Happy 7th Birthday Museworthy!!

Friends, Romans, countrymen, lend me your … eyes …
I come not to bury anyone, but to praise … my readers …

Here we are again, my darlings. Another mini milestone on the blogging odyssey. Forgive me for the grandiose word but I do see it as an “odyssey” of sorts. Maybe it doesn’t rise to the level of epic Greek poetry, but in my heart and soul this blog is a place of discovery and warmth, discourse and revelation. What do we do here at Museworthy? We laugh, we wonder, we question and often challenge, we relish beauty, poetry and music, we examine and study, share, reminisce, and admire. I “know” all of you. Some better than others of course. But even those of you whose email addresses have held steady in my subscribers list for years, choose to lurk quietly, and read my new posts as they pop into your mailboxes, yes you too. I see you, and appreciate you. And to everyone, keep sticking with me I’ll keep sticking with you. We have much more to explore. And it will be a blast, that’s a promise ;-)

The annual Museworthy “blogaversary” wouldn’t mean a damn without the tradition of a Fred Hatt photo of yours truly. We’ve done it since year one. We hit it this year with a variation of a standing contrapposto, which the artists among you know is a timeless art modeling classic. Thank you, Fred. You rock, my dear friend …

fredhatt-claudia2014-D7K_2513RR

Our music for this year’s party is the Southern rock stylings of Little Feat. This is “Two Trains” from their 1973 album Dixie Chicken, so get your feet tappin’ and spirits groovin’. As for year eight of Museworthy? I’m ready if you guys are. Let’s do it! Hugs and smooches to you all, and a most sincere and grateful THANK YOU for your readership. It absolutely means the world. Bless you all for your generosity …

Love, your muse, Claudia xoxo

 

Eye on Scotland

Hellooooooo friends!!! Hope this blog post finds you well. If anyone is wondering that I’ve forgotten about Music Mondays, I assure you that I haven’t! They will return shortly. I’ve just been getting back into the art modeling groove, booking jobs, and trying to make sure that my schedule is in order. I’ll be working for the first time later this month at the 92ndStY and some other new gigs, along with the old staples like the National Academy, FIT, and Spring Studio.

Tomorrow is the big referendum in Scotland in which the good people of that beautiful country will vote “Yes” or “No” for independence from the United Kingdom. I’ve been following the story mostly on Twitter where it has dominated the trending topics list for weeks, packed with photos, live tweets of rallies, opinion pieces, analysis, and hashtags galore. Alex Salmond, leader of the Scottish National Party, has been leading the charge and proponents of both sides of the issue have been passionately outspoken. Like, really outspoken! This is truly historic stuff and with reports of extremely close poll numbers, it’s impossible to predict the outcome.

Since this blog receives many visitors from the UK, I thought I’d do my humble part and offer a bit of painting to mark this hugely consequential event. This is To Pastures New by Scottish artist James Guthrie, from 1882. I suspect the geese are voting “Yes”, but I’m not sure. Just a hunch ;)

Guthrie-PasturesNew

My Town

I hadn’t intended to post for the September 11th anniversary, as it’s not something I do every year. I posted back in 2011 for the ten year remembrance but not since then. I think with the current global events and resurgence of terrorism threats, feelings of fear, anger, and unease have been triggered in many people – especially those of us who live and work in big densely populated cities.

There’s no question that the 911 attacks and their aftermath are deeply felt by all Americans. But it will always be different for New Yorkers; more acute, more personal, more harrowing. Unless you lived here at the time you can’t fully understand. I don’t mean in any way to diminish others’ feelings or ignore Shanksville and the Pentagon. I’d never do that. I’m just trying to express the unique and exceptional mindset of a unique and exceptional city that remains a bullseye for grievance-obsessed monsters. It is a city that will never stop inspiring people, a city that wallops its inhabitants with challenges and impossibilities, thrills and disenchantments, oddities and curiosities, scandals and triumphs, idealism and cynicism. We are a maddeningly paradoxical town, where neurosis and fortitude live side by side. We rebuild on top of rubble, and we hold up a collective middle finger to people who think they can destroy us. And to those who hate New York or don’t understand it, we respond in snippy Big Apple form: take it or leave it.

New York, by Franz Kline, 1953

Kine-NewYork

Love, peace, and blessings to all of you, on this day and every day …

Poetry in the Peat

Digging by Seamus Heaney -

Between my finger and my thumb
The squat pen rests; snug as a gun.

Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down

Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.

Farmers Planting Potatoes, Vincent van Gogh:

VanGogh-FarmersPlantingPotatoes

The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.

By God, the old man could handle a spade.
Just like his old man.

Farmer with a Pitchfork, Winslow Homer:

Homer-FarmerwithPitchfork

My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.

A Man Digging Potatoes, Thomas Frederick Mason Sheard:

(c) Oxford City Council; Supplied by The Public Catalogue Foundation

The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.

Between my finger and my thumb
The squat pen rests.
I’ll dig with it.

Corporeality

So I bitched all summer over not having enough work and now as the summer comes to an end, and art modeling will soon kick into high gear, I’m like NOOOO!! NOT YET!! Okay, I’m a pain in the ass :lol:

I suppose since last spring brought a good share of professional aggravation and frustration, I’m feeling some ambivalence about facing the art scene full throttle. But I would be lying if I said I wasn’t looking forward to seeing certain people again that I’m fond of, and faithfully serving in my role as muse. I just hope my middle-aged body cooperates! I did a lot of running, biking, and exercising this summer, but I still could have done more.

I came across this video that I really enjoyed, “Sculpting the Female Torso” by Peter Rubino. Sculpture is amazing in that it begins as amorphous slabs and gradually transforms into a replica of the human form through molding, carving, scooping, and all those wonderful tactile sensations. Once when posing for a sculpture class I saw an artist get fed up with his tools and take out his plastic credit card, which he then used to scrape ridges in the clay with better precision. Sculptors get it done, one way or another. Beautiful final result in this video:

 

Not to be outdone by the three dimensional molders, artists who use pencil have to “mold” in their own way as well. Lights and darks, as we all know, are the keys to creating form on a piece of paper. This is my torso drawn by my dear friend Daniel daSilva.

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Have a great Labor Day weekend, everyone! Peace and blessings. See you soon :-)

Love, Claudia

A Vermeer Souvenir

I’m a sucker for museum gift shops. To me they are vastly different from the typical tourist knickknack stand. Why? Because a shot glass with the I <3 NY logo on it isn’t nearly as charming as a shot glass with Matisse’s Blue Nude. Then again, maybe shot glasses aren’t “charming” at all, so let’s ditch the shot glasses and consider the notecards and postcards, ready-to-hang prints, umbrellas, glass paperweights, and tote bags. Art museums are proud of their permanent collections, as they should be, and they happily hawk goodies that bear the images of the mainstay masterpieces which adorn their gallery walls.

The gift shop at the National Gallery of Art was huge! Like a floor in a department store. When I strolled in after viewing the Degas/Cassatt show I thought “I’m gonna be in here for an hour!”. Luckily I kept the time, and my spending, to a minimum. I came out with a bookmark of Vermeer’s Woman Holding a Balance, one of the National Gallery’s prized possessions. I was genuinely in need of a new bookmark so it’s all good. Here she is already at work holding a place:

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It’s a trivial thought, but I wonder what the great artists would think if they saw their work mass produced in this way .. on bookmarks, baubles, and magnets? How would Degas feel knowing that his Dancers were holding a grocery list on a refrigerator? Or da Vinci if he learned that people were sipping coffee from a  Mona Lisa mug? We’ll never know. The way I see it, if I’m going to use a bookmark, why not glance at a Vermeer when I turn the page? He comes with me as I ride the train and read, and to modeling jobs when I read on my breaks. How I love Vermeer :-)

And here is the full Vermeer painting Woman Holding a Balance, from 1664:

Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project

This is a magnificent painting in so many ways, considered by some to be Vermeer’s best. The woman is most likely Vermeer’s wife Catharina, who was probably the model also for Girl Reading a Letter by an Open WindowOne can clearly see a resemblance between the two. As always with Vermeer, the composition is extraordinary. Horizontal, vertical, and diagonal “lines” are organized with geometric brilliance, and they converge at the visual center of the piece which lies at the woman’s hand holding the balance. And since a balance is a weighing and measuring instrument, Vermeer creates a fully realized work consistent with the theme of equilibrium. Also take note of the arrangement of color: two masses of blue in the woman’s jacket and the blue cloth on the table, and small dots of sparkle in the pearls in the open jewelry box.

The intriguing nature of Vermeer’s work takes us deeper when we analyze the subtext of this painting. Art scholars have stressed the significance of the painting in the background. It is a depiction of “The Last Judgment”, and you can bet not some random choice by Vermeer. The artwork page for this work on the National Gallery website offers this interesting assessment:

The woman’s gaze at the balance, when considered in the context of the Last Judgment on the wall behind her, suggests that Vermeer, a Catholic, sought to infuse this work with religious and spiritual significance. Saint Ignatius of Loyola instructed the faithful to examine their consciences and weigh their sins as if facing Judgment Day. Only such deliberation could lead to virtuous choices along the path of life. Poised between the earthly treasures of gold and pearls before her and Last Judgment painting’s stark reminder of the eternal consequences of her actions, this woman personifies the values of materialism and morality that jostled for dominance in 17th-century Dutch society.

Yeah, maybe that is too much to squeeze onto a bookmark! But I don’t care. Vermeer is marking my places as I read, and learn, and embark on journeys both intellectual and spiritual, and reminding me, with his serene and contemplative woman, to seek balance, harmony, and sound values in life.

Explore this painting further at Essential Vermeer

Hand in Hand

Tumblr has become my go-to place these days for discovering and browsing art, photography, and lots of other cool things. It’s a remarkably easy to use microblogging platform and if you follow the right people you can really enjoy yourself passing the time. My Tumblr page is “Meanderings”.

I happened upon this image of an Edouard Vuillard painting that caught my eye. It’s titled Seated Woman with Joined Hands, from the year 1916. I really like what Vuillard did here in terms of his palette, composition, and capturing of the subject’s presence. I tried to find out the identity of the sitter, as Vuillard used mostly friends and family members as his models. It’s very possible that this woman is his longtime mistress Lucy Hessel, but I can’t say with certainty. This is Lucy here. What do you think?

Vuillard

There is another reason why I studied this painting for a while; the clasped hands. In my earlier years as an art model I avoided putting my hands together, folded-style, for poses. Why? For one thing, I was so busy showing off my entire body and trying to be “exciting” that stodgy, old-fashioned hand-folding just wasn’t in the cards. It’s stupid, I know. Also, part of me just doesn’t like the gesture all that much. From a body language standpoint it can come across as stiff and guarded, putting up a “barrier” if you will. I also reasoned that since human hands are so expressive it seemed a shame to knot them together and hide the fingers. My paternal grandmother is seated with folded hands in almost every old family photo and I’ve never liked it. Just reminds me of her somewhat stern and less than warm personality.

But Vuillard’s depiction here works very well. The woman’s arm is leaning on the leg, like one would sit if casually talking. And if you zoom in to view the hands up close you can see that Vuillard used just a mess of short brushstrokes in darks and lights. Very nice. And by the way, you’ll all be happy to know that I have expanded my posing repertoire since the early days, so I do fold my hands now, albeit in small doses ;)

Some other artworks with folded hands. Compare and contrast these with Vuillard’s.

Girl With Folded Hands, Wilhelm Trubner, 1878:

WilhelmTrubner

Frans Hals, Portrait of a Middle-Aged Woman with Hands Folded, circa 1640:

(c) The National Gallery, London; Supplied by The Public Catalogue Foundation

Augustus Leopold Egg, A Girl with Clasped Hands 

(c) Paintings Collection; Supplied by The Public Catalogue Foundation