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mishinashen · 3 years

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Sisters by Sir John Everett Millais, 1868

John Everett Millais's portrait of Lady Campbell (1861-1933) was one of three pictures Millais exhibited in 1884 at the Grosvenor Gallery, along with his portrait of the Marquess of Lorne, Queen Victoria's son-in-law (National Gallery, Ottawa), and Millais's image of Lady Campbell when she was a child, from fifteen years earlier (1868-9, fig. 1). It was characteristic of Millais to exhibit society portraits or images of politicians at the Grosvenor, where many of his patrons were frequent visitors. By contrast, in the same year he showed three portraits and an historical picture, An Idyll, 1745 (Lady Lever Art Gallery, Port Sunlight) at the Royal Academy of Arts, and three fancy pictures, Little Miss Muffet (private collection), A Message from the Sea (private collection), and The Mistletoe-Gatherer (private collection, on loan to the National Gallery of South Africa, Capetown) at Thomas McLean's more populist gallery on the Haymarket. Of these nine new pictures, Lady Campbell was the most impressive offering of the year. Millais posed her in a fashionable cap-sleeved white evening dress, with its narrow shoulders and wide bust and a small bouquet of forget-me-nots fastened in front, and a triple-strand pearl necklace, and seated on an oak chest alongside her gloves and a blue Nankin vase filled with tulips. She holds a fan, and looks off to her right. Behind her is a loosely painted yellow floriated tapestry. Nina Lehmann's father commissioned this portrait, as he had the one of her as a child, and in some ways they complement each other. The red camellia held in the lap has been changed to a lady's fan, and the overlarge earthenware pot that the young Nina sits upon, with its drips of glazing along the bottom, has been replaced by a more elegant, refined, and smaller in scale to the sitter, Chinese Porcelain vessel. The work was painted in the month leading up to Nina Lehmann's marriage, to Guy Theophilus Campbell, 3rd Bt, of Thames Ditton, born in 1854 and who served in the Afghan War of 1878-80. They married on 30 April 1884, just before the Grosvenor opened in the first week of May, and less than two years after he had succeeded as Baronet. They would have four boys and two girls. He died 12 September 1931, and she in 1933. Millais's painting of Nina when she was a young girl (fig. 1) was titled Nina, daughter of Frederick Lehman, Esq., and he exhibited it at the Royal Academy in 1869. In that earlier picture, he employed a predominantly white tone and relaxed atmosphere as pursued in many of his images of young girls-such as Spring (1856-9, Lady Lever Art Gallery, Port Sunlight) and Sisters (1868, lot 8). The picture was calculated to appeal to clients with evolved tastes. The sitter's father, Frederick Lehmann (1826-91) was a businessman, violinist, and musical aficionado whose wife, born Jane Gibson Chambers but known as Nina (b. 1830), was a pianist. She was the daughter of the publisher Robert Chambers, founder of the Edinburgh Journal. Lehmann made his fortune dealing arms in the American Civil War. One of his brothers was Henri Lehmann (1814-82), a pupil of J.A.D. Ingres, and the other was Millais's friend, Rudolf Lehmann (1819-1905), also a painter, who lived at Worth Villas, Campden Hill, and who married Jane Chambers's sister Amelia. The Lehmanns were close to Millais's friends such as the novelist Wilkie Collins, musicians including the violinist Joseph Joachim, the conductor and pianist Charles Hall, and other members of English musical society. The Lehmanns held frequent musical evenings for London's artistic society in their house at 15, Berkeley Square. In addition, Lehmann's sister Eliza, married Ernst Benzon, and the Benzons would also become patrons of Millais. It was through society connections that Millais gained the first commission to paint Lehmann's daughter, and then to paint her again to celebrate her marriage. Millais was working on the portrait in early April, when he wrote to his daughter Mary, 'I have finished my pictures for the RA and they have been sent away this morning so I feel a load taken off my back. Your Uncle William was here yesterday and showed the public my works. I believe some hundreds came, but I went out to avoid the Crowd. I have one day's holiday tomorrow and then I have Nina Lehmann sitting to me, as her Father is very anxious for her portrait to go to the Grosvenor gallery. All the pictures are very much liked and I shall set about doing the other Commissions from Mr. Wertheimer'. (John Everett Millais to Mary Millais, at 31, Devonshire Terrace, W.impole Street, from Palace Gate, dated 7 April 1884, Pierpont Morgan Library, Millais Papers MA.1485). The opulence of this portrait, and the interest in fashion and elegant environs was a later and more modern manifestation of the Georgian revival that Millais had spearheaded in the 1860s with portraits such as Sisters (1868, lot 8). Here, Millais worked in a mode that reflected concerns in contemporary continental art, where artists like Pierre Auguste-Renoir collaborated with sitters such as Madame Georges Charpentier, posed in 1878 with her two children in her apartment and surrounded by a litany of forms associated with the pan-European Aesthetic Movement. Such paintings represented cultivated tastes in clothing and accoutrements (often Asian in style), and also bore elegant and evocative brushwork free from the detailed description of Millais's earlier Pre-Raphaelite style. As Claude Phillips wrote in The Academy of the Grosvenor Gallery display of 1884, 'It was a somewhat bold venture on the part of Mr. Millais to have placed in juxtaposition his superb and well-remembered portrait of 'Miss Nina Lehmann' (57), painted in 1869, and his new portrait of the same lady - now Lady Campbell - (62). The former is one of his most complete and admirable works, and is one to which Englishmen are glad to point as an example of perfect technique from the hand of one of their painters. The new portrait, though in it the master-hand is still visible, and there is much to admire - especially the elegant pose and treatment of the head - does not support comparison with the earlier one either as regards the painting of the flesh, the complete and harmonious rendering of the surroundings, or general charm and accomplishment'.

Yet in the same year the critic Henry Blackburn called Millais 'the greatest living portrait-painter,' and Phillips's opinion resonated more in the 1880s, when Millais's more finished child images, whether portraits or fancy pictures, were routinely and favourably compared to the Georgian era works of Sir Joshua Reynolds and Thomas Gainsborough, than today. Now, it is Millais's more freely painted and suggestive portraits of women such as Hearts are Trumps (1872, Tate), Louise Jopling (1879, National Portrait Gallery), and Kate Perugini (1880, private collection) that seem his most advanced works, and reveal him to be one of the finest portraitists of the period, and the painter who laid the groundwork for John Singer Sargent and Giovanni Boldini and the next generation of European portraitists.

#art #pre-raphaelite #millais #children

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studioahead · 3 years

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Artisan Spotlight: Jessica Switzer Green

Followers of Studio AHEAD may recognize Jessica Switzer Green from her studio, JG Switzer, and their collaborations with us on our Sheep Tapestry and Sheep Lounge Chair Fabric. Green was the former (and first) vice president of marketing at Tesla Motors before moving on to greener pastures—literally. In 2018, she founded her studio, which specializes in sheeps wool blankets. We spoke to her about these beautiful creations, Northern California, and standing out from the herd.

Studio AHEAD: Are you originally from the Bay Area?

Jessica Switzer Green: I’m a sixth-generation Californian, born in San Francisco. My mom had goats in our house in the Berkeley hills and she would paint and write feminist messages all over the walls. I’d take a shower with giant murals of naked women and the words “A woman without a man is like a fish without a bicycle” on the walls of the shower. She is a prolific painter, and she and my stepdad ran off to Oregon to escape the jazz sessions that were held nightly in our home. My siblings and I were raised in the forest in southern Oregon, but I always pulled back to the Bay Area where most of my family lived and now lives. Raised by counter-culture hippies, my siblings and I learned that weird was normal. My stepdad used to drive us around in a convertible dressed as a clown.

SA: Tell us three cultural/lifestyle aspects that you think are inherent to Northern California and how they affect our lifestyle here.

JSG: 1. Weird is normal. It’s expected.

2. Integration with nature. The influences of California’s natural beauty are integral to health and happiness, and the need for nature and connection to nature is like breathing to Northern Californians. Say what you will about Marin, it is 73 percent open space and has the best trails to the ocean in the world. I miss them here in Sonoma County, but we have the Sonoma coast.

3. There is a long legacy of support for the arts, and our museums, theater, music, and street art. I have early memories of marveling at the pop up sculpture garden just before the Bay Bridge. The art scene in NorCal never ceases to amaze me, and perhaps it is the counter culture roots here, more often than not providing us with fresh and retrospective outlooks. There is now a gold painted post office mailbox called The Portal Project in Santa Rosa. It calls itself a “trans-temporal courier service” with a dedicated team of portal professionals. People are writing poems and notes to the future and the past—and getting responses! I think the post office is shutting it down.

SA: Could you tell us a bit about your work, the story behind JG Switzer and the path that led you there? It’s a steep turn going from the corporate world to having a vineyard in Sonoma and starting an artisanal felt and wool business.

JSG: It started with sheep. They kept needing to be sheared and then that left me with bags of wool. I tried spinning but did not have the patience for it—or knitting—so I bought a 7.5 ton industrial felting machine I found on Fibershed. Now we make our own fabric from more than a dozen types of raw wool. We are all about natural fibers at JG Switzer. It’s nature’s secret sauce. People just feel better when they are closer to natural fibers. If you can keep something in your home or wear a fiber that has been alive once, it feels better. Wool also has magical qualities. It is pure magic, evolved by nature over thousands of years.

SA: Talk sheep with us! What should we know?

JSG: Wool is magical because it’s anti-bacterial and anti-microbial. It also wicks water, which means it pulls in water and releases it into the atmosphere. Think about it. If sheep out in an open pasture had to lug around 8 to 10 pounds of wet, soggy wool they would die. They would also overheat in hot weather, so wool regulates body temperature because it was designed to do so for sheep! Wool is just screaming to be put on our bodies and in our homes.

SA: We worked with you on a custom fabric for a residential project and for our Sheep Lounge Chair. Tell us about your collaborations.

JSG: I love our collaborations, you and Elena are so open to discovery and share my enthusiasm for design and creation. You came to the workshop to visit and learn and listen to the limits and possibilities, and not just fit the fabric into your pre-conceived project. I feel the creation became your project. You guys were fearless. We ended up with a new wool Applique fabric I am very excited about. It’s a magical mix of artistry and craft.

SA: What are some local Instagram accounts we should follow?

JSG: The aforementioned Portal Project: @united.states.portal.service

Not local, but I’m fascinated by Sidival Fila, a Franciscan friar and tapestry artist: @sidivalfila

And this guy I met in Kyoto, Atom. He and his wife make the most amazing spiral hats. I can’t stop wearing them: @bizarre_kyoto

Photos by Ekaterina Izmestieva

#jgswitzer #jessicagreenswitzer #studioahead #sheeptapestry #felt #wool #sebastopol #sonoma #interiordesign #california #northerncalifornia

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houseofvans · 6 years

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ART SCHOOL | Q&A with DETH P. SUN

Influenced by the works of Richard Scarry, Charles Schultz, and the likes of Tove Jannson, artist Deth P. Sun’s interest in art and zines started early on–from drawing everything in an encyclopedia to creating his first zine in high school. From that point on, Deth has been a prolific painter, zine maker, and doodler, focused on making his art on his own terms. With his central hero– a genderless cat – Deth explores various natural and strange worlds through a subtle narrative, created by his brushwork, ambiguity, and color palettes.

Find out more about Deth’s art, his wordless storytelling, and what inspires him by taking the leap below.

Photographs courtesy of the artist.

Introduce yourself? My name is Deth P. Sun, I’m an artist living in a tiny coastal town in Northern California, but most of my adult life was spent in the Bay Area, primarily in Oakland and Berkeley. I tell people I’m Cambodian, which is mostly true.

When did you begin having an interest in art and painting? How or why do you think you gravitated towards this profession? I’ve always enjoyed drawing, I think I kind of like getting better at it and learning about new things that are centered around that. It’s one of the cheaper hobbies to get started in as a kid. It’s not really a thing I think about too much these days. Mostly I wonder how my life was set by my 17 year old self.

How do you describe your work to people who maybe unfamiliar with it? Until I moved to this town I live in now, I kind of never had to. Mostly because I don’t meet new people outside of my circle. I just tell people I’m a graphic artist. If they want more info I just stare at them blankly because I think it’s kind of rude to ask strangers what they do for a living.

There are various aspects to your paintings from being narrative and storytelling to those that feature various painted objects and natural things. Can you tell us a little bit about the narrative elements of your works and how that came about? Yeah, I just like suggesting that there’s a narrative with my work, which isn’t that hard as long as you don’t stray too much from your pallette or reuse images to find in each painting. I kind of like seeing a whole set of paintings, that’s when you sense that there is a story.

When did you protagonist character start to take shape? How did that evolve and come-about? I’ve just always drew a character like that. Probably in high school. It’s been so long I don’t really remember. It probably came from my sketchbook. Most of my sketchbooks are kind of boring because it was just me repeatedly drawing the same stuff until I got better at it. I think I was trying to draw a cat and I drew something else that I liked.

In some of your other works, you paint collections of items from food, mushrooms, crystals to swords and old style cell phones. How did these paintings originate for you? Were you finding yourself sketching certain things that you read about or were you just obsessed with a certain object that week? My parents taught themselves English using Richard Scarry books so they were the first books I had my hands on. It’s just pages and pages of him drawing things with words describing what they were underneath. When I was younger I had this project where I’d take an encyclopedia and try drawing everything in it. I think I only got to M. Also when I was kid while drawing in my sketchbook I would just run out of stuff to draw so I’d go room to room drawing everything in each room.

It was just a thing to kill time.

How has where you live and its landscape influenced the work you create? What’s your favorite thing about residing there? I guess it does a little, but I think I drew the stuff and then when I got here, I liked it a lot, so I ended up on this tiny coastal town on the bluffs. I started drawing weird epic landscapes after watching a bunch of Swedish films a few years ago.

What was your last adventure or walk through your neighborhood that showed up in one of your work, thematically or just visually? One time a friend invited me to a barbeque. They lived near the train tracks a couple of miles from me, so I walked up the tracks passed the cemetery and over a few tressel bridges. It was really nice walk. Met a turtle. They had to come down and get me because I didn’t know the path to their house, and it was getting dark.

What IS your favorite thing to draw or paint? Do you have an UNfavorite thing to draw or paint? I like drawing pineapples. I hate when strangers ask me to draw them. I want to punch them in the face.

When did you start picking up the paint brush and taking your works to the canvas? What do you enjoy about painting vs. drawing? The first time I painted was in my high school art class, I think like most other Americans. I was using tempera, so it sucked. But I started buying acrylic soon after. I think painting and drawing is kind of the same thing, or least I just paint like I’m drawing. I don’t think it was a strange transition.

What’s a typical day like for you at home and in the studio? What’s your process like? I fill out internet orders sometimes, or a wholesale order. Sometimes I draw. Mostly I get up and look at my email and go, “I have a lot of stuff to do and this is gonna suck”. I don’t really multitask, so it’s usually me filling out orders for 8 hours and trying to get to the post office before 4:30 while watching dumb shit on the internet, or me helping a friend screen print in my garage, or if I have a show just ignoring everything else in life and painting for two months.

A few years ago I kind of got burnt out of making a living with just painting. So I was like maybe I should make more t-shirts and prints. So I ended up moving to Fort Bragg and screenprinting more stuff and making more drawings toward that. But now my days are filled with me screen printing and filling out small orders or hanging out on my computer photoshopping all day. So now I’m in some other kind of hell.

What are your go-to art tools? A Pilot Hi-Tec C (They’re called G-Tec 4s in other places) pen. I use the .4, but should probably switch to .5. You have to have a light touch with them or else they’ll jam.

Right now I enjoy using Mitsubishi pencils, but the cheap Mirado Black Warrior pencil you can get at most stationary store is just as good.

Been filling a sketchbook using Opaque markers. Posca’s are pretty good, but the color choices are limited, so I started buying Molotow. The Molotow’s can be refilled so they might end up being a better value.

Lately I’ve been painting with cheap $2 craft paints mostly because I don’t like mixing colors. Just bought a few of the Martha Stewart’s at Michaels. I still buy Golden and Liquitex, but it’s nice to mix in other stuff.

Not only do you draw and paint, you are always printing and creating zines of your works. Do you remember your very first zine you made? Are you working on a new zine? The first zine I made was pretty horrible. It was staple at the top corner, and I gave it out to my friends when I was in high school. I put everything precious in a box before I left for college and when I came back my dad had threw it out. At the time I was pretty bummed, but now I’m glad I don’t have to deal with that. I’m always working on something. Sometimes things take a really long time. I drew everything I ate while in England and Scotland several years ago and just now getting it all together. I’ve gotten rejected from a bunch of zine fairs, so there really isn’t a urgency to get it finished. I’m thinking of making one for the tiny town I’m in, and other that’s like a newspaper, but filled with just my gibberish drawing of words.

Do you have a favorite zine maker out there you’d like to share with folks? I’m pretty excited to be tabling at Comics Art Brooklyn. Last year I sat nearby Evan Cohen (http://www.evanmcohen.com) who I had just bought zines online from a few weeks before so that was kind of unexpected. He makes rad work. There was a few other artists there whose work I enjoyed. I came home with a lot of nice prints which I never really get from strangers. Stuff from Natalie Andrewson, Tiny Splendor, most everything Peow Studios publishes, and Jen Tong. I like this zine called Terror House by Sammy Harkham that I’d buy a few to give out to friends and the zines my friend, Evah Fan makes.

What are you constantly inspired by? And who are some of your early and current art influences? I think what keeps me going is random problem solving with how I paint. Or maybe the natural world. I don’t really know if I’m being totally honest. I grew up reading Peanuts. It has it’s good moments. I think I became comfortable with not always having to be in the up. I really like Tove Jannson’s work.. I’m not a fan Tintin, but I like the way Hergé uses color and lines. I was lucky enough to come to the Bay Area while the Mission School was around and Yoshitoma Nara had a few shows, so it made it okay for me to make paintings the way I do.

What do you do when you are not painting, drawing or making zines? How do you find yourself unwinding? I watch a lot of dumb shit on youtube and take long walks. Each week I go to a game night where I do board games (Catan, Ticket to Ride, Dixit, Pirates Cove are in the usual rotation). I like to cook and have people over. I actually unwind by drawing and watching a lot of basketball while listening to basketball podcasts.

What advice would you offer to an aspiring artist who might wanna follow in your footsteps? Be nice to everyone you meet ever. Always try to learn. Don’t get caught up in what people think of you or your work. Know that if you keep on doing something you’ll get better at it. Pick up different hobbies. Make friends with other artists. Be open to all opportunities. Get used to rejection.

What’s your best Art School tip that you want to share with folks? Some random wisdom you learned through your personal journey or just while making art? You know I don’t know if I’m the best person to get advice from since I sort of carved out this weird existence. When you’re young, it’s easy to get caught up in weird things and maybe a person should just get caught up in those things. I do meet old school mates who have regrets about how their time in art school was spent, but I don’t think there’s a right or wrong way of doing it. I think there really isn’t any rush, and also if you feel like you “failed” you can always just get back up because no one is really paying attention.

I think I hear a lot from folks who worry that they’re too old to try painting or doing art for a living. And I’d hear this from someone who’s like 25 or 30. But there really isn’t a deadline to any of this stuff and also no one really knows how old anyone is. I think everyone’s trying to get to some sort of finish line, but really just existing and making work is all there is.

What do you think you’d be doing if you weren’t an artist? In an alternate universe, what career would Deth find himself doing? I’d probably be working in tech if I’m being honest with myself.

What’s a question you never get asked in an interview that you wanna ask yourself and answer? There really isn’t.

What are your favorite style of VANS? My favorite Vans were the slip ons with a grey herring bone pattern on them. I had 4 or 5 pairs, but I think they switched to a smaller pattern because I couldn’t find them again.

What’s coming up for you the rest of the year or into the next? Comic Arts Brooklyn (http://comicartsbrooklyn.com), a solo show in January at Spoke Art (https://spoke-art.com) in San Francisco. I’ll have stuff at a print fair in Oakland (https://www.oaklandprintfair.com), and an art book fair in Berlin (http://www.friendswithbooks.org/content/about) through Vanilla Studios (http://vanillastud.io).

FOLLOW DETH | INSTAGRAM | WEBSITE | SHOP

#Art #Vans #Vans Art #Deth P. Sun #Art School #interview #painting #drawing

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zengjackson-blog · 5 years

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Day 1

Studying civil engineering – and more specifically transportation engineering – I think I am naturally prone to observing transportation systems wherever I go. Upon arriving in Amsterdam, the most surprising thing I saw was the sheer number of bicyclists in the city. Amsterdam has a large biking community with extensive networks of cycle paths spread far and wide across the city. I was also surprised to see that cyclists rode much like drivers drove in the city; they rang their bell at anyone that was in their way, and, at times, they seemed even more aggressive than drivers as many would refuse to yield to anyone who was walking through the bike lane.

Canals provided another channel for transportation through the city. From glancing at a map, we can see that there are multiple canals that surround the center of the city, running parallel to each other but also connected to each other. The idea of movement through boats and via channels like canals is something that seems rather foreign to me as it is something that can’t be seen in American cities with waterways like San Francisco.

Despite these differences, there were some obvious similarities between Amsterdam’s transportation structure and those in America. For one, lane markings were quite similar to those in the US aside from the fact that bike lanes were often indicated by red bricks or paint rather than two parallel white lanes. Additionally, the public transit system, Tram, ran routes around the city, and scanning cards operated similar to the AC Transit buses back in Berkeley.

Moving beyond transportation, the Van Gogh Museum provided me with some new information about the famous painter whose eventful life I had only started to learn about through the readings. Hung up in the museum were originals and replications of some of Van Gogh’s hundreds of letters during his lifetime, of which his brother, Theodore, was his biggest confidant. During the canal trip, we learned that Van Gogh was only able to sell one painting during his lifetime despite the fact that his brother worked hard to get his paintings recognized and appreciated. Learning that Van Gogh’s brother played a large role in Van Gogh’s creations, I was glad to see him being recognized by the museum through the inclusion of Van Gogh’s letters.

Lastly, during the boat ride, we learned that the orange motif in the Netherlands came from the royal family. More specifically, from the reader, we know that orange came from William of Orange-Nassau, aka the “Father of the Fatherland” who was the leader of the Dutch Revolt, an event that eventually resulted in the birth of the Dutch state. There also exists the “orange myth” whereby the Oranges are the thought of as the protectors of freedom and act in service of the people. From the reader, we know that the government is generally thought to be functioning well in the Netherlands and the monarchy typically has the public’s support. However, there are times when the government’s actions or non-actions to issues causes unrest in the public. During the boat ride, we learned about the squatting movement that was organized during the housing crisis in the 1960s when there were a great number of uninhabited apartments in Amsterdam, but renting prices were still sky-high. In addition, protesters got together to oppose eel grabbing by fishermen, which eventually led to an eel grabbing ban in the nation. These examples of political activism demonstrate how though there is generally a system of trust and compliance between the public and the government, the people are not passive and are not afraid to react against injustices that they see in their community.

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jethomme · 6 years

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California Voters: Vote YES on Proposition 10--Fairness to Renters paying in excess of 30% of their income on rent.

Make it clear to greedy developers and unscrupulous landlords that the rent is too damn high! We’re counting on grassroots supporters to step up and vote for Proposition 10 on November 6. Your vote and your voice COUNT! Give the right of city self-determination back to each city government = local control. People on fixed incomes like retirees, veterans, and others require reasonable rents. Median home values have increased by 80% since 2011. More than half the renters in the state of California spend MORE than 30% of their income on rent (Haas Institute for Fair & Inclusive Society, UC Berkeley).

Vote for fairness, or do not be surprised at budding chaos.

Partial list of endorsements follow:

Congresswoman Barbara Lee

Congresswoman Maxine Waters

State Insurance Commissioner Dave Jones

State Superintendent of Public Instruction Delaine Eastin (fmr)

State Senator Ben Allen

State Senator Connie M. Leyva

State Senator Kevin De Leon

State Senator Ricardo Lara

State Assemblymember David Chiu

State Assemblymember Laura Friedman

State Assemblymember Lorena Gonzalez Fletcher

State Assemblymember Mike Davis (fmr)

State Assemblymember Phil Ting

State Assemblymember Reggie Jones-Sawyer

State Assemblymember Rob Bonta

State Assemblymember Tony Thurmond

Berkeley Mayor Jesse Arreguin

Berkeley Rent Board Member Igor Tregub

Berkeley Rent Board Member Leah Simon-Weisberg

Beverly Hills Vice Mayor John Mirisch

Culver City Vice Mayor Meghan Sahli-Wells

Culver City Councilmember Daniel Lee

El Cerrito Mayor Gabriel Quinto

Emeryville Mayor Ken Bukowski (fmr)

Fontana School Board Member Mary Sandoval

Fowler Mayor Don Cardenas

Highland City Mayor Pro Tem Jesus Chavez

Los Angeles Mayor Eric Garcetti

Los Angeles City Councilmember David Ryu

Los Angeles City Councilmember Gil Cedillo

Los Angeles City Councilmember Marqueece Harris-Dawson

Los Angeles City Councilmember Mike Bonin

Los Angeles City Councilmember Paul Koretz

Los Angeles City Councilmember Robert Farrell (fmr)

Los Angeles County Supervisor Hilda Solis

Los Angeles County Supervisor Janice Hahn

Los Angeles County Supervisor Sheila Kuehl

Los Angeles Unified School District Board Member George McKenna

Malibu City Councilmember Lou La Monte

Mountain View Mayor Lenny Siegel

Mountain View Councilmember Pat Showalter

Oakland Mayor Libby Schaaf

Oakland City Councilmember Dan Kalb

Oakland City Councilmember Desley Brooks

Oakland City Councilmember Rebecca Kaplan

Redlands City Councilmember Eddie Tejeda

Richmond Vice Mayor Melvin Willis

Richmond City Councilmember Jovanka Beckles

Richmond Mayor Gayle McLaughlin (fmr)

San Francisco Supervisor Hillary Ronen

San Francisco Supervisor Sandra Lee Fewer

San Francisco Supervisor Jane Kim

San Francisco Supervisor Aaron Peskin

San Jose Councilmember Don Rocha

San Jose Councilmember Sergio Jimenez

Santa Barbara Community College Board of Trustees Vice President Jonathan Abboud

Santa Clara City Councilmember Nassim Nouri

Santa Cruz City Councilmember Chris Krohn

Santa Monica City Councilmember Kevin McKeown

Santa Monica City Councilmember Sue Himmelrich

Santa Monica City Councilmember Tony Vazquez

Santa Monica Rent Board Member Caroline Torosis

Santa Monica Rent Board Member Nicole Phillis

Tulare City Council Member Jose Sigala

Ukiah Mayor Phil Baldwin (fmr)

Vallejo School Board Member Ruscal Cayangyang

West Hollywood City Councilmember Lindsey Horvath

West Hollywood City Councilmember Lauren Meister

LOCAL GOVERNMENTS

City of Berkeley

City of Beverly Hills

City of Oakland

City of Palm Springs

City of San Francisco

City of Santa Monica

City of West Hollywood

City of Berkeley Rent Stabilization Board

Los Angeles County Board of Supervisors

Monterey County Board of Supervisors

San Francisco City/County Board of Supervisors

PUBLICATIONS

Los Angeles Times

Sacramento Bee

ColoradoBlvd.net

The Daily Californian

East Bay Express

Hoy Los Angeles

KnockLA

San Francisco Bay Guardian

Santa Maria Times

AFFORDABLE HOUSING PROVIDERS

Housing California

Affordable Housing Alliance

Affordable Housing Network of Santa Clara County

Berkeley Student Cooperative

Christian Church Homes

Council of Community Housing Organizations (CCHO)

East LA Community Corporation

Esperanza Community Housing Corporation

Marty’s Place Affordable Housing Corporation

Mission Economic Development Agency

Non-Profit Housing Association of Northern California (NPH)

Oakland Community Land Trust

Southern California Association of Non-Profit Housing (SCANPH)

Tenderloin Housing Clinic

Thai Community Development Center

TRUST South LA

Venice Community Housing Corporation

Women Organizing Resources Knowledge and Services (WORKS)

TENANT/HOUSING RIGHTS ORGANIZATIONS

Housing NOW! California

Tenants Together

Affordable Homeless Housing Alternatives

Alameda Renters Coalition

Anti-Eviction Mapping Project

Arcata Lazy J Homeowners Association

Asian Law Alliance

Berkeley Tenants Union

Beverly Hills Renters Alliance

Bill Sorro Housing Program (BiSHoP)

California Coalition for Rural Housing

Causa Justa / Just Cause

Chinatown Community for Equitable Development

Coalition for Economic Survival

El Comite de Vecinos del Lado Oeste, East Palo Alto

Comite de la Esperanza

De Rose Gardens Tenant Association (DRGTA)

East Bay Housing Organizations

East Palo Alto Council of Tenants Education Fund

Equity Housing Alliance

EveryOne Home

Fair Housing Advocates of Northern California

Gamaliel CA

Glendale Tenants Union

Golden State Manufactured-Home Owners League

Homes for All

Homeless Student Advocate Alliance

Housing 4 Sacramento

Housing Long Beach

Housing Rights Committee San Francisco

Hunger Action Coalition Los Angeles

Inquilinos Unidos

Isla Vista Tenants Union

LiBRE (Long Beach Residents Empowered)

Los Angeles Community Action Network (LA CAN)

Los Angeles Tenants Union

Manufactured Housing Action

Mountain View Tenants Coalition

Oakland Tenants Union

Orange County Mobile Home Residents Coalition

Pasadena Tenants Union

People of Color Sustainable Housing Network

People Organized for Westside Renewal (POWER)

Poverty Matters

Property Owners for Fair and Affordable Housing

The Q Foundation

Renters of Moreno Valley

Sacramento Housing Alliance

Sacramento Tenants Union

Sanctuary of Hope

San Diego Tenants United

San Francisco Anti-Displacement Coalition

San Francisco Tenants Union

Santa Ana Tenants United

Santa Monicans for Renters Rights (SMRR)

Shelter for All Koreatown

Sonoma County Manufactured-Home Owners Association

Sonoma Valley Housing Group

South Pasadena Tenants Union

Strategic Actions for a Just Economy (SAJE)

Students United with Renters

Union de Vecinos

United for Housing Justice (SF)

United Neighbors In Defense Against Displacement (UNIDAD)

Uplift Inglewood

Urban Habitat

TENANT LEGAL SERVICES

Advancing Justice – Asian Law Caucus

BASTA

California Rural Legal Assistance Foundation

Center for Community Action & Environmental Justice

Centro Legal de la Raza

Community Legal Services in East Palo Alto

Crow & Rose, Tenant Lawyers

East Bay Community Law Center

Eviction Defense Center

Eviction Defense Network

Inner City Law Center – Los Angeles

LA Center for Community Law & Action

Law Foundation of Silicon Valley

National Lawyers Guild – Los Angeles

Public Advocates

Public Counsel

Public Interest Law Project

Western Center on Law and Poverty

LABOR & WORKERS RIGHTS

California Labor Federation

AFSCME California People

AFSCME Local 3299

AFT Local 2121

AFT Local 1521

Bay Area Labor Committee for Peace & Justice

California Faculty Association

California Federation of Teachers

California Nurses Association

California Teachers Association

Central Coast Alliance United For A Sustainable Economy (CAUSE)

Employee Rights Center San Diego

Humboldt and Del Norte Counties Central Labor Council AFL-CIO

International Union of Painters & Allied Trades Local 510

Jobs with Justice San Francisco

Koreatown Immigrant Workers Alliance

Los Angeles Alliance for a New Economy

Los Angeles Black Worker Center

Oakland Education Association (OEA)

National Union of Healthcare Workers

Painters & Allied Trades 36

Pajaro Valley Federation of Teachers Retirees

San Bernardino and Riverside Counties Central Labor Council

SEIU California

SEIU Local 1021

SEIU Local 99

SEIU Local 221

SEIU Local 521

SEIU Local 721

SEIU Local 2015

SEIU USWW

UC Student-Workers Union UAW Local 2865

United Automobile, Aerospace, and Agricultural Implement Workers of America UAW Local 5810

UFCW Local 770

Unite HERE Local 11

Unite HERE Local 2850

Unite HERE Local 2

United Educators of San Francisco

United Taxi Workers of San Diego

United Teachers of Los Angeles (UTLA)

Warehouse Worker Resource Center

POLITICAL ORGANIZATIONS

California Democratic Party

Green Party of California

Peace and Freedom Party of California

Our Revolution

AAPIs for Civic Empowerment Education Fund

Alhambra Democratic Club

Americans for Democratic Action Southern California

Bernal Heights Democratic Club

Bernie Sanders Brigade

California Progressive Alliance

Chicano Latino Caucus of the California Democratic Party

Democratic Socialists of America

Democratic Socialists of America East Bay

Democratic Socialists of America Los Angeles

Democratic Socialists of America Orange County

Democratic Socialists of America Peninsula

Democratic Socialists of America Pomona Valley

Democratic Socialists of America Sacramento

Democratic Socialists of America San Diego

Democratic Socialists of America San Francisco

Democratic Socialists of America Santa Cruz

Democratic Socialists of America Silicon Valley

Democratic Socialists of America Ventura County

East Area Progressive Dems

El Dorado County Democratic Party

Feel the Bern Democratic Club Los Angeles

Green Party of Santa Clara County

Harvey Milk LGBT Democratic Club

Humboldt County Democrats

Inland Empire for Our Revolution

International Socialist Organization

Los Angeles County Democratic Party

Napa County Green Party

NorCal4OurRevolution

North Valley Democratic Club

Our Revolution

Our Revolution East Bay

Our Revolution Progressive Los Angeles

Our Revolution Santa Ana

Our Revolution Ventura County

Party for Socialism and Liberation – SF

Peninsula Young Democrats

Progressive Democrats of America California PAC

Progressive Democrats of America San Fernando Valley

Progressive Democrats of the Santa Monica Mountains

Richmond Progressive Alliance

San Bernardino County Young Democrats

San Diego Central Committee of the Peace and Freedom Party of CA

San Diego County Peace and Freedom Party

San Francisco Berniecrats

San Francisco County Democratic Party

San Francisco Latino Democratic Club

San Luis Obispo County Democratic Party

San Luis Obispo County Progressives

San Pedro Democratic Club

Santa Monica Democratic Club

Socialist Alternative Los Angeles

Socialist Party of Ventura County

Stonewall Democratic Club

UC Berkeley Young Democratic Socialists of America

Wellstone Democratic Renewal Club

West Hollywood-Beverly Hills Democratic Club

CIVIL RIGHTS/LIBERTIES ORGANIZATIONS

ACLU of California

ACLU of Northern California

ACLU of San Diego and Imperial Counties

ACLU of Southern California

Advocates for Black Strategic Alternatives

African American Cultural Center

American Indian Movement Southern California

APGA Tour

API Equality – LA

Black Community Clergy & Labor Alliance

Brotherhood Crusade

CARECEN

Coalition for Humane Immigrant Rights Los Angeles (CHIRLA)

Committee for Racial Justice

Council on American-Islamic Relations California (CAIR)

Dellums Institute for Social Justice

Fannie Lou Hamer Institute

Institute of the Black World 21st Century

Latino Equality Alliance

Los Angeles Urban League

MLK Coalition of Greater LA

Muslim Public Alliance Council (MPAC)

National Action Network Los Angeles

National Urban League

Services Immigrant Rights and Education Network (SIREN)

Showing Up for Racial Justice (SURJ) Bay Area

Showing Up for Racial Justice (SURJ) San Jose

Southern Christian Leadership Conference of Greater Southern California

United Native Americans

Urban League of San Diego County

Youth Justice Coalition

HEALTH ORGANIZATIONS

Access Support Network San Luis Obispo & Monterey Counties

AIDS Healthcare Foundation

APAIT (Special Service for Groups)

Asian Pacific Islander Forward Movement

Black Women for Wellness

Latino Health Access

San Francisco Human Services Network

Sierra Foothills AIDS Foundation

St. John’s Well Child & Family Center

Women Organized to Respond to Life-Threatening Diseases (WORLD)

SENIOR ORGANIZATIONS

California Alliance for Retired Americans

Monterey County Area Agency on Aging

Senior and Disability Action

Social Security Works

FAITH INSTITUTIONS & LEADERS

Rev. James Lawson

AME Ministerial Alliance – NorCal

Bend the Arc – Southern California

Berkeley Fellowship of Unitarian Universalists Social Justice Committee

California Church IMPACT

Cheryl Ward Ministries

Christian Church Homes

Church Without Walls – Skid Row Los Angeles

Clergy & Laity United for Economic Justice – Los Angeles (CLUE)

Congregational Church of Palo Alto

Congregations Organized for Prophetic Engagement (COPE)

Congregations Organizing For Renewal (COR)

First AME Church – Los Angeles

Greater Long Beach Interfaith Community Organization (ICO)

Holman United Methodist Church – Los Angeles

Inland Empire African American Pastors

Interfaith Communities United for Justice and Peace

Interfaith Movement for Human Integrity

Jewish Center for Justice

LA Voice – PICO Affiliate

Lutheran Office of Public Policy – California

McCarty Memorial Christian Church – Los Angeles

Multi-faith ACTION Coalition

Muslim Public Affairs Council (MPAC)

Oakland Community Organizing – PICO Affiliate (OCO)

PACT: People Acting in Community Together – PICO Affiliate

PICO California

Poor People’s Campaign of California

Sacramento ACT – PICO Affiliate

Sojourner Truth Presbyterian Church

Unitarian Universalist Faith in Action Committee

STATEWIDE, REGIONAL & LOCAL ORGANIZATIONS

ACTICON

Advancement Project California

Alliance for Community Transit – Los Angeles (ACT-LA)

Alliance of Californians for Community Empowerment (ACCE Action)

Allies for Life

All Peoples Community Center

ANSWER SF

Asian Pacific Environmental Network (APEN)

Associated Students of UC Santa Barbara

Block by Block Organizing Network

Brave New Films

California Bicycle Coalition

California Calls

California Environmental Justice Alliance

Californians for Justice

California for Progress

Californians for Safety and Justice

Californian Latinas for Reproductive Justice

California Partnership

California Reinvestment Coalition

Chicano Latino Caucus of San Bernardino County

Chispa

Coalition to Preserve LA

CDTech

Central Hollywood Neighborhood Council – Los Angeles

Committee to Defend Roosevelt

Communities for a New California

Community Coalition

Consumer Watchdog

Courage Campaign

Creating Freedom Movements

Crenshaw Subway Coalition

D5Action

Dolores Huerta Foundation

The East Oakland Collective

East Yard Communities for Environmental Justice

Ensuring Opportunity Campaign to End Poverty in Contra Costa County

Environmental Health Coalition

Friends Committee on Legislation of California

The Fund for Santa Barbara

GLIDE Foundation

The Green Scene TV

Ground Game LA

The Hayward Collective

Historic Highland Park Neighborhood Council – Los Angeles

Hyde Park Organizational Partnership for Empowerment

Indivisible SF

Inland Empire United

Inland Empowerment

InnerCity Struggle

Justice House

Kenwood Oakland Community Organization

Korean Resource Center

LA Forward

Latino Economic Development Center

Latinos United for a New America

Leadership Counsel for Justice and Accountability Central Valley

League of Women Voters of California

League of Women Voters of Los Angeles

Liberty Hill Foundation

Livable California

Los Feliz Neighborhood Council – Los Angeles

Million Voter Project

Mission Neighborhood Centers, Inc.

Mobilize the Immigrant Vote

Neighbors United – San Francisco

9to5 Los Angeles Chapter

North Bay Organizing Project

Orange County Civic Engagement Table

Organize Sacramento

Pasadenans Organizing for Progress

People for Mobility Justice

Places in the City

PolicyLink

Pomona Economic Opportunity Center

Progressive Alliance – San Bernardino County

Progressive Asian Network for Action

Public Bank LA/Revolution LA/Divest LA

Rampart Village Neighborhood Council – Los Angeles

Right Way Foundation

Rubicon Programs

RYSE Youth Center

Sacred Heart Community Service

Sero Project

SF Neighbors United

The Sidewalk Project

Sierra Club of California

Sierra Club of San Gorgonio Chapter

Silicon Valley De-Bug

Skid Row Coffee

Sociedad Organizada de Latinas Activas

Solidarity – Bay Area

SolidarityINFOService

Southeast Asian Community Alliance

South of Market Community Action Network

STAND LA

Strategic Concepts in Organizing and Policy Education (SCOPE)

University of California Student Association

Urban Tilth

Velveteen Rabbit Project

Wilshire Center Koreatown Neighborhood Council – Los Angeles

Working Partnerships USA

Xochipilli Latino Men’s Circle

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fdrlibrary · 3 years

Text

Artist Chiura Obata was teaching in the Art Department at the University of California, Berkeley when Executive Order 9066 was signed by President Roosevelt on February 19, 1942. It led to the incarceration of approximately 120,000 people of Japanese ancestry. Roughly 80,000 were American citizens. They were forced from their homes and confined in remote government-run camps. Obata and his family were confined at the Central Utah (Topaz) camp. Obata established an art school there and continued his own work as a painter.

In May 1943, shortly after Eleanor Roosevelt’s well publicized visit to the Gila River camp in Arizona, a delegation from the Japanese American Citizens League visited the White House to express their gratitude for her concern for the treatment of Japanese Americans. During their visit they presented this painting of the Topaz camp to the First Lady. On June 16, Mrs. Roosevelt sent a letter to Obata thanking him for the painting. She displayed it in her New York City apartment until her death. Artwork © The Obata Family.

Learn more on our Digital Artifact Collection: https://fdr.artifacts.archives.gov/objects/9245

#asian american and pacific islander heritage month #aapi heritage month #japanese american #japanese american history #wwii #ww2 #japanese american internment #japanese american incarceration #eleanor roosevelt #utah #museum from home #archives at home

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localizee · 3 years

Link

We bring all the beauty of your home — inside and out — to life.

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mishinashen · 3 years

Photo

Boléro violet by Henri Matisse, 1937

Suffused with the brilliant light of the South of France, Boléro violet is an exquisite portrait from one of the most important and creative periods of Matisse’s art. The arrangement of the exotically dressed girl, with her upper body posed diagonally across the painting, is invitingly intimate, with the sweeping arm of her chair creating a subtle distinction between the position of the model and the picture's surface. The emphasis Matisse placed on decorative patterns is particularly apparent in Boléro violet. The buttercup gold and orange striped wallpaper, vivid purple coat and strikingly stylised features of the model - her dark hair and red lips being especially pronounced - combine to create a beguiling vision of the artist’s opulent domain.

The model in the painting is Princess Hélène Galitzine, daughter of Russian aristocrat Prince Serge Galitzine and Helene Ghijitzky. Not yet eighteen years-old when Matisse created Boléro violet, her strikingly dark hair provided a perfect foil to Lydia Delectorskaya’s fair colouration. Throughout 1937 Hélène was one of Matisse’s principal models and posed for a number of important works, often alongside her cousin Delectorskaya. The pair continued to model together for the next couple of years, and posed for the monumental La musique in 1939 (fig. 1). In the same year he completed La musique, Matisse made a statement recognising the importance of his models: ‘The emotional interest aroused in me by them does not appear particularly in the representation of their bodies, but often rather in the lines or the special values distributed over the whole canvas or paper, which form its complete orchestration, its architecture… It is perhaps sublimated sensual pleasure’ (H. Matisse, quoted in Henri Matisse. Figure Color Space (exhibition catalogue), Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2005, p. 40).

Throughout his life, Matisse approached clothing and textiles with the keen eye of a collector. Costumes of all descriptions could be found in numerous chests about his house and studio. From Romanian peasant clothing to Parisian ball gowns, Matisse’s appetite for clothing was enormous. He commissioned the celebrated designer Paul Poiret’s sister to make dresses for his wife and daughter, and on one occasion in 1938, he spent a day in the area around the rue de la Boëtie in Paris buying several items of haute couture at the spring sales. By the time he moved to his new apartment in the old Excelsior-Regina Palace Hotel in Cimiez in 1939, his collection of costumes required a whole room to store them. As Hilary Spurling has noted: ‘Moroccan jackets, robes, blouses, boleros, caps and scarves, from which his models could be kitted out in outfits distantly descended - like Bakst's ballet, and a whole series of films using Nice locations in the 1920s as a substitute for the mysterious East - from the French painterly tradition of orientalisation’ (H. Spurling, Matisse: His Art and his Textiles (exhibition catalogue), The Metropolitan Museum of Art, New York, 2005, p. 29).

According to Lydia Delectorskaya in 1937 Matisse had become particularly fascinated with a set of Romanian blouses which he rediscovered amongst his studio props. These blouses had been a gift from the Romanian painter Theodor Pallady, who regularly corresponded with Matisse, discussing their art and in particular the important role of its more decorative aspects. Hélène Galitzine was photographed by the artist wearing one of these blouses (fig. 2), and he subsequently painted a number of works - using other models - that used the geometric oak-leaf embroidery as the central decorative motif. Similarly, Matisse produced several improvisations on the decorative qualities of a richly hued jacket decorated with elaborate gold embroidery (fig. 3). Matisse had used this coat in an earlier oil (fig. 4), and echoes of its orientalist charm are reawakened in his paintings in the late 1930s.

In a discussion concerning his working methods with the poet Tériade, which was later published in 1937, Matisse wrote: ‘In my latest paintings, I united the acquisitions of the last twenty years to my essential core, to my very essence. […] The reaction of each stage is as important as the subject. For this reaction comes from me and not from the subject. It is from the basis of my interpretation that I continually react until my work comes into harmony with me... At each stage, I reach a balance, a conclusion. At the next sitting, if I find there is a weakness in the whole, I make my way back into the picture by means of the weakness - I re-enter through the breach-end, I reconceive the whole. Thus everything becomes fluid again and as each element is only one of the component forces (as in an orchestration), the whole can be changed in appearance but the feeling sought still remains the same. A black could very well replace a blue, since basically the expression derives from the relationships. One is not bound to a blue, to a green or to a red, whose timbres can be introverted or replaced if the feeling so dictates… At the final stage the painter finds himself freed and his emotion exists complete in his work' (quoted in Jack Flam (ed.), Matisse on Art, Berkeley, 1995, p. 123).

Discussing Matisse’s portraits of the mid-1930s, John Elderfield wrote: ‘his model is shown in decorative costumes – a striped Persian coat [fig. 5], a Rumanian blouse – and the decorativeness and the very construction of a costume and of a painting are offered as analogous. What developed were groups of paintings showing his model in similar or different poses, costumes, and settings: a sequence of themes and variations that gained in mystery and intensity as it unfolded’ (J. Elderfield in Henri Matisse, A Retrospective (exhibition catalogue), The Museum of Modern Art, New York, 1992, p. 357). Boléro violet is an extraordinary example of Matisse’s constantly evolving perception of form and colour. The paintings of the late 1930s are the supreme outcome of decades of improvisation on these decorative elements, wherein contrasting patterns and colours of the present work harmonise, and the features of the young Hélène are transfigured into the epitome of timeless elegance. The first owner of the present work was Aldus Chapin Higgins of Worcester, Massachusetts. Higgins acquired Boléro violet from Paul Rosenberg’s Paris exhibition of Matisse’s recent works in 1937 which subsequently travelled to London. The previous year Rosenberg persuaded Matisse to sign a three year contract, thus becoming his principal dealer. These exhibitions in Paris and London, held for the next few years, helped the artist to sell directly to a large number of collectors from America and Europe. Aldus C. Higgins was a businessman who spent his entire career with his family’s firm, the Norton Emery Wheel Company. He also invented a water-cooled electric furnace which won the John Scott medal for exceptional achievement in mechanical arts in 1914. Higgins also commissioned the architect Grosvenor Atterbury to build him a house modelled on Compton Wyngates, the Elizabethan seat of the Marquesses of Northampton. The house was completed in 1923, and Higgins and his wife, Mary, lived there until their deaths when it was given to the Worcester Polytechnic Institute, of which his family had been tremendously supportive. Aldus and Mary Higgins were avid collectors of art, and during trips to Europe purchased many wonderful paintings including the magnificent Fauve canvas, L’Oliviers by Georges Braque and Georges Rouault’s Coucher du soleil which were both eventually bequeathed to the Worcester Art Museum. Boléro violet remained in Higgins' family possession until 1990, when it was acquired by the present owner.

#art #french art #henri matisse #postimpressionism

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studioahead · 4 years

Text

Ernest and Esther Born: Northern California Legacy

Ernest (1898–⁠1992) and Esther Baum Born (1902–1987) were architecture's original power couple. Before the Eameses, and way before Venturi and Scott Brown, these two San Franciscans came together to bring their sense of lightness—Ernest with his agile designs, Esther with the flash of her camera—to the Bay Area.

The Borns met at the University of California, Berkeley where both studied architecture. Although their visible legacy is a series of buildings they did in San Francisco—most notably their personal residence at 2020 Great Highway in Outer Sunset (1949) and BART’s Glen Park and Balboa Park stations (mid-1970s)—they began their career in New York City, where they took part in the flourishing downtown art scene of the 1920s and 30s. Their stay in New York was brief—they moved back to the West Coast in 1936—but its influence lingered. Ernest’s architectural designs show an understanding of space inspired by the geometry of modernist painters, and he became an accomplished painter and illustrator in his own right, contributing mural paintings for the Golden Gate International Exposition and doing graphic design for BART in the 70s. Esther worked as a photographer, eventually publishing a monograph on Mexican modernist architecture. Both championed modernism in their hometown.

Their residence in Outer Sunset best highlights Ernest’s use of natural light. Contrary to its neighborhood’s name, the house welcomes the sunrise with huge windows facing east, made more magnificent by an open floor plan that fully embraces the morning light. Using a limited design palette inspired by California’s natural wonders, most notably Douglas fir and travertine, and adding modernist touches, such as a large wall installation in the living room used for hanging art (and looking like a work of art itself), Ernest combined his bicoastal pedigree for a striking house that makes the best of both coasts.

It was Born’s attention to light that influenced Aidlin Darling’s expansion of the house in 2008. Rather than alter the original structure, AD built a three-story addition next to the original that complements the ideas behind Born’s design. The new structure rises organically from the surrounding pines, a thing of air and levity pierced by the sun during dawn and dusk: its large windows face east and west. Though it may outshine, literally, the original, the addition pays close attention to Born's choice of materials and shape. Just as the Borns advocated for a dynamic San Francisco in conversation with other great cities, so too do these two structures converse with each other, highlighting their differences while being obviously connected by a unifying aesthetic.

One can sense this aesthetic in Born's Glen Park and Balboa Park stations, which despite being in the Brutalist style, have a nimble, spacious essence . The former features glass walls and a glass ceiling that allows light to stream into the concrete structure. Its large, marbled mural in warm colors and abstract shapes shows a modern art influence.

These buildings constitute the Born's public legacy, but it is their “invisible” legacy, the series of editorial and artistic work they did in the 30s and 40s, and the one now privy only to the archivist’s eye, that most celebrate San Francisco’s distinct cultural milieu. In the April 1937 issue of the Architectural Record, where Ernest was chief art editor, he and Esther published “The New Architecture in Mexico,” which showcased the works of modernist Mexican architects like Juan O’Gorman and Luis Barragan. This was surely influenced by their friendship with Frida Kahlo and Diego Rivera, whom the couple met when living in New York. Esther had spent several months in Mexico photographing various modernist buildings, which she then used to introduce Mexican architecture to a broader American audience. Perhaps the Borns understood the Bay Area’s indebtedness to Mexican culture and the exchange of ideas that crossed borders. A decade later, Ernest’s exhibition Domestic Architecture of the San Francisco Bay Region cataloged the evolving design scene of his native city, and he continued to imagine a bolder, newer San Francisco in his designs—a grand design scheme for Fisherman’s Wharf, for instance—even though these were never built.

A final note about the Outer Sunset house: the original structure, viewed from the street, is an almost-windowless facade that was once dubbed the “Born Barn” for its drab, wooden features. Few would expect the light-embracing grace of its other side. Away from the public, Ernest and Esther Born cultivated a legacy that honors San Francisco, yet still shines with the city's beauty, for those who seek it out.

Esther Baum Born. Estate of Ernest and Esther Born.

The living room of Ernest and Esther Born at 2020 Great Highway in their Outer Sunset home in San Francisco.

Born in his Outer Sunset home, 1979. Photo: LeRoy Wilsted, Wilsted and Taylor.

Born House, San Francisco, 1965. Ernest Born, architect. Photo: Roger Sturtevant.

Aidin-Darling’s 2008 addition to Born’s 2020 Great Highway house in Outer Sunset. Original house to the left.

Furnishings from new home owners. Interior architecture, materials and lighting original to Born’s design.

Glen Park Station designed by Born. Environmental Design Archives, University of California, Berkeley.

Sketch of marble mural at BART’s Glen Park station.

#Esther Baum Born #Ernest Born #Aidlin Darlin #Glen Park #Frida Kahlo #Diego Rivera #San Francisco Bay Region #Northern California #Architecture #Interior Deisgn #Graphics #Studio Ahead #San Francisco #Bart #2020 Great Highway #Outer Sunset

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craftsmanpainters · 3 years

Video

youtube

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poppy-in-the-woods · 6 years

Text

Let’s Be Weirdos Together (Chapter 18)

Summary: Alice O’Riley is a lonely outcast. She’s ready to finish the senior year and get the hell out of her hometown… until she meets Kostya and he turns her world upside down.

Pairing: Kostya Bocharov/OFC

Overall tags: high school, romance, fluff, real person fanfiction, smut.

Tags for this chapter: high school, love at first sight, family problems.

Author’s note: Here it is, chapter 18 at last. Tumblr finally let me post it. I can’t draw for shit, but if someone wants to draw Alice’s painting, go ahead. Just tag me so I can see it and like it and reblog it.

Thanks again to kostyaaas for encouraging me to post this and thanks to mycoolodessaguy for beta-reading this (They’re so cool, you should check their blogs if you haven’t yet). Hope you like this cheesy high school AU and remember that feedback is always welcome.

18 Hostile waters

I arrived home later that night in a really good mood, only to be met with an unpleasant surprise.

—Alice, how come you haven’t applied at any college yet?—my dad wanted to know.

—I haven’t decided where I want to go yet—I shrugged.

It was a lie, of course. I had been looking for art academies all over the United States and Europe since Bohdan and Alexander had praised my work.

—Sit down, we have to talk.

I sighed but did as my father told me.

—I thought you wanted to go to Cornell, like your father— my mother said.

—No, that’s what he wants.

—Berkeley, then?—asked my father.

—No!—I made a pause, unsure whether or not I should speak my mind. Well, it had to happen, sooner or later; maybe that was the moment—. You’re completely missing the point: I don’t want to study architecture—I finally said.

—Then what do you want to do?

—I want to study Fine Arts! I want to be a painter or an illustrator, something that has to do with drawing.

—Architecture has to do with drawing—said my father, as stubborn as always.

—It’s not an art! It’s engineering and I don’t want to be an engineer.

—But I thought…

—Dad, I respect and admire what you and all the other architects in this world do, but I don’t wanna be one of you!—I said. It felt really good to take all that off my chest— I hate calculus! And physics and everything that has to do with buildings not falling apart like a house of cards under the softest winds.

—But honey, you can’t live out of art alone…! You have to make some money—my mother said.

—Your mother is right; you have to have a career and a day job—my father added.

—Oh, so you don’t think I can be good enough to get paid for my art? Thank you, mom and dad, for your amazing support.

And I stormed out of the room, divided between rage and sadness. First, I alternated between punching my pillow and crying but then something hit me: I could paint away all my sorrows. So I began aggressively painting while listening to my music so loud on my headphones it was borderline deafening. I even refused to go downstairs when my mom called me for dinner.

That wasn’t a new thing, my parents knew that I liked painting, they even bought me an easel and paints and I took drawing classes every summer since I was ten. Why did they seem so disappointed then?

Near midnight, I finished what I had been painting: it was a portrait of Kostya with angel wings that dripped blood. He was chained to the ground by his arms and neck and he was mostly naked, only wearing a shred of cloth to keep modesty. He had flown the extent of the chains and had his arms flexed, tugging at the chains; some of them were beginning to break, but not quite enough to let him free.

But was him or was really me who was in chains? My beautiful lover was nothing but free. Me, on the other hand… I felt like Sisyphus, carrying the same boulder up a mountain, again and again, unable to escape a predestined future.

I snapped a picture of the painting with my phone and sent it to Kostya. Exhausted, I took off my painting coat, collapsed on top of my bed and fell instantly asleep without taking off my clothes or my shoes.

Do you know how sometimes, even when you’ve slept you have those bad dreams and you wake up the next morning feeling like shit? Well, the next morning I felt like a true suffering soul.

—Oh, dear, you look like shit—Letha said when she saw me.

—I just need to sleep for two days straight and I’ll be fine again.

—What happened?

I told her what had happened the night before with my parents as we arrived at the school’s parking lot. In the end, I showed her the picture of the painting.

—I don’t know what got me, but I painted that in like three or four hours.

—It’s very beautiful. Did Kostya see it?

—I sent him a picture, so I guess he saw it, yes.

—Oh, here he comes! Hi, Kostya! Where’s Kristian?

—Hi, Letha, he’s with Alexander today—he explained—. Good morning, my angel—he greeted me, kissing the back of my hand—. How are you today?

—I’m very tired.

—What do you say if we skip school?—he suggested.

—I’d love to, but I can’t, my parents will find out. I don’t want to disappoint them more than they already are.

—I can make the nurse excuse us—he said.

I was exhausted and I really could use a day off, so if I could get by skipping school without consequences, to hell with it.

—Okay.

—Have fun you two!—Letha laughed.

—No fun today, only relax—said Kostya.

We went to the infirmary and Kostya hypnotized the nurse so she would excuse us. Letha said goodbye before going to her first class.

—I wish I could go with you, but I really need a good grade in this one—she sighed.

—Don’t worry; I will take care of her.

#Melovin #mélovin #kostya bocharov #melovin fanfic #let's be weirdos together #poppy writes

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