Lois Reynolds Mead

Art and a pink monkeyflower in a native plant garden…


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Typography as art…

On the bottom floor of the Palace of Fine Arts Legion of Honor, next to the cafe, is a small gallery/room that contains some treasures. Each visit I make I am sure to pop in to see what is on display. Something always catches my imagination and blows my creative juices into the air. Last Thursday’s visit did not disappoint because the small gallery of Illustrated Books was focusing on “Inspired Alphabets”.

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I walked into the room and was caught by the word circus…then lithography…if you have read this blog for a while you will recognize some of my favorite themes…


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Then there was this fabulous collage book with collaged lettering…



More lithography…





And who knew Claes Oldenburg envisioned buildings and cities made from letters…




There is much to be said for the small book that can be held in one hand…with the power of the fold…



The letters themselves creating abstract art…and the overprint…









The Dada Movement…



Lifted by my interaction with the typography, I got home to a new visual journal I had under construction and had found the way I wanted to create the title page…

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Onward and upward…my souvenir of the day was an idea…


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Monet, young…

Thursday we visited the Palace of the Legion of Honor to see their “Monet, The Early Years” show.


When we started from home it was a drizzle and it stayed that way all across the city.

When we got to the museum there was no parking except miles and miles down the road. Two positives from that were adding multiple steps to our Fitbits and we were so far down the road we got the best view of the Golden Gate Bridge, ever.


The museum was more crowded than I had ever seen, so my pictures were hard to get. I was dodging around stationary people listening to handsets. Later we found out that it was a free day for KQED members. Oh, and it was Spring Break so there were lots of kids around. A sampling of the art when he was young:

 

Fishing Boats, 1866


A Hut at Sainte-Adresse, 1867


The Seine at Bougival, 1869


The Porte d’Amont, Etretat, ca. 1868-69


Still life with Flowers and Fruit, 1869


Camille on the Beach, 1870. 


The Pont Neufchâtel in Paris, 1871


Argenteuil, 1872


Still Life with Melon, 1872


The Port at Argenteuil, 1872


Regatta at Argenteuil, 1872

The last one really shows him developing into Impressionism. The reflections on the water are delicious.

After wending our way through the legion of crowds, we drove over to Land’s End for lunch at the Cliff House. Didn’t get a table by the window, but that was ok, we got popovers…






Very happy that we made it home without a traffic jam and before a very big storm.


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Roofs, chimneys, pinnacles, and spires…(part three)

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Palau Güell

How many pedestrians notice this roof line as they walk on the narrow street? Probably only those who know to look up, they are near a Gaudí building!

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This is an amazing building inside, but since Gaudí controlled every detail, even the roof got his fancy treatment. The top floors contained the servant’s quarters and I am pretty sure the wealthy family who lived here did not access the roof part of the house often, so I think of it as Gaudí making a “Disneyland for the help”. He combined so many different types of materials and textures it was feast for the eyes.

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The fabulous bat on top of the weathervane…

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Don’t know the significance of the rope and the rubber lizard…

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Oh, that is not an unknown tourist…it is my partner in crime! Always patient (probably checking his map app to see where we will walk next). During the entire trip he only let this sentence cross his lips once: “You know, you don’t have to take a picture of everything…” My response (with left hand on hip, right hand waving its index finger, and an uplifted trill on the last word): “Oh, yes, I do…”

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Gaudí and Güell forever linked…

Casa Mead

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That’s not in Barcelona, hah! It is my newly rebuilt porch railing that should be wrought iron and my nondescript, dare I say ugly, chimney that is in need of some Gaudí treatment. At my age, however, it is seriously in doubt that I will squat on my roof sticking shards of tile to the chimney’s surface, especially since I have given up ladders. What to do, what to do…it definitely needs improvement, and now that I have seen what a chimney can really be…something must be done! Maybe if I just added a bat…


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From ceiling to floor…

Crocker Museum of Art

I would be remiss to not include some photos of the Crocker Mansion, the old portion of the Crocker Art Museum. Judge Edwin Crocker, a banker, served on the California Supreme Court and his younger brother was one of the “Big Four” that ran the Central Pacific Railroad. In 1885 the mansion and art collection of the Crocker’s was given to the City of Sacramento and the Museum Association of the State of California which makes it the oldest art museum west of the Mississppi.

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We left the museum and walked back to the train station passing the State Capitol building.

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Gazing at the California countryside through the train window as we returned home…

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Riding the rails, part two…

If you know me at all, you know that I have a soft spot in my heart for printmaking. After seeing the room with California faience tiles at the Crocker Museum of art, we walked to the gallery room next door and there was another wonderland! Multicolored block prints by an Arts and Crafts master.

William S. Rice came to California in the early 1900″s, originally to Stockton and then to Alameda and Oakland. He was a public school art teacher and art administrator for their school systems. He wrote two books, including Block Prints: How to Make Them and traveled through California making art before population influx had changed it. If you ever look at old Sunset Magazines, you might see his work on its covers.

From the Crocker Museum website:

Rice was a prolific painter of the California landscape but is today better known as a printmaker, one who authored two books on the process and executed every print himself. He applied the classic Japanese art of ukiyo-e (woodblock printing, or “pictures of the floating world”) to images of the West, where he moved in 1900. This exhibition brings to light many of the artist’s accomplishments, including several never-before-exhibited pieces capturing the California landscape before development.

The exhibit had many of his water colors but I was entranced by his block prints.

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In particular I enjoyed the demonstration of the multi-block nature of his printmaking work.

Lonerock-Santa Cruz

Lone Rock-Santa Cruz, c. 1935

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Progressive layers of the block printing process for Lone Rock-Santa Cruz

This demonstration of how he went from pencil sketch, to etching, to block print was masterful!

Leona Live Oaks pencil live study etching block print

Leona Live Oaks
pencil live study
etching
block print

The block prints themselves swept me away. (My apologies for the reflections on the surfaces, very hard to get away from that when there is excellent museum lighting on glass framed works.)

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The Lumberdock-San Francisco Bay c. 1917

The Lumberdock-San Francisco Bay
c. 1917

Pt. Lobos Cypress c.1925

Pt. Lobos Cypress
c.1925

Moonlight-Eucalypti c. 1920

Moonlight-Eucalypti
c. 1920

Carmel Pines c. 1920

Carmel Pines
c. 1920

Hollyhock Garden c.1925

Hollyhock Garden
c.1925

Blue Gums-Berkeley c. 1917

Blue Gums-Berkeley
c. 1917

Clear Lake c.

Clear Lake
c. 1920

Nuthatches and Iris c.1930

Nuthatches and Iris
c.1930

Source of the Glacier c. 1920

Source of the Glacier
c. 1920

Sierra Sunrise c. 1925

Sierra Sunrise
c. 1925

Mot-Mot Bird n.d.

Mot-Mot Bird
n.d.

Sleepyhead c.1930

Sleepyhead
c.1930

Parrot and Butterfly c. 1925

Parrot and Butterfly
c. 1925

Magnolia Grandiflora c. 1930

Magnolia Grandiflora
c. 1930

White Calla c.1925

White Calla
c.1925

Dessert Butter c. 1930

Dessert Butter
c. 1930

Mt. Diablo 1929

Mt. Diablo
1929

Dancing Pine c. 1925

Dancing Pine
c. 1925

Guardian of the Timberline c.1924

Guardian of the Timberline
c.1924

Ancient Oak-Mt. Hamilton c. 1918

Ancient Oak-Mt. Hamilton
c. 1918

 

 


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Riding the rails…

Recently, a group of women I drink coffee with each week decided to catch a train to Sacramento for a day trip visiting the Crocker Art Museum. Some of the group have been my friends since our kids were in early elementary school together and some are new friends, just since I retired and could actually partake in a weekly coffee klatch in the morning. What a luxury that is! One of the group moved to Sacramento and the rest of us decided to meet her for a tour of the Museum and lunch. So “the women who coffee” caught the train in Martinez. It is called the Capital Corridor and, for seniors, only costs $19.00 for a round trip. Takes an hour and is the best deal in town. Also, Toulouse-Lautrec was playing at the Crocker. Eleven of us hopped the train and enjoyed the rolling view.

Martinez Train Station

Martinez Train Station

Train View as we rolled along

California Train View, as we rolled along

Our tour guide met us at the station holding up a large sign so we would not miss her (just like the best of tour guides!)

Michelle Leong (Peet's is where we usually drink coffee)

Michelle Leong (Peet’s is where we usually drink coffee)

Then she led us down to the museum (only about a mile’s walk from the station…)

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The Museum is a combination of old and new…the original building donated by the Crocker’s and a new portion that expands the exhibit space, holds the restaurant and museum store, and has classrooms.

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The Toulouse exhibit did not allow photos but I visited with some of my old friends…

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Jade Beads Guy Rose c. 1907-1912

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Sacramento River Gregory Kondos 1981, oil on canvas

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Wayne Thiebaud

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Early California Artifact

Then we discovered two small gallery rooms that were fabulous. In the first, there was a display of the tile-makers art. In particular, early California faience art tiles and some Julia Morgan designed pressed tiles for the Hearst Castle bell tower. Heaven!

From the museum website:

William Bragdon was a ceramic engineer trained at Alfred University in New York. He moved to Berkeley in 1915 to teach at the California School of Arts and Crafts and shortly thereafter formed a partnership with his Alfred University classmate Chauncey Thomas, then running a Berkeley pottery studio. Together they created decorative tiles, vases, and sculpture, calling their wares California Faience. The most prestigious of the company’s projects came in the 1920s when architect Julia Morgan commissioned a complete environment of tiles for William Randolph Hearst’s palatial home and grounds in San Simeon.

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Showroom Display 1914-25 California Faience

Showroom Display
1914-25
California Faience

Display Panel 1922-23 Earthenware press molded

Display Panel
1922-23
Earthenware press molded

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Hearst Castle Bell Tower Julia Morgan design

Hearst Castle Bell Tower
Julia Morgan design

The Green Man

The Green Man

Julia Morgan's elevation drawing

Julia Morgan’s elevation drawing

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Snowflake and Daisy California Faience by Julia Morgan Winged Seahorse by Julia Morgan Spanish Tile 16th century

Snowflake and Daisy California Faience by Julia Morgan
Winged Seahorse by Julia Morgan
Spanish Tile 16th century

This exhibit will be there until May 17…the Crocker Museum website is here

My next post will be about the gallery in the next room and BLOCKPRINTS!


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Success at last…

Many times in these posts I have mentioned visiting the California Academy of Sciences in Golden Gate Park. In particular, the butterflies have held my interest. Last week we made a swift visit and had a few moments to see them again because I am always in hope of capturing a photo of the Blue Morpho. I have been successful with birds…

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Other butterflies…

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The Blue Morpho closed up…

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But usually it is…

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I was in despair until there was one quick moment this time (thanks Terry for spotting it)…

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At long last, success!!