Monday 14 April 2014
Before posting the next and final discussion concerning trees as metaphors, I have been busy adding fresh images to this blog’s galleries that can be accessed by clicking on the set of links to the right of the” Home” button at the top of the page.
For the “Architecture and Ornament” gallery I have posted a lithograph featuring a bouquet-like arrangement of what I assume to be a bundle of fig leaves crowned with a head of maize or corn. Doubtless, this beautiful design has found its way into a woodcarver’s storehouse of motifs.
In the “Figures and Fauna” gallery you’ll see the best set of ears around. They are simply stunning—if you have a leaning to drawings steeped in the traditions of the nineteenth-century academies.
You must have a look at the “Landscapes and Flora” gallery as I’ve posted Claude Lorrain’s last etching. It has all the hallmarks of an artist at the peak of his confidence. Just look at the final image where I show the details of the print to see what I mean: no pretention just mastery of “feeling” a subject in space. Also in this gallery there is the print that made Adolphe Appian famous. Whether it is his best or simply a wonderfully moody print can only be answered by the viewer. Nevertheless, I have included a quote that places this print as the image that marked Appian's change from “finding” himself as an artist to being one.
The “Books” gallery now has a rare copy of Jacob Strutt’s book with a name that only the author himself could love: Sylva Britannica; or, Portraits of
Distinguished for Their Antiquity, Magnitude, or Beauty.
Finally the gallery for the weird and wonderful, “Object and Artefacts”, did have a curiously interesting Victorian executive toy on offer but it has been snapped up and now only the pictures remain.