This is so striking. We came across it on the way out of the Met. and it caught my eye because it looked like a modern sculpture, down amongst the Greek and Roman exhibits. It turns out it is by Jean-Antoine Houdon, called ‘La Frileuse’ (but known as ‘Winter’) and dates from the late eighteenth century. I can’t believe I had never come across it before – it’s probably famous. We just walked round and round it. Stunningly powerful.
(Much better photos than these on the internet, sorry about mine!)
I have mis-timed this post. It is rather irritating to hear of an inspiring exhibition (at Tate Modern) when it has already closed – so I decided a couple of weeks ago not to mention it. But it has stayed with me. Colour painted from memory – fleeting moments captured and reworked till they sing.
I am less moved by the much reproduced bath pictures – this one, for example, seems to me plain weird.
The colours are not always bright and bold. These two, possibly my favourites, are softer, subtle and beautifully balanced:
The almond tree was Bonnard’s last painting, finished in 1947. Apparently, when he was too weak to paint, he asked his nephew to change the patch of green in the bottom left corner to the gold we see now – still pondering colour right to the last.
Before we left the building we nipped up to the viewing gallery and were met with this:
Moody skies and swirling winds – quite exciting!
Plenty of ideas for the dye pots – I am busy winding base yarns as I hope to get several days in soon.
Maybe I’ve just spent too long contemplating my yarns. But as anyone with a serious Stash Beyond Life Expectancy will understand, I can be overcome by the idea that THIS is what I will leave behind – my ‘final blazon’.
So I’ll move on quickly – and the yarns had better be good!
I have finally finished three new batts and have just begun spinning them up. They were inspired by a recent visit to the Picasso 1932 exhibition currently at Tate Modern – but not by the actual Picassos, which I found only mildly interesting. For me, the smaller colour collections did the trick – Matisse, Gerhard Richter and Bridget Riley. The red and black batt (top left) is loosely based on the Mark Rothko Seagram murals – huge, and splendidly displayed in dim light. I eventually produced three versions of this one and with any luck they will all mix and match. When I’ve finished the spinning I will have to decide whether to make the yarn up myself, or put the skeins (‘slow suspended’ or not ) into my Etsy shop. Or I could just add them to my memorial….
With apologies to Philip Larkin.