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whencyclopedia · 7 months ago

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Interview: Pre-Raphaelites: Modern Renaissance

Pre-Raphaelites: Modern Renaissance marks the first multidisciplinary exhibition in Italy to examine the profound impact of Italian Renaissance art on the Pre-Raphaelite movement, which flourished in Victorian and Edwardian Britain (c. 1840-1920).

Displayed throughout the hallowed halls of the San Domenico Museum, a restored 13th-century Dominican convent in Forlì, Italy, are over 300 works of art, which juxtapose and highlight the revolutionary creativity and intensity of two important artistic eras. In this exclusive interview, James Blake Wiener speaks to Mr. Peter Trippi, a co-curator of the exhibition and an expert of Victorian art, about the exhibition.

JBW: Peter, thanks so much for speaking to me and introducing us to a most gorgeous exhibition.

I have always seen the Pre-Raphaelite artists as rebels and innovators. Their rejection of Victorian complacency and industrial materialism, as reflected in their works, shocked segments of the British public. Looking to the distant past to find a more natural vision, Pre-Raphaelite artists embraced that which was ordinary while still applying innovation to technique and treatment of form in novel ways.

What was it that made the revolt of the Pre-Raphaelite Brotherhood so enduring and yet so profound in its immediate impact?

PT: The earliest paintings exhibited by members of the Pre-Raphaelite Brotherhood electrified their contemporaries in the late 1840s and early 1850s for several reasons. Visually, they were completely out of step with everything around them at London's crowded major exhibitions: their brilliant coloring stood out from the drab browns and greys used by most artists at the time; their draftsmanship and paint handling was precise rather than "sloshy" (the term they used to criticize their older colleagues); their compositions were willfully naïve and sometimes even jarring, ignoring the polite post-Raphaelite conventions that the Royal Academy promoted; and they were depicting narratives that were unexpectedly high-minded (such as the Annunciation to the Virgin Mary) or gruesomely passionate (such as the run-up and aftermath of Lorenzo's murder in John Keats's Romantic poem Isabella and the Pot of Basil). Viewers could see these were young men with talent and something fresh to say, but they were not quite sure what to do with it. It was not until 1851, when the prestigious critic John Ruskin came to their defense, that the British public began to accept these innovations.

The continuing power of those innovations was demonstrated in 1986 when I was sitting in an art history lecture hall at the University of St. Andrews in Scotland. As an American exchange student, I had never even heard of the Pre-Raphaelites (who were little known in the U.S. then). But I sat up straight in my chair as their brilliantly colored, oddly composed, and often erotic images came up on the screen. 175 years after its launch, the Pre-Raphaelite Brotherhood's power to fascinate is still evident. Once they start, people cannot stop looking.

JBW: Highlights on display within the exhibition include celebrated paintings and drawings by the great Italian masters, including Botticelli, Lippi, Verrocchio, Michelangelo, Veronese, Titian, and even Guido Reni. These are juxtaposed with major works by British artists including Dante Gabriel Rossetti, John Everett Millais, William Holman Hunt, John Ruskin, and J. W. Waterhouse, among others. The pairing of Renaissance Italian antecedents with Pre-Raphaelite masterpieces affords visitors a rare opportunity to compare and contrast across time and space.

What new perspectives can the visitor learn with regard to Pre-Raphaelites as a result of this exciting pairing?

PT: The exhibition at Forlí has a light touch; it is almost poetic in the way it allows the Italian Old Masters and their British admirers to converse with each other in the same rooms, without striving to show direct influences or replications. A great example is the large room of Dante Gabriel Rossetti's mature paintings, most of which show women in bust-length portrait formats, as if sitting at a window. These images (of such sitters as Jane Morris and Fanny Cornforth) have become famous around the world, but never before have we seen them hanging side by side, literally interspersed, with the Madonnas, Florentine noblewomen, and Venetian courtesans to which Rossetti was responding. It is only in an art-rich country like Italy that a museum can make this case so visibly. In the UK, for example, there simply are not enough of the Italian prototypes available to lend them to a show about 19th-century British art. My co-curator Liz Prettejohn and I knew that this opportunity might never come again and so we pounced on it. Once visitors leave that Rossetti room, they will never see his famous woman-at-the-window the same way; suddenly her backstory has become clear.

JBW: Aside from paintings and drawings, sculptures, prints and photographs, to furniture, ceramics, glass, metalwork, tapestries, wallpaper, illustrated books, and jewelry are also displayed within Pre-Raphaelites: Modern Renaissance.

Many Pre-Raphaelites artists believed that the way art was produced could shape wider cultural values. Is this reflected within the exhibition, and if so, how?

PT: Our curatorial team was eager to show how the Pre-Raphaelites' innovative ideas about the power and romance of Italian Renaissance art were transmitted not only through "fine art" (paintings, sculptures, drawings, and prints) but also through the applied (decorative) arts. We invited Dr. Charlotte Gere, the London-based scholar of decorative arts, to join the team, and she selected most of those artworks, primarily from the Victoria and Albert Museum, Fitzwilliam Museum, and British Museum, but also from other UK collections. One of her aims was to show that the "second generation" of Pre-Raphaelites – especially Edward Burne-Jones and William Morris – were determined to bring their aesthetic into immersive environments ranging from churches to the dining rooms at the Victoria and Albert Museum. They also made objects in every possible medium that individuals could buy and live with, often on the expensive side, but not always. By 1870, their worldview had morphed into the Aesthetic Movement (the so-called Cult of Beauty), which impacted every aspect of visual culture in the UK and, by extension, its empire and the United States. The most dramatic examples of immersive decoration in our show are the huge Holy Grail tapestries designed in the 1890s by Edward Burne-Jones and hand-woven by William Morris's team for a wealthy collector's baronial hall near London.

JBW: Pre-Raphaelites: Modern Renaissance additionally explores the important and often overlooked contributions made by accomplished female artists to the Pre-Raphaelite movement.

What can you tell us about these Victorian talents, and how are they differentiated from their male colleagues within the show?

PT: We are pleased to have 15 women artists represented in our exhibition through 26 different works. In order of appearance, they are Elizabeth Siddal, Christina Rossetti, Maria Rossetti, Eliza Jameson Strutt, Evelyn De Morgan, Christiana Jane Herringham, Constance Phillott, Maria Cassavetti Zambaco, Marie Spartali Stillman, Julia Margaret Cameron, Beatrice Parsons, Marianne Stokes, Phoebe Anna Traquair, Eleanor Fortescue-Brickdale, and May Cooksey. Over the past quarter-century, scholars have proven that women were fully involved in the Pre-Raphaelite movement as it evolved over time, but usually, their stories have been ignored or even erased by subsequent generations. That injustice is certainly not unique to art history, but it is time to rectify it, and we were delighted that so many relevant loans were approved.

Some of these women have been thoroughly studied (such as Dante Gabriel Rossetti's wife and collaborator, Elizabeth Siddal) while others still need to be investigated (such as the enigmatic May Cooksey). We have scattered them throughout the show rather than placing them in a female "ghetto," and we are especially proud to have six major examples of mature work by Evelyn De Morgan. Her parents wanted her to marry a rich man and start a family, but with the help of her artist-uncle J. R. Spencer Stanhope (also in our show), she pursued formal artistic training and ultimately exhibited her large symbolist canvases at London's prestigious Grosvenor Gallery right alongside starry male colleagues like Edward Burne-Jones. I would argue that she surpassed her uncle in quality and ambition.

JBW: I was intrigued to learn that over time, the Pre-Raphaelites and their admirers shifted their attention to other periods in Italian art, including 16th-century Venetian art.

Could you tell us more about this transfer in focus, and how that is revealed within the exhibition?

PT: Because the period we are studying is so long (1840s through 1920s), it is inevitable that the British artists would shift in their predilections for Italian art. In the beginning, the Pre-Raphaelite Brothers had little original Italian art to study in person in London, so they consulted prints and illustrated books. One of their heroes was Fra Angelico, not only for his seemingly naïve compositions and handling (naïve as compared with Raphael) but also because he was a monk – a man of faith who expressed his devotion through art, something the Brothers felt was lacking in British art of the 1840s. Our co-curator Cristina Acidini (former head of the Museums of Florence) selected a superb Angelico, which is now displayed at one end of the huge church that serves as our exhibition's first gallery. At the other end, she has placed Botticelli's famous Pallas and the Centaur so that they face each other. This is a brilliant and quite poetic juxtaposition; back in 1848, when the Brotherhood launched, no one was talking about Botticelli at all. By the 1870s – thanks in large measure to British scholars and collectors getting interested in him – Botticelli was all the rage and was particularly influential on Edward Burne-Jones, whose Holy Grail tapestries are shown just beyond Pallas and the Centaur.

We have many moments of transition like this throughout the show. The gallery devoted to Frederic Leighton is a key example, with its insertion of Lotto, Veronese, and Reni – a disparate trio of heroes! Again, such a loan list could only happen in an art-rich country like Italy. No British or American museum could deliver these prototypes in such quantity or quality.

JBW: One can say that the convent, itself, is another star of the show.

How was it chosen as the venue for Pre-Raphaelites: Modern Renaissance, and why is it the perfect venue to showcase Pre-Raphaelite and Renaissance masterpieces?

PT: It was only in 2021 that director Dr. Gianfranco Brunelli conceived this theme as a logical extension of the series of superb loan exhibitions he has been mounting at the Museo San Domenico. (Most of them have focused on Italian and Continental art, including specific masters and themes such as Mary Magdalene. This is the first one to encompass British art.) He brought in Cristina Acidini (see above) and Francesco Parisi (an independent scholar based in Rome) and then Liz Prettejohn and me. In 2022, we began requesting loans from museums and individuals around the world, and by February 2024, we were opening the show! That is a comparatively quick development process, and I think one reason it worked so well is that many lenders were intrigued by the idea of their British-made, Italian-inspired artworks being shown in Italy to modern Italian audiences.

This theme has previously been tackled in a few exhibitions (e.g., London, San Francisco), but with only a few Renaissance prototypes on view – never so many as we have now. Moreover, the fact that the Museo San Domenico is a renovated medieval monastery adds visual power and meaning to the visitor experience; this is especially notable in the former refectory now devoted to Edward Burne-Jones. In many of his paintings we see scrolling foliage that he borrowed from Renaissance art, and painted on the ceiling above in the Middle Ages are those same scrolling forms. The outer walls are lined with Burne-Jones's art, while the middle of the room features major prototypes by such forerunners as Bellini, Mantegna, and Michelangelo.

JBW: Many readers may agree with me that the Pre-Raphaelite artists remain so compelling because of the exuberance, naturalism, and luminosity found in their works. The Pre-Raphaelites' love affair with the art of the Italian Renaissance allowed them to drive innovation within artistic creation.

What then is the legacy of the Pre-Raphaelites? Moreover, why do you believe visitors come to see this exhibition?

PT: I think that many museums today underestimate the ability of visitors to connect the visual dots for themselves. We are often "spoon-fed" curatorial arguments because our own grasp of art history is slim, and that is OK because it is better to do this than appear exclusive or intimidating. In Italy, however, all young children in public and private elementary schools are taught art history and studio art (and this continues right through high school). And, of course, they are literally surrounded by Italian Renaissance art, which they see not only inside churches and museums but also in public spaces such as piazzas. This means that the visitors in Forlí (95% of whom are Italian) are already familiar with the Italian Renaissance art on view, and therefore eager to learn about the British artists who revered it and adapted it to their own ends.

The response we are getting (through the Italian media and conversations occurring inside the exhibition galleries) is one of surprise (e.g., "How did we not know about these terrific British artists before?") and also of mutual respect: this show is about a profound love and admiration that British artists felt for Italy, and in the final room we even show examples of how late 19th-century Italian artists integrated British approaches into their own work.

We hope that all our visitors will choose to learn more (perhaps by visiting major collections of Pre-Raphaelite art at venues like Tate Britain and the Birmingham Museum & Art Gallery), and ultimately see how imagery and ideas travel across eras and places that are seemingly disparate. Artists play a special role in society by transcending superficial boundaries and looking – really looking – at their colleagues' creations with respect and insight.

Art made by Italians at the end of the nineteenth century

JBW: Peter, on behalf of World History Encyclopedia, I thank you so much for sharing your knowledge with us! I thank you so much for your time, consideration, and expertise. PT: Thank you for taking the time to ask these important questions!

Pre-Raphaelites: Modern Renaissance remains on display, at the San Domenico Museum Piazza Guido da Montefeltro, in Forlì, Italy, until June 30, 2024.

Peter Trippi is editor-in-chief of Fine Art Connoisseur, the national magazine that serves collectors of contemporary and historical realist art, and president of Projects in 19th-Century Art, a firm he established to pursue research, writing, and curating opportunities. Based in New York City, Peter recently completed a six-year term as president of the Foundation for Advancement in Conservation, which supports and raises awareness of the American Institute for Conservation, the country's leading society of conservation and preservation professionals. Peter previously directed the Dahesh Museum of Art (New York City), headed development teams at the Brooklyn Museum and Baltimore Museum of Art, and has created (with Prof. Liz Prettejohn, University of York) international touring exhibitions and publications devoted to the 19th-century British painters J.W. Waterhouse and Lawrence Alma-Tadema. Their latest curatorial project, the exhibition Pre-Raphaelites: Modern Renaissance, is on view in Forlí (near Bologna, Italy) through June 30. It is accompanied by a 600-page catalogue in Italian.

#History #RenaissanceArt #Italy #Britain

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thatstormygeek · 5 months ago

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But it isn’t worth getting lost in the pedantic details; details that even Trump doesn’t waste time on. What matters here is the overall image he and his coterie wanted to paint: an image constructed by surrounding the doddering, terrified 78-year-old manchild with comic symbols of hypermasculinity (Hulk Hogan, Kid Rock, Ultimate Fighting Championship CEO Dana White—the latter of whom was last seen drunkenly slapping his wife in a Mexican night club on New Year’s Eve); by Trump kissing the fireman’s uniform of his “fan” killed by a stray bullet at his rally, and wearing the comically oversized ear bandage to remind everyone of his near-brush with death. It is the image of Trump as God-appointed leader, the nation’s savior, and protector against the violent “un-human” hordes. Major media, parroting the Trump team’s pre-spin, had promised for days that the speech would be an exercise in “unity,” reflecting a newfound humility that Trump had allegeldy gained from his brush with assassination last weekend. Racket readers were better prepared: As I argued on Tuesday, Trump’s obvious move would be to follow the example of fascist leaders before him —including Generalissimo Francisco Franco and, yes, Hitler — in claiming that his near-death experience was “proof” that his authority was sanctioned by the divine.

The New York Times tried to “contextualize” Trump’s threats a few days ago, noting that the “costs and hurdles would be enormous.” But this is, again, missing the forest for the pedantic trees. The point isn’t that it would be easy or legal to round up 20 million people, any more than it was going to be easy or possible to “build the wall” during his previous term. It’s that this is the direction he wants to drag the entire country in. And don’t be confused about this: Rounding up 20, or even 10 or 5, million people is a project that will touch every aspect of life in the United States. It will mean checkpoints and random raids at workplaces and in neighborhoods; it will mean mistakes, wrongful detentions and deportations, racial profiling and state violence at an unprecedented scale. I can tell you from having covered past threatened mass expulsions, particularly in the Dominican Republic, that even when the full extent of the government’s threat is not realized, in practice it is an exercise in terror and a virtual carte blanche for violence against the targeted minority, up to and including outright lynching. The Times wrote that “consensus among immigration experts and former homeland security officials is that logistical, legal, bureaucratic and cost barriers would make it virtually impossible to carry out the mass deportations Mr. Trump seeks in the span of a four-year presidential term.” But what legal barriers? The Supreme Court just ruled that a president can do whatever he wants, so long as it is an “official act.” And who says Trump — who, again, tried to overthrow an election by force — will allow himself to be limited to just one more four-year term? And I guess, at root, that’s why I and other political observers sat through all 92 minutes of the longest, most rambling, incoherent speech by a major party nominee in televised history. Because if the Democrats, media, and the rest of the supposed pro-democracy opposition don’t get it together and figure out how to stop this immediately, it will be a preview of the next chapter of our lives.

#us politics #jonathan m katz #the racket #fire the gop #republicans are unfit for office

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postcard-from-the-past · 8 months ago

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Basilica and Dominican convent in Saint-Maximin, Provence region of France

French vintage postcard

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muspeccoll · 1 year ago

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Manuscript Monday comes to you with a nearly complete fifteenth-century Book of Hours from the Convent of Santi Giovanni e Paolo in Venice. This manuscript has two sections, the second having been added to the first within a generation of the book's manufacture. The first section of the manuscript (fols. 1-270) contains a standard Italian Dominican Book of Hours with a kalendar, Hours of the Blessed Virgin Mary, Office of the Dead, Penitential psalms, and Short Hours of the Cross. Exceptionally, unusual, however, are the contents of section two, which opens with a rare Office of the Glorious Virgin, followed by two Marian litanies. Such litanies multiplied in the late fourteenth and fifteenth centuries, and these follow the standard pattern of calling on the Virgin by her attributes, as a mother, brides, spouse, intercessor, etc. Learn more about this manuscript at the link below:

#medieval manuscripts #manuscripts #books of hours #italian #medieval #rare books #bookhistory #special collections #middle ages #medieval art #mizzou #university of missouri #libraries

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detroitlib · 1 year ago

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Biblia Latina, fragment.

Ms. France or southern Flanders, early fourteenth century. Written in dark brown ink in a regular Gothic hand; text in 2 columns of 50 lines. Decoration: 11-line initial P historiated with standing figures of the Virgin and six men (one with nimbus) in colors against burnished gold background, with full-length bar border sprouting into sprays of ivy leaves (including a small dragon figure), in gold and colors; 6-line illuminated initial, with full-length bar border with sprays of ivy leaves extending along left margin, in gold and colors; 3-line illuminated initial with full-length bar border of ivy leaves extending along right margin of verso, in gold and colors; headlings in red, chapter numbers and running titles in alternating red and blue letters. This leaf is from a lectern Bible once owned by lawyer and judge Mirmellus Arnandi and left to a Dominican convent in 1450. The manuscript was sold at Parke-Bernet, New York, 30th November 1948, lot 326 to Otto F. Ege (1888-1951) who dispersed the leaves.

c.1300

Rare Book Collection, Detroit Public Library

#biblia latina #manuscript #latin #bible #ms #14th century #illuminated manuscript #medieval #middle ages #books #ege #arnandi #gothic #ms.#mss #detroit public library

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historian-in-pearls · 1 year ago

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Do you have recommendations for where to get beeswax candles ?

Do I ever! I get mine handmade by Dominican nuns from their convent in New Jersey (shout-out to Sister Erin, a friend of mine who started her novitiate last year).

#candles #fun asks #november 2023

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upennmanuscripts · 1 year ago

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LJS 477 is a collection of sermons, probably compiled from multiple sources, belonging to a preacher, probably Dominican. It also includes excerpts from De animalibus, attributed to Aristotle, and Isidore's Etymologies. It was written in England, perhaps at the Dominican Convent in Oxford, ca. 1250.

🔗:

#medieval #manuscript #medieval manuscript #13th century #sermons #philosophy #book history #rare books

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brookstonalmanac · 4 months ago

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Holidays 8.16

Holidays

Bennington Battle Day (Vermont)

Children’s Day (Paraguay)

Cotton Day (French Republic)

CPAN Day

Cyrene Asteroid Day

Debian Day

Direct Action Day (India)

816 Day

Ekka People’s Day

Elvis Presley Commemoration Day

Eyeglasses Day

Festival of the Minstrels (Tutbury Castle, UK)

Follow Your Nose Day

GERS Day (Scotland)

Gold Cup Parade (Prince Edward Island, Canada)

Gozan no Okuribi (a.k.a. Daimonji; Kyoto, Japan)

Harmonic Convergence Day

Hestia Asteroid Day

Indie Animation Day

INXS Day

Joe Miller’s Joke Day (UK)

Madonna Day

Madonna del Voto Day (Siena, Italy)

Monty Python Day

National Airborne Day

National Apprenticeship Day

National Authenticity Day

National Backflow Prevention Day

National Energy Day

National Energy Multiplier Day

National Fasting Day

National Independent Worker Day

National Love Your Loss Day

National Roller Coaster Day

National Tell A Joke Day

National Work From Home For Wellness

Palio di Siena (Siena, Italy horse race) [also 7.2]

Patton Takes Messina Anniversary Day

Pine Crest Boys Varsity Tennis Team Day (Florida)

Remember What Your Spouse Wore the First Time You Met Day

Salem Heritage Day (Massachusetts)

Surveillance Day (f.k.a. Wave at the Surveillance Cameras Day)

Tell-A-Joke Day

Thai Peace Day (Win Santiphap Thai; Thailand)

Tipperary Day (Ireland)

True Love Forever Day

Whitmer Fednapping Day

Yukon Discovery Day (Canada)

Food & Drink Celebrations

Baba Au Rhum Day

International Rum Day [also 6.23]

National Rum Day

World Bratwurst Day

Xicolatada (Hot Chocolate Festival; Palau-de-Cerdagne, France)

Independence & Related Days

Anniversary of the Restoration of the Republic (Dominican Republic; 1924)

Constitution Day (Equatorial Guinea)

Cyprus (from UK, 1960; but celebrated 10.1)

De Jure Transfer Day (Puducherry, India)

Fête de l'Indépendance (National Day; Gabon)

Independence Referendum Day (Bermuda; 1995)

New Year’s Days

Parsi New Year (Gujarat, Maharashtra; India)

3rd Friday in August

Carrot Fest begins (a.k.a. The World’s Greatest Carrot Fest; Canada) [3rd Friday & Saturday]

Flashback Friday [Every Friday]

Fry Day (Pastafarian; Fritism) [Every Friday]

GME Professionals Day [3rd Friday]

Hawaii Statehood Day (observed) [3rd Friday] (also 7.4)

Hug Your Boss Day [3rd Friday]

Kool-Aid Day [3rd Friday] (also 2nd Friday)

Men’s Grooming Day [3rd Friday]

National Day of Action Against Bullying & Violence (Australia) [3rd Friday]

National Hawaiian Shirt Day [3rd Friday]

National Men's Grooming Day [3rd Friday]

Weekly Holidays beginning August 16 (2nd Full Week of August)

Elvis Week (Week of 8.16)

National Balayage Week (Week of 8.16)

Festivals Beginning August 16, 2024

Alaska Greek Festival (Anchorage, Alaska) [thru 8.18]

Alaska State Fair (Palmer, Alaska) [thru 9.2]

BBQ & Fly-in on the River (Excelsior Springs, Missouri) [thru 8.17]

BBQ Music Fest (Huntington Beach, California) [thru 8.18]

Bear Creek Folk Festival (Grand Prairie, Alberta, Canada) [thru 8.18]

Beautiful Days (Ottery St Mary, United Kingdom) [thru 8.18]

Bite of Tacoma (Tacoma, Washington) [thru 8.19]

Canadian National Exhibition (Toronto, Canada) [thru 9.2]

Celebrate Erie (Erie, Pennsylvania) [thru 8.18]

Centralia Balloon Festival (Centralia, Illinois) [thru 8.18]

Copenhagen Cooking & Food Festival (Copenhagen, Denmark) [thru 8.25]

Cornfest (Ortonville, Minnesota) [thru 8.18]

Dead on the Creek (Laytonville, California) [thru 8.18]

Electric Picnic (Stradbally, Ireland) [thru 8.18]

Eurocon [European Science Fiction Convention] (Rotterdam, Netherlands) [thru 8.19]

Fan Expo Chicago [f.k.a. Wizard World Chicago] (Chicago, Illinois) [thru 8.18]

Florence Wine Fest (Florence, Alabama) [thru 8.17]

FolkEast (Little Glemham, England) [thru 8.18]

Franklin County Watermelon Festival (Russellville, Alabama) [thru 8.17]

Georgia Mountain Fair (Hiawassee, Georgia) [thru 8.24]

Kool-Aid Days (Hastings, Nebraska) [thru 8.18]

Machias Wild Blueberry Festival (Machias, Maine) [thru 8.18]

Macomb Balloon Rally (Macomb, Illinois) [thru 8.18]

Madison Ribberfest - BBQ & Blues (Madison, Indiana) [thru 8.17]

Nebraska Balloon & Wine Festival (Elkhorn, Nebraska) [thru 8.17]

New Orleans North Festival (Joliet, Illinois)

Northampton Balloon Festival (Northampton, United Kingdom) [thru 8.18]

Old Time Power Show (Cedar Falls, Iowa) [thru 8.18]

Palio di Siena (Siena, Spain)

Philadelphia Folk Festival (Schwenksville, Pennsylvania) [thru 8.18]

Sabin Harvest Days (Sabin, Minnesota) [thru 8.17]

Sarajevo Film Festival (Sarajevo, Bosnia and Herzegovina) [thru 8.23]

Seoul POPCON (Seoul, South Korea) [thru 8.18]

Summerfest (Sleepy Eye, Minnesota) [thru 8.18]

Summerfolk Music and Crafts Festival (Owen Sound, Canada) [thru 8.18]

Sutherlin Blackberry Festival (Sutherlin, Oregon) [thru 8.18]

Wallace Huckleberry Festival (Wallace, Idaho) [thru 8.18]

Western Idaho Fair (Boise, Idaho) [thru 8.25]

Wicomico County Fair (Salisbury, Maryland) [thru 8.18]

Wild Blueberry Festival (Paradise, Michigan) [thru 8.18]

Zoo Brew (Idaho Falls, Idaho)

Feast Days

Agostino Carracci (Artology)

Ana Petra Pérez Florido (Christian; Saint)

Armel (a.k.a. Armagillus; Christian; Saint)

Arsacius (Christian; Saint)

Benjamin Alire Sáenz (Writerism)

Carista (Day of Peace in the Family; Pagan)

Carle Vernet (Artology)

Charles Bukowski (Writerism)

Diana Wynne Jones (Writerism)

Diomedes of Tarsus (Christian; Saint)

The Ditzies (Muppetism)

Edrinios (Arbitration Time; Celtic Book of Days)

Hal Foster (Artology)

Harmonic Convergence Day (Everyday Wicca)

Herbed Butter Day (for Vesta’s Bread; Starza Pagan Book of Days)

Ivan Bilibin (Artology)

Joachim (Christian; Saint)

Napier (Positivist; Saint)

Otto Messmer (Artology)

Roch (Christian; Saint)

Shahenshahi (Parsi New Year; India)

Simplician (Christian; Saint)

Solarinite Day (Church of the SubGenius)

Stephen I of Hungary (Christian; Saint)

Translation of the Acheiropoietos icon from Edessa to Constantinople (Eastern Orthodox Church)

Wave at the Surveillance Cameras Day (Pastafarian)

Lucky & Unlucky Days

Sensho (先勝 Japan) [Good luck in the morning, bad luck in the afternoon.]

Premieres

American Flyers (Film; 1985)

Austenland (Film; 2013)

Blind Faith, by Blind Faith (Album; 1969)

Blue Crush (Film; 2002)

Charlie and the Chocolate Factory, by Roald Dahl (Novel; 1964)

The Commitments (Film; 1991)

Crow De Guerre (The Inspector Cartoon; 1967)

Dear God, by XTC (Song; 1986)

The Electric Kool-Aid Acid Test, by Tom Wolfe (Novel; 1968)

Fiddlesticks (Ub Iwerks MGM Cartoon; 1930) [1st Color Sound Cartoon]

Firemen’s Picnic (Oswald the Lucky Rabbit Cartoon; 1937)

Foreign Correspondent (Film; 1940)

He-Man and the Masters of the Universe (Animated TV Series; 2002)

If I Had a Hammer, by Peter, Paul & Mary (Song; 1962)

Last Train to Clarksville, by The Monkees (Song; 1966)

LazyTown (Children’s TV Series; 2004)

Lover, by Taylor Swift (Song; 2019)

Midnight in a Toy Shop (Silly Symphony Disney Cartoon; 1930)

Olympic Hymn, by Richard Strauss (Hymn; 1936)

Rodeo Romeo (Fleischer/Famous Popeye Cartoon; 1946)

The Roman Hat Mystery, by Ellery Queen (Novel; 1929)

Rules of the Ring, by Jack Broughton (Boxing Code; 1743) [1st Rules of Boxing]

The Scarlatti Inheritance, by Robert Ludlum (Novel; 1971)

Siegfried, by Richard Wagner (Opera; 1876) [Ring of the Nibelung #3]

The Tate Gallery (Museum; 1897)

Tom and Jerry Meet Sherlock Holmes (WB Animated Film; 2010)

Uncle Buck (Film; 1989)

The Usual Suspects (Film; 1995)

The Vanishing Prairie (Documentary Film; 1954)

Volunteers (Film; 1985)

What a Wonderful World, recorded by Louis Armstrong (Song; 1967)

Wimmin Hadn’t Oughta Drive (Fleischer Popeye Cartoon; 1940)

Winning the West (Mighty Mouse Cartoon; 1946)

Today’s Name Days

Alfred, Rochus, Stefan, Theodor (Austria)

Krunoslav, Roko, Stjepan (Croatia)

Jáchym (Czech Republic)

Rochus (Denmark)

Aulis, Aurel, Kuldar, Kullar, Kullo (Estonia)

Aulis (Finland)

Armel, Roch (France)

Alfred, Rochus, Stefan, Stephanie (Germany)

Alkiviadis, Apostolos, Diomedes , Diomidis, Gerasimos, Sarantis, Seraphim, Stamatia, Stamatis (Greece)

Ábrahám (Hungary)

Rocco, Serena, Stefano (Italy)

Aistars, Astra, Astrīda (Latvia)

Alvita, Butvydas, Jokimas, Rokas (Lithuania)

Brynhild, Brynjulf (Norway)

Alfons, Alfonsyna, Ambroży, Domarad, Domarat, Joachim, Joachima, Roch (Poland)

Leonard (Slovakia)

Esteban, Roque (Spain)

Brynolf (Sweden)

Yukhym (Ukraine)

Craig, Kraig, Roch, Rochelle, Rochester, Rock, Rocky, Serena, Serenity, Serina (USA)

Today is Also…

Day of Year: Day 229 of 2024; 137 days remaining in the year

ISO: Day 5 of Week 33 of 2024

Celtic Tree Calendar: Coll (Hazel) [Day 14 of 28]

Chinese: Month 7 (Ren-Shen), Day 13 (Red-Zi)

Chinese Year of the: Dragon 4722 (until January 29, 2025) [Wu-Chen]

Hebrew: 12 Av 5784

Islamic: 10 Safar 1446

J Cal: 19 Purple; Fryday [19 of 30]

Julian: 3 August 2024

Moon: 87%: Waxing Gibbous

Positivist: 4 Gutenberg (9th Month) [Napier]

Runic Half Month: As (Gods) [Day 9 of 15]

Season: Summer (Day 58 of 94)

Week: 2nd Full Week of August

Zodiac: Leo (Day 26 of 31)

#Holidays

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