watercolor, white ink on brown paper

Lucerne, Switzerland

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Claudia Hajian

paper collage, mixed media, ink stamp

New York City

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Sketches, Update, and a Workshop

Greetings friends! Here at home on this Friday day off and I’m doing model preparation for a weekend-long portrait workshop taught by the esteemed Max Ginsburg. What is involved in preparing for a portrait workshop you ask? Not much really except for an exfoliating facial treatment and hair-trimming, all self-imposed I might add. I’ve got my scrub and scissors ready! Must look lovely for Max :-)

Now just a reminder that the deadline for Museworthy Art Show submissions – December 8th – is rapidly approaching. A few have sent their pieces already, but I know many of you are still in the planning/creating stage and have yet to submit. That’s fine of course. I trashed the first one I did and am starting anew. I’d also like to assure any readers out there who may still be ambivalent about participating that your contribution is absolutely, positively welcome! Please know that. This is an event for all of us to enjoy. So if you’re still hesitant for any reason, view the image choices again and go for it! I am your humble model at your service.

I’ll leave you all with some quick warm-up sketches of me created by the photographer behind those splendid Art Show selections, my good friend Fred Hatt. From a session at Figureworks Gallery, Fred does what he always does so well, which is capture in just a few loose lines the movement of my crouches, contortions, stretches, and twists – all the spontaneous gestures we models strike when we have to change poses on the minute.

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Let’s Have An Art Show!

Here we go friends! I know you’ve all been waiting with bated breath for the submission details for the Museworthy Art Show. After careful consideration I’ve finally decided on the image choices and the dates. Unlike the last Art Show, this year folks will create a brand new work for submission rather than sending a piece already made. Thus I’ve allowed for a little more time. Heck I need time to create mine! My modeling schedule is solidly full for October and much of November. So here are the specifics: The Art Show itself will be published on the blog on Sunday December 15th. It will remain as the top post for well over a week until Christmas, that way we can enjoy it for many days and I can have a little blogging break for the holidays. Submissions should be sent no later than December 8th if that’s okay with everyone.

I have set up a separate page of the image choices of yours truly, your faithful muse: three figure options and a portrait, plus a few words if anyone would like to do the calligram method as suggested by a reader. You can also find the page in the left sidebar under “Pages” for easy access. After you’ve selected and downloaded your image feel free to do with it what you will in your own applications – make light or color adjustments, etc. Whatever helps you create your piece. All media are acceptable! Paint, pencil, pen, watercolor, charcoal, mixed media, pastel, marker, crayon, you name it. And of course, all skill levels are welcome, in fact encouraged! This is an inspired joyous Museworthy celebration, not a contest :-)

Email your works to me at claudielh@aol.com. Make sure you put “Museworthy Art” in the subject line, and include your full name, location, medium, and link to your website/blog if you have one. If you have any questions or issues please don’t hesitate to contact me and let me know. I want everyone to be satisfied. What’s most important is that we all have fun!

Studio Flowers

I’d like to thank everyone again for the sweet comments on the Museworthy birthday post. I usually give individual replies, but I decided this time to let them stand on their own. Thanks also for the emails! Please know that I loved and appreciated every one. Year seven of this blog is now underway :-)

It’s hugely appropriate that during the same week of Museworthy’s birthday another notable New York art community birthday took place. Minerva Durham, founder and director of the one and only Spring Studio, celebrated her 75th. We had a party last Sunday, and I returned the very next day for afternoon modeling. During a long pose in which I had to hold my gaze in one spot for forty minutes, the subject of my stare was the opposite wall, where Minerva’s birthday flowers still sat atop the bookcases. I thought they looked so pretty, so I snapped a picture on my break. The yellows of the roses and sunflowers are “framing” a red pencil drawing by Gary Katz, whose exhibit “Multiple Perspectives” was just on view at the studio.

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Enjoy the rest of the weekend everybody! Catch you right back here on Monday :-)

Barocci Revealed

Just when I think I’ve finally become familiar with all the Renaissance artists, another one is revealed to me through the many lectures and art talks I’m privy to as an artist’s model. I’ve written before that although we’re not enrolled in classes as students, we models receive a fine art education of sorts, merely as attentive bystanders who just happen to be in between poses. I always listen to the lectures, that is if I can tear myself away from the distracting nonsense on my smartphone. Yes, I play Word Mole on my Blackberry sometimes, I admit it :lol: The other day at the New York Academy of Art, Robert Armetta treated his MFA drawing class to an enlightening slide show. After a quick run to the bathroom, I snuck back into the studio to see Robert analyzing some beautiful portrait drawings among his slides. I had missed the artist’s name, but the works were clearly of the Renaissance period. So I made the assumption they belonged to one of the usual suspects: Leonardo, Raphael, Giorgione, etc. After the lecture, I asked Robert who was the artist of those particular drawings. He replied, “Barocci”. Who??

Yet another Italian guy from the 16th century who could draw like nobody’s business. The name Barocci was only vaguely familiar to me. Yes I’ve heard it, or read it, somewhere, but never explored it. My loss as it turns out. For those of us who are not art historians, it’s easy to forget that under the umbrella of the illustrious giants who overwhelmingly dominate that era – the masters known as Michelangelo, da Vinci, Titian, and the rest – were many others toiling away alongside them, studying with them, apprenticing and assisting, perfecting their craft, and some making their own way independently. Federico Barocci may be far less known than Michelangelo, but these drawings impressed me so much both technically and expressively  I just had to share them on the blog, as I know many of you are partial to drawing, and portraiture. Robert was kind enough to email me the images and save me the effort of searching for them on the Internet. Thanks Robert! This is Barocci:

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photo 2

photo 1

The National Gallery in London, coincidentally, just held an exhibition of Barocci’s work in the spring of this year. Another review of the show can be found at The Guardian, and also at The Art Newspaper. All of the linked articles acknowledge Barocci’s somewhat “forgotten” status. But the man from Urbino seems to be receiving his well-deserved, albeit painfully late, recognition. What an incredible draughtsman.

I hope everyone has a wonderful weekend. Music Monday will return on September 30th. But first, let’s all meet back here this coming Tuesday, the 24th, for a little party, a picture, some rock and roll, and a blogging commemoration. Cheers friends!

Stand Up Guys

In academic art settings, models are often asked to do standing poses. Why? Because standing poses are considered “classical” and are well-suited to traditional study. While both male and female models are asked to do standing poses in such environments, the dreaded task of long pose standing seems to fall more heavily on male models. During art’s golden ages of the past, the academic male nude was the epitome of the idealized human form. Browse through galleries of  Renaissance art, Old Masters drawings, Greek and Roman sculpture, etc. and you’ll see what I’m talking about. Of course female models pose standing for academic work. I’ve done a ton of it. This one was memorable. But the standing male nude has been, and continues to be, the exemplar of formal life study. And my male counterparts answer the call with poise, resilience, and professionalism.

A wonderful back view of a strong, muscular model, Standing Male Nude by William Etty:

Etty-MaleNude

I hesitate to say that standing poses are “easier” for men, as I’m sure my model friends – male and female alike – would argue that there is nothing “easy” about a long, all-day standing pose. The discomfort we feel in those situations involves fatigue more than pain, although pain can be an issue as well. I’ve read that women’s muscles are actually slower to fatigue than men’s – that while men have more raw strength, women have greater endurance. I’m a tad skeptical of that, but perhaps it’s true. What I do know from my years of experience is that male models handle standing poses extremely well. If they feel discomfort they tend to keep it to themselves and soldier on. Also, let’s face basic facts about male vs female physiques. Men are stronger. They have stronger muscles and more muscle mass. That’s just the way it is. Testosterone, folks. Now we can quibble about the body varieties which exist among individuals of both genders. But broadly and generally speaking, these innate characteristics apply.

In life modeling, strength matters, especially for standing. Strong quads and hamstrings sure are helpful. Toss in some active gestures on top of the standing and you have quite a posing challenge. Let’s take a look at a few more examples of the fellas doing their thing.

It takes a great deal of physical strength – in the legs, torso, and back – to pull off a standing pose like the one in this drawing by Prud’hon. It’s a good example of the kind of thing asked more often of male models than female models:

Prud'hon-male-nude-grasping-his-wrists

A beautiful contrapposto pose that projects both strength and elegance, Male Torso by Ingres, year 1800. The pole is a common prop in in art studios and a favorite in academic settings. I consider it best utilized by male models. Personally I never use the pole unless I’m asked. I see it as a guy thing.

Ingres_studyofamalenude

The pole again, assisting this male model in creating a great action pose which enhances the musculature, twist, and movement of the figure. Standing Male Nude, 1898, by British artist Harold Knight:

(c) John Croft; Supplied by The Public Catalogue Foundation

All art models everywhere should bow down in respect to the guy posing in this work, Study of a Man by Theodore Gericault, 1812. What you see here is pure torture. Just looking at it is giving me muscle spasms!

Gericault-study-of-a-man

On this holiday weekend I hope my male model peers relax and sprawl out on chaise lounges, the beach, in jacuzzis and whatnot. You deserve it. The new art school semesters are upon us, and you know what that will bring. Get your standing legs ready boys ;-)

The Age of Bronze, Auguste Rodin:

Rodin

Movers and Shakers

“Ode” from Music and Moonlight by Arthur O’Shaughnessy -

We are the music-makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;-
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.

A Summer Night, 1890, Winslow Homer

Winslow Homer - A Summer Night (1890)

Vaudeville Musicians, 1917, Charles Demuth

Demuth-VaudevilleMusicians

With wonderful deathless ditties
We build up the world’s great cities,
And out of a fabulous story
We fashion an empire’s glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song’s measure
Can trample a kingdom down.

A Pyrrhic Dance, 1869, Sir Lawrence Alma-Tadema

AlmaTadema-a-pyrrhic-dance-1869

Joyous Frolics, 1899, Paul Emile Chabas

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We, in the ages lying
In the buried past of the earth,
Built Ninevah with our sighing,
And Babel itself with our mirth;
And o’erthrew them with prophesying
To the old of the new world’s worth;
For each age is a dream that is dying,
Or one that is coming to birth.

The Bacchante, 1872, Mary Cassatt

Cassatt-bacchante-1872

Sounds of Spring, 1910, Franz Stuck

Stuck-sounds-of-spring-1910

A breath of our inspiration
Is the life of each generation;
A wondrous thing of our dreaming
Unearthly, impossible seeming –
The soldier, the king, and the peasant
Are working together in one,
Till our dream shall become their present,
And their work in the world be done.

The Peasant Dance, 1568, Pieter Brueghel the Elder

Brueghel-dance

Study for the Spanish Dance, 1879, John Singer Sargent

Sargent-study-for-the-spanish-dance

They had no vision amazing
Of the goodly house they are raising;
They had no divine foreshowing
Of the land to which they are going:
But on one man’s soul it hath broken,
A light that doth not depart;
And his look, or a word he hath spoken,
Wrought flame in another man’s heart.

The Impassioned Singer, 1510, Giorgione

Giorgione-young-man-the-impassioned-singer

Chocolat Dancing in the Irish and American Bar, 1896, Toulouse-Lautrec

toulouse-lautrec-chocolat-dancing-in-the-irish-and-american-bar.jpg!Large

And therefore to-day is thrilling
With a past day’s late fulfilling;
And the multitudes are enlisted
In the faith that their fathers resisted,
And, scorning the dream of to-morrow,
Are bringing to pass, as they may,
In the world, for its joy or its sorrow,
The dream that was scorned yesterday.

Music (Sketch), 1907, Henri Matisse

Matisse-music-sketch-1907

Singing Peasants, Filipp Malyavin

Malyavin-singing-peasants

But we, with our dreaming and singing,
Ceaseless and sorrowless we!
The glory about us clinging
Of the glorious futures we see,
Our souls with high music ringing:
O men! it must ever be
That we dwell, in our dreaming and singing,
A little apart from ye.

Midsummer Dance, 1903, Anders Zorn

Zorn-MidsummerDance

Candle Dancers, 1912, Emil Nolde

Nolde-candle-dancers-1912

For we are afar with the dawning
And the suns that are not yet high,
And out of the infinite morning
Intrepid you hear us cry –
How, spite of your human scorning,
Once more God’s future draws nigh,
And already goes forth the warning
That ye of the past must die.

Dance of the Majos at the Banks of the Manzanares, 1777, Francisco de Goya

Francisco_de_Goya_y_Lucientes_-_Dance_of_the_Majos_at_the_Banks_of_Manzanares_-_WGA9986

Aragon, La Jota, 1914, Joaquin Sorolla

Sorolla-AragonLaJota

Great hail! we cry to the comers
From the dazzling unknown shore;
Bring us hither your sun and your summers;
And renew our world as of yore;
You shall teach us your song’s new numbers,
And things that we dreamed not before:
Yea, in spite of a dreamer who slumbers,
And a singer who sings no more.

A Dance to the Music of Time, 1636, Nicolas Poussin

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Me and the Mad Hatter

Helloooo everyone! Hope you all had a good week. The summer is rolling along and the weather here in NYC has been really beautiful lately. Clear blue skies, not hot. Gorgeous. After a couple of blog posts bitching about my doldrum days and scarcity of modeling work, on Friday, at long last, I was rescued. Yay! Rescued from this idle summer of crap and nothingness. My knight in shining armor was the one and only Fred Hatt, who invited me to his studio in Brooklyn. We spent the afternoon drawing, discussing the photos for the Museworthy Art Show, and enjoying each other both as friends and collaborators.

Fred is of course a professional photographer but I also had my camera with me, and that inevitably leads to goofy pictures taken when I’m not posing. My view from the studio floor with Fred in the background:

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I like it on the floor. And the floor plus mirrors is a recipe for weird visuals. Fred has plenty of mirrors around. Can you find me in this picture? My version of “Where’s Waldo?” :lol:

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More fun with mirrors. Here I am showing Fred the fine art of the “selfie” , one of the more dubious fads spawned by social media.

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Me acting like a complete idiot. You see folks? This is what mirror selfies will do to people :lol:

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When I wasn’t messing around with my camera, Fred and I got down to the more inspiring endeavor of creating art. Here’s two drawings that Fred made, each a ten minute pose. You’ll notice in the first one that the elbow gesture is similar to that in the small mirror floor picture:

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And finally, a picture  of me and Fred captured the way people took photos of themselves in the days before “selfies” – with a timer! The large drawing behind us is one that Fred did of me in the summer of 2009, which I posted on Museworthy. Thank you Fred for a lovely afternoon!

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