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@bearslikebookstoo
A Pairing: Romaine Brooks + Walter Savage Landor
A Pairing: Romaine Brooks + Walter Savage Landor
Romaine Brooks, Lethe (1930)
On love, on grief, on every human thing. Time sprinkles Letheâs water with his wing.
âOn Love, on Griefâ by Walter Savage Landor
Fun fact: Lethe is the river of forgetfulness â one of the five rivers of the underworld of Hades. Anyone who drank from it would lose their memory.
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Summer Camp Series: The New Moon with the Old
Summer Camp Series: The New Moon with the Old
Dodie Smithâs The New Moon with the Old has 5 parts with each part covering a different characterâs story. To that end, here are some activities I think go along with each character đ
Jane
Design a mansion
Arrange some flowers
Eat steak and kidney pudding
Have a tea or coffee service. Learn the difference between high tea and afternoon tea here. The prints below are availableâŠ
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The Lady of the Rivers: Hennins and Court Fashion in the 1400s
The Lady of the Rivers: Hennins and Court Fashion in the 1400s
The Lady of the Rivers, by Philippa Gregory, is the first of her Plantagenet and Tudor novels, and it follows Jacquetta of Luxembourg, Countess Rivers and covers the reign of the (quite inept) Lancastrian King Henry VI. (For those unfamiliar with Philippa Gregory, she writes historical fiction, usually set in England, charting the rise and fall of different powerful women.) Jacquetta ofâŠ
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Pulitzer Project: The Store, T.S. Stribling (1933)
Pulitzer Project: The Store, T.S. Stribling (1933)
The Store is the second book in T. S. Striblingâs Vaiden Trilogy. I originally thought Iâd try to read the first book too, but I had enough trouble getting on my hands on a copy of this book, that I gave up hope trying to find two Stribling novels! I ultimately was able to borrow a copy of this book from the University of Alabama library, thanks to my dadâs academic credentials there. In fullâŠ
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A Pairing: Georges De La Tour + Cixin Liu
A Pairing: Georges De La Tour + Cixin Liu
The Magdalen with the Smoking Flame, Georges de La Tour (circa 1635-1637)
Ye examined Feng. The kerosene lamp was a wonderful artist and created a classical painting with dignified colors and bright strokes: Feng had her coat draped over her shoulders exposing her red belly-band and a strong, graceful arm. The glow from the kerosene lamp painted her figure with vivid, warm colors, while theâŠ
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Summer Camp Series: Mr. Fox
Summer Camp Series: Mr. Fox
I feel like Helen Oyeyemiâs work is often described as playful, and Mr. Fox is certainly a collection of games tied in with fairy tales. Suggested related activities:
To Do
Following Mary Foxe, make a list of experiences that are memorable to you or that you still want to experience.
She wanted to experience things; she had a list. She planned to attend a big band concert, and sheâŠ
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Summer Camp Series: Where the Crawdads Sing
Summer Camp Series: Where the Crawdads Sing
Where the Crawdads Sing by Delia Owens is a great summer book. It follows Kya who lives alone in the marshes along the coast of North Carolina. Here are some activities I thought would be fun for the book. Tell me if youâve read the book and have any other things in mind.
To Do
Do a little painting. Grab a basic set of acrylics and follow along with âhow to paint a swampâ
GoâŠ
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Summer Camp Series: A Brief History of Seven Killings in Jamaica
Summer Camp Series: A Brief History of Seven Killings in Jamaica
By the time you finish âA Brief History of Seven Killings in Jamaicaâ by Marlon James, you will feel like you have really gone on a journey. This book is not really an easy summer camp kind of book, but it is the book I was reading when I thought to myself, well, I have two more months of summer (school doesnât start until October on the quarter system) and ??? more months of social distancing. AâŠ
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Bring Up the Bodies: Some Haiku
Bring Up the Bodies: Some Haiku
We have recently been enjoying Hilary Mantelâs Bring Up the Bodies, the second book in the Thomas Cromwell Trilogy, on audiobook. This is the first time that weâve actually read (or listened to) the same book at the same time, and itâs been such a juicy, hilarious and infuriating book to discuss. I found myself making up haiku about the various courtiers in Henry VIIIâs court, and Kimberly wasâŠ
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Blaze (2018)
When I was younger, I had a âtypeâ â I dated aspiring blanks. Aspiring artists, aspiring musicians â messy haired boys who had big dreams and even bigger confidence. These boys were all unconcerned with mundane, earthly questions about where to get money for rent, drinks, and drugs. Instead, they were already living with an eye on posterity, assuming that every word out of their mouths was goingâŠ
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#21.5 Starting from Paumanok, verse 7
We are still reading Book II of Walt Whitmanâs Leaves of Grass. Today I am reading Verse 8 of Starting from Paumanok. If youâre just joining me, start from Verse 1 here. 7 I am the credulous man of qualities, ages, races, I advance from the people in their own spirit, Here is what sings unrestricted faith. Omnes! omnes! let others ignore what they may, I make the poem of evil also, I commemorateâŠ
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A Pairing: Robert Rauschenberg + Edwin Morgan
A Pairing: Robert Rauschenberg + Edwin Morgan
Robert Rauschenberg, Canyon (1959)  âI have nothing to say and I am saying it and that is poetry.â â John Cage Opening the Cage: 14 Variations on 14 Words, Edwin Morgan I have to say poetry and is that nothing and I am saying it I am and I have poetry to say and is that nothing saying it I am nothing and I have poetry to say and that is saying it I that am saying poetry have nothing and it is IâŠ
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#21.4 Starting from Paumanok, verse 6
#21.4 Starting from Paumanok, verse 6
We are still reading Book II of Walt Whitmanâs Leaves of Grass. Today I am reading Verse 6 of Starting from Paumanok. If youâre just joining me, start from Verse 1 here. 6 The soul, Forever and foreverâlonger than soil is brown and solidâlonger than water ebbs and flows. I will make the poems of materials, for I think they are to be the most spiritual poems, And I will make the poems of my bodyâŠ
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#21.4 Starting from Paumanok, verse 6
#21.4 Starting from Paumanok, verse 6
We are still reading Book II of Walt Whitmanâs Leaves of Grass. Today I am reading Verse 6 of Starting from Paumanok. If youâre just joining me, start from Verse 1 here. 6 The soul, Forever and foreverâlonger than soil is brown and solidâlonger than water ebbs and flows. I will make the poems of materials, for I think they are to be the most spiritual poems, And I will make the poems of my bodyâŠ
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Thomas Hardy created a fictional land called Wessex based on much of his observations of south-western England, particularly from around his home town. Far from the Madding Crowd mostly takes place in the fictional town, Weatherbury, which is based on Puddletown, Dorset. Hardy drew on much of the real-world for his setting, and Bathshebaâs house is no exception. He styled it after the Waterston Manor in Dorchester. The house is first described in the passage below, and the editor notes that due to Hardyâs architectural knowledge, the description is âprofessionally correct.â
For our viewing pleasure, I include pictures of the current Waterston Manor as well as the houses used as Bathshebaâs manor for the 1967 movie and the 2015 movie. All three are located in Dorset.
By daylight, the bower of Oakâs new-found mistress, Bathsheba Everdene, presented itself as a hoary building, of the early stage of Classic Renaissance as regards its architecture, and of a proportion which told at a glance that, as is so frequently the case, it had once been the manorial hall upon a small estate around it, now altogether effaced as a distinct property, and merged in the vast tract of a non-resident landlord, which comprised several such modest demesnes.
Fluted pilasters, worked from the solid stone, decorated its front, and above the roof the chimneys were panelled or columnar, some coped gables with finials and like features still retaining traces of their Gothic extraction. Soft brown mosses, like faded velveteen, formed cushions upon the stone tiling, and tufts of the houseleek or sengreen sprouted from the eaves of the low surrounding buildings. A gravel walk leading from the door to the road in front was encrusted at the sides with more moss â here it was a silver-green variety, the nut-brown of the gravel being visible to the width of only a foot or two in the centre. This circumstance, and the generally sleepy air of the whole prospect here, together with the animated and contrasting state of the reverse facade, suggested to the imagination that on the adaptation of the building for farming purposes the vital principles of the house had turned round inside its body to face the other way.
Classic Renaissance architecture: the Renaissance architectural period (14th to 17th century roughly) followed the Greek architecture movement in Europe (hence the âGothic extractionâ still noted in the house). It draws from classical architecture, think ancient Greeks and Romans, and generally emphasizes symmetry, regularity, order, and well-proportioned, geometric parts. Also common are semi-circular arches, half-domes, and the like.
Fluted pilasters: pilasters are decorative details meant to look like a supporting column but do not actually offer bear weight. (A little confusingly, they can be extrusions from columns which actually are bearing weight.) Fluted refers to the ridges along the length of the pilaster.
Coped gables: Gable roofs (shaped like an inverted letter V) appear in both Gothic and Greek architecture. Coped means covered.
Finials: Finials are decorative elements placed at the top or end (many curtain rods can have finials) of something.
coped gable with finial and fluted Corinthian pilasters
Gothic architecture: Elements of Gothic architecture include flying buttresses, a strong emphasis on verticality (pointed arches, spires, and towers all draw the eye upward), abundance of interior light, and symbology embedded within the ornamental details. Gothic architecture was typically applied to important, formal buildings, such as cathedrals, and thus implies a sort of grandeur and gravity must have existed in Bathshebaâs estate.
The Waterston Manor: original inspiration
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The Bloxworth House: 1967 film
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 The Mapperton House: 2015 film
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Which do you like best? How do the film locations compare to the original description?
More on the Waterston house here. Images are sourced from this blog.
Bloxworth real estate info (and picture source) is here, though will likely be taken down sooner rather than later. The house sold in 2014 for four million euros.
The Mapperton House website is here. They have house tours and garden access, a shop and cafe, and can host your wedding.
Far from the Madding Crowd: Bathshebaâs Bower Thomas Hardy created a fictional land called Wessex based on much of his observations of south-western England, particularly from around his home town.Â
Behind the Title: Lincoln in the Bardo
Behind the Title: Lincoln in the Bardo
George Saundersâ much-awaited first novel, Lincoln in the Bardo, was published earlier this year. The book mostly takes place in a graveyard, where Abraham Lincoln has entombed his son, Willie. The book is a blend of fiction, history, philosophy, and religion. I read this book not knowing anything about the plot, premise, or title of the book; George Saunders is one of my favorite authors, so IâŠ
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Thomas Hardy references a few artists in Far From the Madding Crowd and seems particularly influenced by those in the Dutch Golden age. The Golden age, which spanned the 17th century, paralleled the Baroque movement going on around much of Europe but favored realistic details over idealistic styling. In this time, many believed there was a hierarchy to paintings, listed here in descending order:
history paintings
portrait paintings
genre paintings
landscape paintings
still life paintings
The Dutch Golden Age saw numerous paintings produced in the âlowerâ groups. It is fitting that Hardy, who spends much of the novel describing the natural world surrounding his characters and developing his land of Wessex, would mostly reference the landscape artists of this time.
âbut the grey, after years of sun and rain, had been scorched and washed out of the more prominent locks, leaving them of a reddish-brown, as if the blue component of the grey had faded, like the indigo from the same kind of colour in Turnerâs pictures.â
J M W Turner (1775 â 1851) is an English Romanticist landscape painter. Like Hardy, he had a beginning in architecture. Turner is called âthe painter of lightâ and is well known for his maritime scenes. He is also credited with elevating landscape paintings to the same status of historical paintings in his time. Despite the fact that more durable pigments existed at the time, Turner used paint materials that looked pleasing when freshly applied but faded very quickly, which Hardy may have been alluding to in the quote above.
Goldau and Fishermen at Sea
âThe beauty her features might have lacked in form was amply made up for by perfection of hue, which at this winter-time was the softened ruddiness on a surface of high rotundity that we meet with in a Terburg or a Gerard Douw; and, like the presentations of those great colourists, it was a face which kept well back from the boundary between comeliness and the ideal.â
Gerard Terburg (also ter Borch) (1617 â 81) is a Dutch painter in Dutch Golden age known for his genre scenes and work with cloth textures. Gerard Douw (also Gerrit Dou) (1613 â 75) is another Dutch painter who lived in the Dutch Golden age. He was a pupil of the renowned Rembrandt and is known for his genre scenes and use of trompe lâoeil and strong chiaroscuro to create 3D forms. (For non-art people like myself, trompe lâoeil is French for âdeceive the eyeâ and refers to creating the optical illusion that the subjects painted exist in 3D by using perspective. Chiaroscuro refers to the technique of using strong contrasts between light and dark tones to create 3D forms via highlights and shadows).
Lady at her Toilette (Terburg) and Girl Chopping Onions (Douw).
âThe rain had quite ceased, and the sun was shining through the green, brown, and yellow leaves, now sparkling and varnished by the raindrops to the brightness of similar effects in the landscapes of Ruysdael and Hobbema, and full of all those infinite beauties that arise from the union of water and colour with high lights.â
Jacob van Ruisdael (Ruysdael) (1628 â 82) and Meyndert Hobbema (also Meindert) (1639 â 1709) are both Dutch landscape painters in the Golden age. Hobbema was actually a pupil of Ruisdael, who was considered the landscapist of his time. Ruisdael comes from a family of painters (his father, uncle, and cousin were painters as well). Nearly 700 paintings have been attributed to Ruisdael (though it is difficult to be sure when he and his family all signed using their last names), and his works went on to influence many following movements including the American Hudson River School. Both Ruisdael and Hobbema are known for their extraordinarily detailed portrayals of natural forms.
Landscape with Dune and Small Waterfall (Ruisdael) and Marshy Wood (Hobbema)
âThe strange luminous semi-opacities of fine autumn afternoons and eves intensified into Rembrandt effects; the few yellow sunbeams which came through holes and divisions in the canvas, and spirted like jets of gold-dust across the dusky blue atmosphere of haze pervading the tent, until they alighted on inner surfaces of cloth opposite, and shone like little lamps suspended there.â
Rembrandt (1606 â 1669) (also a Dutch painter in the golden age) is the most well known artist that Hardy references. Unlike the other painters on this list, Rembrandtâs works span across all types of paintings, not only landscapes. Known for his use of chiaroscuro, he is sometimes called the King of Shadows.
Philosopher in Meditation and Landscape with a Stone Bridge
Artists in Far From the Madding Crowd Thomas Hardy references a few artists in Far From the Madding Crowd and seems particularly influenced by those in the Dutch Golden age.