Category Archives: Art

Excerpt from “Please Please Me” Album Cover by The Beatles

Producer George Martin has never had any headaches over choice of songs for The Beatles. Their own built-in tunesmith team of John Lennon and Paul McCartney has already tucked away enough self-penned numbers to maintain a steady output of all-original singles from now until 1975! Between them The Beatles adopt a do-it-yourself approach from the very beginning. They write their own lyrics, design and eventually build their own instrumental backdrops and work out their own vocal arrangements. Their music is wild, pungent, hard-hitting, uninhibited…and personal. The do-it-yourself angle ensures complete originality at all stages of the process. Although so many people suggest (without closer definition) that The Beatles have a trans-Atlantic style, their only real influence has been from the unique brand of Rhythm and Blues folk music which abounds on the Merseyside and which The Beatles themselves have helped pioneer since their formation in 1960.
This record comprises eight Lennon-McCartney compositions in addition to six other numbers which have become firm love-performance favourites in The Beatles’ varied repertoire.
The group’s admiration for the work of The Shirelles is demonstrated by the inclusion of BABY IT’S YOU (John taking the lead vocal with George and Paul supplying the harmony), and BOYS (a fast rocker which allows drummer Ringo to make his first recorded appearance as a vocalist). ANNA, ASK ME WHY, and TWIST AND SHOUT also feature stand-out solo performances from John, whilst DO YOU WANT TO KNOW A SECRET hands the audio spotlight to George. MISERY may sound as though it is a self-duet created by the multi-recording of a single voice…but the effect is produced by the fine matching of two voices belonging to John and Paul. There is only one ‘trick duet’ and that is on A TASTE OF HONEY featuring a dual-voiced Paul. John and Paul get together on THERE’S A PLACE and I SAW HER STANDING THERE: George joins them for CHAINS, LOVE ME DO and PLEASE PLEASE ME.

TONY BARROW

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“The Great Wave off Kanagawa” by Katsushika Hokusai

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10 January 2019 · 7:45 am

Excerpt from “Famous for 15 Minutes” by Ultra Violet ~~Flowers~~

Ultra Violet (Isabelle Dufresne) visits Andy Warhol at the Factory in 1964

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Piles of silk screens are stacked along the west wall of the loft. I spot a large screen, about six feet by twelve feet, that depicts in dark ink the background of two flowers side by side, each about six feet in diameter, one larger than the other, and barely touching. We unroll on the floor some virgin canvas, on top of which we lay the flower stencil.
“What color?” he asks.
“Make it violet, since that’s my name and I’m a flower myself.”
Using a can opener, he lifts the top of a gallon can of deep violet Benjamin Moore paint. He adds a dollop of white and with a roller, applies it to the screen over one of the flowers.
“What about the other flower?” he asks.
“Orange? That’s complementary to violet.”
He opens a premixed can of orange paint and rolls the color back and forth across the other flower. The whole process takes a few minutes. We remove the silk screen and see those two colourful flowers pop out at us from the canvas.
I feel my heart jump with the excitement of experiencing the creation of this large Pop Art painting. I ask him if he’ll give it to me. After all, he’s never paid me for the films we are doing together. No, he won’t give it to me, but he’ll sell it cheap, below his dealer’s price. We agree on $2,000. I write him a check on the spot for $1,000 and later give him another $1,000 that I scrounge together. I still have the two receipts, on each of which he scribbled, “Two flowers, sold to Isabel defraine, $1,000.”
In 1970 Gordon Locksley, a Minneapolis art dealer, offers me $40,000 for the Two Flowers. In 1975 I am offered $125,000 by Ivan Karp of the O.K. Harris Gallery. In 1980 Andy tells me the painting is worth $200,000. I don’t know how much the scribbled receipts are worth. The painting hangs in my living room. It costs me a fortune just to keep it insured.

 

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Excerpt from “Letters of the Great Artists” by Richard Friedenthal ~~Renoir – Charpentier~~

PIERRE AUGUSTE RENOIR TO GEORGES CHARPENTIER
1877
My dear friend,
May I ask you if it is within possibility nevertheless, the sum of three hundred francs before the end of the month. If it is possible, I am truly grieved that it may be the last time and that I shall have nothing to write to you any more except commonplace, quite stupid letters, without asking you for anything because you will owe me nothing any longer except respect, that I am older than you, I do not send you my account because I have none.
Now, my dear friend, have the amiability to thank Madame Charpentier warmly on behalf of her most devoted artist and that I shall never forget that if one day I cross the tape that it is to her that I shall owe, for by myself I am certainly not capable of it. I would like to get there, so as to be able the sooner to procure her all my gratitude.

Pierre Auguste Renoir (1841-1919) spent four years of his youth painting pretty rococo pictures on porcelain, then studied under Gleyre, and achieved some success as a fashionable portrait painter. In 1868 he worked with Monet out of doors and his technique became more Impressionist. Charpentier, the recipient of Monet’s rather similar letter, was a publisher and to a certain extent a patron of art. Renoir’s portrait of Madame Charpentier and her children, painted in 1878, is now in the Metropolitan Museum of Art, New York, which paid 50,000 francs for it in his own lifetime. When asked how much he had been paid for it, he replied, ‘Me! Three hundred francs and lunch!’

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Excerpt from “Dali by Dali” ~~Hallucinogenic~~

picture-DaliByDaliThen why should Dali use drugs when he has discovered that our world is a world of people with hallucinations, where theories, like that of relativity, add to the three dimensions of space a fourth, which is time, the most surrealist and the most hallucinatory of spatial dimensions.
I have never taken drugs, since I am the drug.
I don’t talk about my hallucinations, I evoke them.
Take me, I am the drug; take me, I am hallucinogenic!

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Excerpt from “Letters of the Great Artists” by Richard Friedenthal ~~Matisse – Painting~~

HENRY MATISSE TO HENRY CLIFFORD

 Vence, 14 February 1948

. . . The few exhibitions that I have had the opportunity of seeing during these last years make me fear that the young painters are avoiding the slow and painful preparation which is necessary for the education of any contemporary painter who claims to construct by colour alone.
The slow and painful work is indispensable. Indeed, if gardens were not dug over at the proper time, they would soon be good for nothing. Do we not first have to clear, and then cultivate, the ground at each season of the year?
When an artist does not know how to prepare his flowering period, by work which bears little resemblance to the final result, he has a short future before him; or when an artist has ‘arrived’ no longer feels the necessity of getting back to earth from time to time, he begins to go round in circles repeating himself, until by this very repetition, his curiosity is extinguished.
An artist must possess Nature. He must identify himself with her rhythm, by efforts that will prepare the mastery which will later enable him to express himself in his own language.
The future painter must feel what is useful for his development – drawing or even sculpture – everything that will let him become one with Nature, identify himself with her, by entering into the things – which is what I call Nature – that arouse his feelings. I believe study by means of drawing is most essential. If drawing is of the Spirit and colour of the Senses, you must draw first, to cultivate the spirit and to be able to lead colour into spiritual paths. That is what I want to cry aloud, when I see the work of the young men for whom painting is no longer an adventure, and whose only goal is the impending first one-man show which will first start them on the road to fame.
It is only after years of preparation that the young artist should touch colour – not colour as description, that is, but as a means of intimate expression. Then he can hope that all the images, even all the symbols, which he uses, will be the reflection of his love for things, a reflection in which he can have confidence if he has been able to carry out his education, with purity, and without lying to himself. Then he will employ colour with discernment. He will place it in accordance with a natural design, unformulated and completely concealed, that will spring directly from his feelings; this is what allowed Toulouse-Lautrec, at the end of his life, to exclaim, ‘At last, I do not know how to draw any more.’
The painter who is just beginning thinks that he paints from his heart. The artist who has completed his development also thinks that he paints from his heart. Only the latter is right, because his training and discipline allow him to accept impulses that he can, at least partially, conceal. . . .

Seated Odalisque, Left Knee Bent, Ornamental Background and Checkerboard, 1928

Seated Odalisque, Left Knee Bent, Ornamental Background and Checkerboard, 1928

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Excerpt from “Letters of the Great Artists” by Richard Friedenthal ~~Van Gogh – Café~~

picture-LettersGreatArtists-FriedenthalVINCENT VAN GOGH TO HIS SISTER WILLEMIEN

Arles, about 8 September 1888

My house here is painted the yellow colour of fresh butter on the outside with glaringly green shutters; it stands in the full sunlight in a square which has a green garden with plane trees, oleanders and acacias. And it is completely whitewashed inside, and the floor is made of red bricks. And over it is the intensely blue sky. In this I can live and breathe, meditate and paint. And it seems to me that I might go still farther into the South, rather than go up to the North again, seeing that I am greatly in need of a strong heat, so that my blood can circulate normally. Here I feel much better than I did in Paris.

You see, I can hardly doubt that you on your part would also like the South enormously. The fact is that the sun has never penetrated us people of the North. It is already a few days since I started writing this letter, and now I will continue it. In point of fact I was interrupted these days by my toiling on a new picture representing the outside of a night café. On the terrace there are the tiny figures of people drinking. An enormous yellow lantern sheds its light on the terrace, the house front and the sidewalk, and even casts a certain brightness on the pavement of the street, which takes a pinkish violet tone. The gable-topped fronts of the houses in a street stretching away under a blue sky spangled with stars are dark blue or violet and there is a green tree. Here you have a night picture without any black in it, done with nothing but beautiful blue and violet and green, and in these surroundings the lighted square acquires a pale sulphur and greenish citron-yellow colour. It amuses me enormously to paint the night right on the spot. They used to draw and paint the picture in the daytime after the rough sketch. But I find satisfaction in painting things immediately.

Café Terrace At Night

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