One of the brilliant juxtapositions I stumbled upon (well, not literally) @ the Met this trip was this pairing of portraits, an early and a late Cezanne. The first, done when Cezanne was in his mid-20s, the other, when he was in his 50s. You can't really see the difference in the brushwork in these photos (though the larger versions you can see if you click on these thumbnails are a little better) - in the first the paint looks almost as if it had been laid on with a trowel, the other much more traditionally - but even in these small photos it's clear to me that the male portrait was done by someone with something to prove, the female by someone confident in his ability and position.
Interesting, too, is the way the first, despite its unorthodox paint application, is still fairly traditional in its more literal portrayal of the facial features while the second almost abstractly renders them. The first with its lack of background - or at least emphasis on the figure by placing it in a mono-chrome setting, is much more confrontational than the other, set as if in a garden. And to hang the two of them side by side, what a brilliant juxtaposition and what a treasure to have a collection where the curators can pick and choose in this way.
The third is a Redon painting, one of my favorite artists, that hangs outside the
Wisteria room @ the Met, a discovery I happened upon this last visit and hadn't been aware of before. It's a lot like Whistler's
Peacock room @ the Freer Gallery on the Mall in DC (Be sure to click on the The Peacock Room online brochure link to see more photos of it.), an entire room decorated around a single theme, but unfortunately it was so dimly lit, I imagine for preservation purposes, that none of my photos were worth keeping.
So now it's off to do something - stitich? tootle? Had a wonderful Alexander lesson this AM and my teacher treated me to some sweet (literally and figuratively) strawberries that are now marinating in sugar. Perfectly ripe every single one.
Still feeling exhausted, coughing, etc., from whatever infected me 1.5 weeks ago. The heat & humidity don't help. Heading up to 90+F today with "oppressive" humidity. :| 
These from the MOMA trip. Rothko No.5/No. 22 (1950), Clyfford Sill 1944 No.2 (1944), and Barbara Kruger Untitled (1982). 
Heading off in minutes to a MD checkup & then grocery shopping. 
Bourgeois Ode & Foubli (2004), a fabric work, Redon's Centaur (1875-1900), and Rodchenko's Maquette for a handbill announcing the film Potemkin (1925).
The last of the 12.May.2010 pix. Various castles around the Met Museum and maybe next time I'll have M. Joseph do my hair at his fancy schmacy salon. I'm guessing it would cost more than $10.
Heard a radio story about a natural playground in Dorchester not too far from here. And yet frustrating for people like moi who hopes to attract flute students that it is mentioned in the same breath as gangs and violence as if all Dorchester is plagued. The playground's neighborhood is not too far from Franklin Park, too, which is a lovely place.
Guess I'll get out early for my toddle - or maybe forego it since I walked quite a bit yesterday to & from the acupuncture appt. Oh, and guess what? There's still that pile of papers (somewhat reduced).
Here are my versions of wisteria room photos - the ones on the websites I posted yesterday are clearer - these perhaps more mysterious. And I can never get enough of Bonnard. 
Then the usual tootling & stitching. Still nicely cool 57F heading up to 71F so they say. Partly cloudy. My kinda summer.
One of the brilliant juxtapositions I stumbled upon (well, not literally) @ the Met this trip was this pairing of portraits, an early and a late Cezanne. The first, done when Cezanne was in his mid-20s, the other, when he was in his 50s. You can't really see the difference in the brushwork in these photos (though the larger versions you can see if you click on these thumbnails are a little better) - in the first the paint looks almost as if it had been laid on with a trowel, the other much more traditionally - but even in these small photos it's clear to me that the male portrait was done by someone with something to prove, the female by someone confident in his ability and position. 
Interesting, too, is the way the first, despite its unorthodox paint application, is still fairly traditional in its more literal portrayal of the facial features while the second almost abstractly renders them. The first with its lack of background - or at least emphasis on the figure by placing it in a mono-chrome setting, is much more confrontational than the other, set as if in a garden. And to hang the two of them side by side, what a brilliant juxtaposition and what a treasure to have a collection where the curators can pick and choose in this way.
Of course the tiny photos don't do any kind of justice to the originals, but still . . .
Including a Hans Hoffman (American, born Germany 1880-1966) Veluti in Speculum (and closeup) and a shot of the indoor sculpture garden with both live and not-so-live sculptures. 
Off soon for today's toddle starting with a trip to the P.O. Tootling & laundry to follow. Andy heads to WI tomorrow for a week so it'll be just me & the kitties to hold down the fort. Potter does growl occasionally @ passers-by but I doubt she'd be much help if anything serious were to occur.
Some more pix from 12.May.2010 - from the medieval/renaissance and antiquities halls of the Met Museum. Then I promise to get off the computer (and to start tootling). 
A humdinger of a storm last night around 3AM - hail & tons o’ lightning & thunder. Looks like it knocked down the peonies (no surprise) but not too much damage - at least that I could tell from looking out the windows @ the garden.
