I have re-re-rededicated myself to running. Last year my resolution was to lose weight; this year it was to throw myself into exercise with reckless abandon and uncensored joy. Since running (and k…

Looking for more plus size art to support? Enjoy the amazing plus size art Busty Girl Comics by the artist Paige “Rampaige” Halsey Warren!

The pearl-and-diamond tiara, belonging to a 19th century woman once known as Britain's wealthiest, is due to go for auction next month.

It's photographs like this that stop me in my tracks when I'm browsing the internet, and I'm always saving them away in some folder that I never do anything with– until today! The time has come to unload my favourite art nouveau stunners on you. Let's start with this flower-shop in Brussels, designe

Lillian Russell (1860– 1922) became one of the most famous actresses and singers of the late 19th and early 20th centuries, known for her beauty and style, as well as for her voice and stage presen…

It's photographs like this that stop me in my tracks when I'm browsing the internet, and I'm always saving them away in some folder that I never do anything with– until today! The time has come to unload my favourite art nouveau stunners on you. Let's start with this flower-shop in Brussels, designe

Alphonse Mucha in 1906 photo by George R. Lawrence Co., Chicago Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris. For biographical notes on Mucha see part 1. For earlier works see parts 1 and 2. This is part 3 of a 12-part series on the works of Alphonse Mucha. 1897 Poster for 'Bières de la Meuse' lithograph 154.5 x 104.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Peonies ink and watercolour 79.5 x 95 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'Chocolat Ideal' lithograph 117 x 78 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'La Trappistine' lithograph 206 x 77 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'La Samaritaine' Sarah Bernhardt at the Theatre de la Renaissance, Paris lithograph 58.3 x 173 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'Los Cigarillos Paris' lithograph © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'Monaco - Monte-Carlo' P.L.M. Railway lithograph 110.5 x 76.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'Salon des Cent Mucha Exhibition June 1897' lithograph 66.2 x 46 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'Vin des Incas' lithograph 13.6 x 36 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'Bleu Deschamps' lithograph © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'Nestlé's Food for Infants' lithograph 72 x 34.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster for 'Société Populaire des Beaux Arts' lithograph 61.5 x 45 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Poster of Sarah Bernhardt for 'La Plume' Magazine lithograph 69 x 51 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1897 Salome lithograph 41 x 31 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris c1897 Poster for 'Job' cigarette papers lithograph 152 x 102 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Calendar of 'Cherry Blossom' lithograph © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'Vers Sacrum' © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Cover of 'Au Quartier Latin' lithography © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Cover of 'The West End Review' © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'Waterlily' postcard © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Cover of 'La Plume' Literary and Artistic Review © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Poster for 'Bénédictine' lithograph 205.7 x 77 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Poster for 'Médée' Sarah Bernhardt at the Theatre de la Renaissance study © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Poster for 'Médée' Sarah Bernhardt at the Theatre de la Renaissance lithograph 206 x 76 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Poster for 'Waverley Cycles' lithograph 80 x 101 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Poster for 'F. Champenois Imprimeur-Éditeur' printing business © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Poster to promote the works of Mucha at 'La Plume, Paris' study © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Poster to promote the works of Mucha at 'La Plume, Paris' lithograph 63.5 x 45 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Arts - Dance' study pencil and watercolour 56 x 34.8 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Arts - Dance' lithograph 60 x 38 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Arts - Music' study pencil and watercolour 56 x 34.8 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Arts - Music' lithograph 60 x 38 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Arts - Painting' study pencil and watercolour 56 x 34.8 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Arts - Painting' lithograph 60 x 38 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Arts - Poetry' study pencil and watercolour 56 x 34.8 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Arts - Poetry' lithograph 60 x 38 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 The Flowers © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Flowers - Carnation' lithograph 103.5 x 43.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Flowers - Carnation' pen and ink 22 x 53.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Flowers - Lily' lithograph 103.5 x 43.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Flowers - Iris' lithograph 103.5 x 43.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Flowers - Iris' pencil and ink wash 22.3 x 53.3 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'The Flowers - Rose' lithograph 103.5 x 43.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898-99 The Abyss pastel © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898-1900 'Femme à Marguerite' cotton weave screen printed 70.5 x 77.2 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Cocorico magazine No. 1 masthead © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Cocorico magazine No. 1 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Cocorico magazine 'The Twelve Months - November' © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Cocorico magazine No. 19 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Cocorico magazine No. 24 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Cocorico magazine No. 4? © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1900 Cocorico magazine No. 42 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1902 Cocorico Magazine lithography No. 62 © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 'Menus et Programmes Illustrés' cover lithograph 22 x 32 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris c1898 Sarah Bernhardt chalk on paper 49.7 x 41.4 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

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Gabriele Münter 1877-1962 Munich On the beach 1919 Musée d'Art Moderne de Louisiana Exposition temporaire Copenhague UNE HISTOIRE DE LA PEINTURE PLATE (3) L'Art Moderne ? A partir des années 1830-1850 environ, les peintres romantiques, les premiers, puis les préé-impressionnistes, les impressionnistes, les post-impressionnistes, "les peintres modernes", parcourent, en sens inverse, le chemin qu'avaient pris les peintres de l'art Roman, de l'art Gothique et de "la Renaissance". A partir de la deuxième moitié du 19è siècle beaucoup de peintres européens rejettent la précision et le réalisme du dessin, refusent la vérité des couleurs telles que nos sens les perçoivent. Les peintres rejettent l'exigence d'une représentation naturaliste et réaliste du monde. Une exigence technique, qui a caractérisée toute la peinture européenne, depuis le gothique tardif et la renaissance. Finie "la tyrannie" de l'illusion des trois dimensions sur la surface plane du tableau. Vive "la liberté" de la peinture plate, qui épouse son support. Les peintres suppriment la perspective et les volumes, reviennent à des formes stéréotypées et stylisées. Ils pratiquent le "tachisme", usent et abusent de l'esquisse, inventent les couleurs arbitraires, décomposent les volumes, multiplient les points de vue sur le même objet. Les peintres européens s'éloignent ainsi toujours plus d'une représentation fidèle du monde qui les entoure, pour proposer les plus diverses interprétations et reconstructions, voire même inventions, du réel. Il est très clair que ce chemin est suivi de manière tout à fait volontariste. Nous ne sommes plus dans la situation des peintres et des mosaïstes de l'Empire romain finissant, dont les techniques étaient dictées par leurs méconnaissances des règles, techniques, du bien faire. Les imperfections, techniques, de la peinture plate et de l'esquisse, s'imposent non pas comme une incapacité à bien représenter, mais comme une ouverture sur une esthétique nouvelle Les artistes veulent faire du "Nouveau". C'est même une obsession. Et pour faire du nouveau, parfois, il n'y a rien de mieux que l'Ancien ! Mais il ne faut pas trop le dire ! Les visages stéréotypés et les grands yeux inexpressifs des peintures et mosaïques Paléo-chrétiennes et Byzantines retrouvent un charme "moderne" avec Modigliani. Les corps de femme peuvent aussi se passer des modelés subtiles, et se réduire à des lignes, comme aux temps de Byzance, de la peinture Siennoise et du gothique international (Maurice Denis, Henri Matisse, Edward Munch....). Masaccio, "moderne" en 1410 parce qu'il donne une épaisseur et un volume plus réaliste à ses personnages, devient un peintre académique en 1900 ! C'est ainsi que, contre les peintres académiques, classiques, accusés d'être réactionnaires et dépassés, Edouard Manet et ses successeurs reviennent à une interprétation stylisée, symbolique, suggestive, inventée, du monde qui les entoure. En fait ils empruntent beaucoup à l'esthétique de Ravenne, des fresques romanes, de Giotto, de l'école de Sienne, et du Gothique international. Une esthétique dont ils avaient évidemment une parfaite connaissance par leurs fréquentations assidues des musées et lieux artistiques européens, leurs voyages en Italie... Evidemment ces techniques s'appliquent à des thèmes tous différents de ceux de l'époque gothique. Mais c'est un autre aspect de l'histoire de la peinture européenne. Au bout de ce chemin, la peinture européenne aboutit à l'art abstrait, non figuratif. En effet, de simplifications et stylisations en synthèses, et d'interprétations et suggestions en inventions, les peintres s'éloignent toujours plus d'une représentation naturaliste et réaliste du réel, le réel tel que les hommes le perçoivent par leurs yeux, et finissent par le quitter. Les villages et les églises de Lyonel Feininger ne sont bientôt plus que des lignes qui s'entrecroisent. Les peintres vont ainsi arriver à l'art abstrait, l'art non figuratif qui progressivement rompt tout lien avec le réel. A HISTORY OF THE FLAT PAINTING (3) Modern Art ? From the years 1830-1850 approximately, The European Romantic painters, the firsts, then the pre-Impressionists, Impressionists, Post-Impressionists, in short the "moderns painters", browse, in the opposite direction, the path that have followed the painters of the Roman art, Gothic art, and "Renaissance." From the second half of the 19th century, many European painters reject the accuracy and the realism of the drawing, are refusing the truth of the colors, such as our senses perceive them. The Painters reject the requirement of a naturalistic and realistic representation of the world. A technical requirement, which has characterized all European painting since the late Gothic and Renaissance. Finished the "tyranny" of the illusion of the three dimensions on the flat surface of the painting. Long live the "freedom" of the flat paint, who marries his support. The painters suppress the perspective and the volumes. They return to stereotyped and stylized forms. They practice the "tachisme", use and abuse of the sketch, invent the arbitrary colors, decompose the volumes, multiply the points of view on the same subject. The European painters move away so always more than a true representation of the world around them, for propose the most diverse interpretations and reconstructions and even inventions, of the real. It is very clear that this path is followed entirely voluntarist. We are no longer in the situation of the painters and mosaic artists of the late Roman Empire, whose techniques were dictated by their misunderstandings of the rules, technical, of the doing well. The imperfections, technical, of the flat painting and of the sketching, are needed not as an inability to well represent, but as a an opening on a new aesthetic. The European artists want to make the "New", this is even an obsession. And to make the New, sometimes there's nothing better than the Old! But Just don't say it too much! The stereotyped faces and the big eyes expressionless of the paintings and mosaics Paleo-Christian and Byzantine found a charm "modern" with Modigliani. The female body can also dispense with subtle patterns, and be reduced to lines, as in the time of Byzantium and Gothic painting XIVth international (Maurice Denis, Henri Matisse, Edward Munch...) Masaccio, "modern" in 1410 because it gives a more realistic thickness and volumes to his characters, becomes an academic painter in 1900! Thus, against the academic painters, classics, accused of being reactionary and surpassed, Edouard Manet and his followers return to a stylized interpretation, symbolic, suggestive, invented, of the world around them. In fact they borrow much from the aesthetics of Ravenna, of the Romanesque frescoes, of Giotto, of the Siena School, and of the International Gothic. An aesthetic which they obviously had a perfect knowledge of their courtship of European museums and artistic venues, their travels in Italy ... Obviously these techniques apply to themes all differents from those of the Gothic period. But this is another aspect of the history of European painting. At the end of this road, European painting comes to abstract art, non-figurative art. Indeed, from simplification and stylisation into syntheses, from interpretations and suggestions into inventions, the painters always away more than a naturalistic and realistic representation of the real, this real, as men perceive with their eyes, and eventually leave him. The villages and churches of Lyonel Feininger. Painters will thus arrive at abstract art, non-figurative art that gradually breaks all links with reality.

Looking for more plus size art to support? Enjoy the amazing plus size art Busty Girl Comics by the artist Paige “Rampaige” Halsey Warren!

The Wall Street Journal reviews "Art Nouveau" by Norbert Wolf.

Abdul Mati Klarwein was born in Hamburg on the 9th of April 1932, to a Jewish architect father from Polish origins, and a German opera singer mother. The three of them fled to Palestine when he was…

Orange dream🍊💭

The anti-pie crusade was helped by the increasing tempo of American life. The curious notion that the more we rushed about the more civilized we were was beginning to take root. When we began to measure our progress by the rate of speed at which we could move and began to think that because we could get around ten or a dozen times faster than our grandfathers we were that much better than they were, pie as a morning dish was doomed. For nobody had time to eat a decent breakfast. The female figure, too, may have had something to do with it, or rather men's ideas concerning the female figure. When pie was in vogue, the buxom figure was admired. Matrons were expected to look matronly. Women could afford to let themselves go in the matter of food, helping themselves to pie at any meal they wished without giving it a second thought. But with he gradual change in ideas of feminine beauty, women were obliged to consider the consequences of heavy eating. They began to cut down on food to reduce their figures, and breakfast, the first meal of the day, was the first to suffer. It was whittled down until it became nothing but an empty mockery of a meal. Pie, however, continued to linger for some time on may New England breakfast tables. Journeying toward the White Mountains one summer at the close of the last century{1800s}, Charles Dudley Warner fancied that he could draw a diet line passing through Bellows Falls and bending a little south on either side, which would mark, northward, the region of perpetual pie. But he came to the conclusion that pie was perhaps a matter of altitude rather than latitude, as he found that all the hill and country towns were full of women who would have felt ready to sink in mortification through their scoured kitchen floors if visitors caught them without a pie in the house. The absence of pie would have been more noticeable, he declared than a scarcity of the Bible. Since then, of course, pie has almost completely vanished from the breakfast tables of New England. Only occasionally is it to be encountered, and then in the most remote places. In the winter of 1940, I visited Criehaven off the Maine coast. It is a tiny fishing port on one of New England's farthest flung islands. My host, entering the kitchen in the morning, gazed for a moment at what his wife had set out for our breakfast, and then, "God bless my soul," he cried, "no pie!" But he was mistaken, for there was pie, and a memorable breakfast we made of it. there was oatmeal and toast and coffee, lobster stew and custard pie. It was the best stew I ever ate, and the custard pie just melted down my throat. More recently, at Gouldsborough, Maine, a relative of mine was served black pumpkin pie for breakfast, which he said was delicious. Also on the table was a splendid chocolate cake. But why, people ask, did New Englander's formerly eat so much for breakfast? The answer is quite simple. It was because they had great things to do.

As it was our testing week this past week, I tried to keep our activities light and fun. However, I am starting to stress about getting it all in before the end of the year. The key to this will be integration! We made great little musical note poems this week to integrate our poetry writing with our music unit. The students had a lot of fun with them, and they turned out beautiful! I can't wait to make a fabulous display out of them when all the students have finished. My students were already pretty good at identifying notes on the staff, so after a quick review, I let them work in pairs to create as many "musical" words as they could - using the letters from the music notes: C, D, E, F, G, A, B. They also had to write the notes for all of the words they found. This picture shows just some of the words the students found. This was our anchor chart showing our learning goal and success criteria. Students needed to write a poem that had at least 2 quatrains, a rhyme scheme of their choice, and a pleasing rhythm. They needed to include at least 8 "musical words" - one per line. I printed off an image of sheet music I found, and we used tea bags to give the sheet music an antique look. This was used for our background frame to mount our poems on. These are two of our finished products!!! LOVE them! When all the students finish, I'm going to make a bulletin board display on black paper ... and I think I have a music border in one of my cupboards ... I'm working a little product right now to integrate my music unit with my math unit on fractions - hoping to finish it this weekend so I can get my students working on it early this week. This month is going to FLY by (thank goodness!!!) Happy Saturday! It's a dreary one here, but I'm excited to get to some baking with the rhubarb from my garden. I think there's a strawberry rhubarb crumble in our future tonight!