Arts2- Philadelphia's classic culture of Art and the Arts:

Welcome Back!!! The wonderful journey through Philadelphia and The Arts continues in this episode. There is much to see here and I've added a variety of magnificent pieces to the series, sure to satisfy the Intetests, and add the certain depth to the scene with this one. Refer back to episode-1 for great introductories. This one here will move at a slightly faster pace, and The topic will be Sculpture and Wares. I've also remained two paintings, including one still-life—for color.

Here we go. Enjoy.

GUSTAVE JOSEPH CHERET

FRENCH

BORN 1838, DIED 1894

FOCUS:

Le Vernissage (The Opening), c. 1892

Glazed earthenware

Made by the firm of Joseph-Theodore Deck, Paris, 1856-1904, Designed by Cheret.

*A gift of Priscilla T. Grace in memory of Ana d'Harnoncourt.)

     This glazed piece of earthenware was unique to me, not only because of its' cast style, but the obstacle that my own eyes could not elude, and that was its swimming-bluish turquoise interior, in contrast to its' pale white outterlay. For a simple water-bowl (if this might have been its' intended use), the color-scheme works out magnificent. Small cherubim presumably, and plant vegetation, are what adorn the exterior lips' cicumference—and its legs fold underneath like leafy springs—stabilizing, balancing the heavy round object (perhaps 50 or 60 pounds easily, seemingly as solid as cast-iron to the eye, when viewed in person. This French original from around 1892 showed no sign of timewear nor evitability. The small naked children seem to be jumping from its mouth).

HENRI FANTIN-LATOUR

FRENCH

BORN 1836, DIED, 1904

FOCUS: 

STILL-LIFE WITH CHRYSANTHEMUMS, 1862

OIL ON CANVASS

     For those who are not as familiar with the concept of congruent art adjacent realism, here is just such a piece to most likely first capture the eye of interest, with its' dramatic scene of wild chrysanthemums of various color and breed. The flowers just fall all over the face of the canvas, at the viewer, shadowed perfectly according to the approach. Leafy and green between each and the stems are marvelous. This piece really, truly is, fighting its way to escape the canvas—the phantom zone, by the artist to his work.

*

--FOCUS:

INKWELL, c.1915-33

GLAZED EARTHENWARE

MADE BY PLASTEELBAKKERIJ P. van der WÀNT GZN. IVORA WORKS, GUODA, NETHERLANDS, (1914-1965)

     This fine piece I found in mint condition—(including its' lid)! The interior is extremely unmarked, as the quill and like-fashionedink-drawn pens of the closing era may have inflicted. It seems to have been designed to hold about two-ounces of ink at a session; and has much more beautiful body work to show-off as an illusion. For those who know me as a proficient literary writer, this piece would be irreplaceable in my collection from its' era. 

     Its' origins are in Holland, and the exterior patterns compliment this. This is just truly a sparkling piece! The inspiration for writing just may have been phenomenal. If any work got done at all. This piece, was flawless I tell you.

*A gift of Martina Schapp Yamin.

EDGAR DEGAS

FRENCH

BORN 1834, DIED 1917

FOCUS: 

Little Dancer, aged Fourteen:

Executed in wax 1878-81; cast inbronze after 1922

Bronze cast, tulle, and silk by the foundry Adrien Hebrard, PARIS.

  There are only twenty-five surviving of these novelties of Edgar Degas' passion with the young ballet and ballerina, and one of them—exactly two are held in Pennsylvania—one in Pittsburgh, and the other, here, at the Philadelphia museum. I found this one a beautiful and serene piece and full of classical pose. These pieces are very famous. Here's what the Museum's inscription read, about the fact:

     "Degas depicted young ballet dancers—in performances, at rehearsals, or at moments of exhausted rest—in numerous paintings, drawings, pastels, and monotypes. In 1878, he added to his investigation of theme. A young dancer named Marie van Goethem posed for what would be the only sculpture Degas exhibited during his brief lifetime. Originally executed in wax, and shown in 1881, the work daringly incorporated real elements such as the dancer's tulle tutu and silk hair ribbon. The sculpture was cast in bronze around 1922, several years after Degas's death."

     I have deep admiration for Degas's art, and this is one of exceptional expression of a persons' inner visions and appreciations being displayed in a self content. For all others to reason and try.

(*The donor to the Museum will be later posted on this one.)

JEAN-BAPTISTE CARPEAUX

FRENCH

BORN 1827, DIED 1875

FOCUS:

PRINCESS MATHILDE

PLASTER

     From the museum's inscription I was informed that Princess Mathilde was one of the most lively figures of Paris's cultural and social scenes. That, with a haughty gaze, she evokes the grand manner of French aristocratic portraiture here, and of our previous centuries. To say—The dignity of crown is a significant and weightful device. Princess Mathilde was also a favorite cousin and close friend of the French emperor Napoleon III. This sculpted piece showcases more of her as an individual, and enveloped in strong garments with authoritative and wisdomized cheek and posture. Truly, she seems here beautiful and educated.

*Purchased with the Fiske Kimball Fund and funds contributed by the Friends of the Philadelphia Museum of Art.

WILLIAM RUSH 

AMERICAN 

BORN 1756, DIED 1833

FOCUS: 

ALLEGORY OF THE SCHUYLKILL RIVER ( WATER NYMPH andBITTERN), 1872 CAST IN BRONZE IN 1872; ORIGINALLY MADE IN PINE AND PAINTED WHITE---IN 1809.

     I took a picture with this piece, because it is truly glorious. This Water-Nymph allegory has stunning feature, and command over the beholder whom should happen to encounter. What is its secret?—why such a striking command to the imagination? The answer is simple. Water-nymphs are beings of extraordinary fictional intrigue, from the likes of Homer, and Ovid, to all those who've been graced by their sandals. After all, who wouldn't want to encounter a being existed soley for the pleasure of sex, solely for the beauty of eye—solely for the stimulative imagination.

     The original version was carved in wood for a fountain that stood in front of Philadelphia's first waterworks at Centre Square, the place where City Hall now stands. Water spewed from the beak of the bittern, bird that frequented the banks of the Schuylkill River. Concerned about deterioration of the wooden original, which had been moved in 1829 to the new waterworks at Fairmount (later the site of the Philadelphia Museum of Art), the city ordered this bronze cast made in 1872.

*It was received on loan from the Commission of Fairmount Park.

PABLO PICASSO

SPANISH

BORN 1881, DIED 1973

FOCUS: THREE MUSICIANS, (1921)

OIL ON CANVASS

     What Pablo Picasso wanted to do is what he became famous for—interrupting the standardized art world in order to inject the possibilities of greater depiction through personalized unmanipulated sight. In this piece, if Three Musicians, this concept is exemplified. One can clearly associate art, with its musical bretheren, see the style of conversation mpaeison to and through original though-linkage, and give the message regularity, rather easily,on the first try. The jazz sunglasses, the funny-colored lively suits. All the way down to the stance—and the supposedly pose for the picture. Picasso was instrumental in proving that other dipictions—ways that are currently being seen—are available for art, and are being also utilized by our common minds. Therefore, I substantially favor the ethics of this artist. The work is not bad either---now understanding it.

*This piece was given from the A. E. Gallantin Collection.

FEMI IGE

AMERICAN of  NIGERIAN, NATIVE AMERICAN, and Complimentory Decents.

BORN 1976—

FOCUS:

SIGNIFICANT THINKING

Photography with the Writer and Visual Artist.  

 


   And here's me, in a tablet photography shot, with the famed statue of our Philadelphia great Rocky Balboa!—nearby the great stair entrance, to the famed museum (which politely adorns the background...). I couldn't resist. Not only am I such a big fan of Rocky, but because the crafted story of 'like' his, is a work of art. Nowhere has emotion run so deep, as to move entire persons and entire nations, and cross-color lines, and previous ethics in a 1980's set organizational is. And hope-weighing unspoken faithhoods (like his uncanny relationship to his genuine best-friend Apollo Creed)—for instance. Rocky, a man who revived a train of thought to a nation so as it would not lose grasp with its' own evolutionary forefronts that precedated it above all others. And then to the world: "Never give-up, when out to accomplish what it is that you have set out to do; the meaning which is greater than even you; absolutely—until you have accomplished!" (My own words of interpretation, non-verbatim).

     So, you see, I had to pose with this piece. To interpret and break barriers of my own. I was surprised, now that I'm grown-up, the statue has been moved to a new location (from the stairs-top, I believe). To see it again: THIS THING IS MONSTROUSLY HUGE! The crafter of the statue is—

So, that will wrap us up for this session, I invite you to do private verification studies on each of the individuals, and their work, for extra information, culture, and solidity in approach to casual coffeehouse conversation. Or for more information on the history of this famed and remarkable depiction of man in finest hours, drop comments in the comments-box below, (don't forget your email!), and share the site with your friends of like-conversation and honing tastes!!!

     Join us next episode when the theme will be the great American portraitist Charles Wilson Peale, master of the earliest persona and Presidents. "The 'Revolutionary' Man." You'll see astounding detail in this one. By the replicator of  the early images that helped shape our Founding nation. Remarkable significance and talent skill. Be sure to catch it. This one is not to be missed.

Later,

Adetokunbo Oluwafemi Ige

November 1st 2015

Nemesisi Intellectual Communications