Monday, November 15, 2010

Painting of the Day: King Louis-Philippe de Bourbon by Franz Winterhalter

Louis-Philippe de Bourbon
Franz Xaver Winterhalter
Versailles
Celebrated portrait artist Franz Xaver Winterhalter (1805-1873) was commissioned to paint the most notable and powerful people of his day. Empress Eugenie, Empress Elizabeth of Austria, Queen Victoria and Prince Albert were just a few of his notable sitters. His many portraits of Queen Victoria are some of the finest representations of the queen. As dynasties rose and fell and as kings and queens were succeeded by their heirs, Winterhalter remained the premier painter. He was considered the best. But, he didn’t do it alone. Winterhalter achieved the position of fashionable portrait artist to royalty after the influence of one particular royal—King Louis-Philippe of France.


King Louis-Philippe always stayed abreast of current trends in the arts. Winterhalter’s growing reputation in France made him a desirable commodity, so, the king appointed him official court painter. Winterhalter set about painting portraits of each member of Louis-Philippe’s large family—over thirty in total. This painting of Louis-Philippe himself shows Winterhalter’s fine hand and dramatic flare—the very qualities that kept him in fashion for so long.


Person of the Week: Rod Taylor

Most of us know Rod Taylor from his two most notable film roles. The first was his leading role in The Time Machine (see the clip below) based on H.G. Wells’ immortal story. The second was his role in Alfred Hitchcock’s 1963 classic thriller, The Birds. However, prior to those two break-out performances, Taylor has performed in several pictures including Raintree County with Elizabeth Taylor and Montgomery Clift and Giant with Elizabeth Taylor, Rock Hudson and James Dean.


Born Rodney Sturt Taylor in New South Wales, Australia in 1930, he was the only child of Mona Thompson, and author, and William Sturt Taylor, an artist. As a young man, Taylor was inspired by a performance by Laurence Olivier and decided that he wanted to be an actor. He found his first success as a radio actor performing various roles on soap operas in Australia.

In 1954, Taylor moved to the United States and quickly found work in both feature films and television shows. He made many successful guest appearances on popular programs and even had a few shows of which he was the central star: 1960’s Hong Kong and 1961’s Bus Stop.


Taylor in 2005
As recently as 2009, Taylor was still working in films—making an appearance in Inglourious Basterds as Winston Churchill. Also a talented painter, Taylor’s art has been displayed in galleries and featured in a variety of different books.
For all of his contributions to the arts over the last eighty years, Rod Taylor is this week’s Person of the Week.

Don’t forget, through November, I’m taking your nominations for “Person of the Year.” Simply email your ideas to me. Voting will begin in December.



A painting by Rod Taylor



Sculpture of the Week: “Bashaw, Lord Dudley’s Favorite Dog,” by Matthew Cotes Wyatt, 1831

Bashaw or
Lord Dudley's Favourite Dog or
The Faithful Friend of Man Trampling Underfoot
His Most Insidious Enemy
Matthew Cotes Wyatt, 1831
Commissioned by Lord Dudley
The Victoria & Albert Museum
In 1831, the extravagant Lord Dudley commissioned famed sculptor Matthew Cotes Wyatt to create a life-sized bronze sculpture of his favorite dog—Bashaw. Money, Wyatt was told, was no object. Bashaw was brought to Wyatt’s studio for sittings over fifty times and the artist studied the canine’s every feature.


The sculpture was to be polychrome bronze with jeweled eyes. Lord Dudley personally selected the gemstones for the eyes after rifling through the family jewels. He chose lovely Persian topaz and sardonyx. Wyatt finished the magnificent sculpture at a cost of £5000. Now, just to put things into perspective, a full-length marble sculpture of a human man would have cost £3000. So, we can see that this was, indeed, an epic undertaking.

Too bad Lord Dudley never saw it. He died before the sculpture was completed. Even more of a pity is the fact that Wyatt was never paid for the work. Lord Dudley’s heirs referred to pay the cost which they deemed ridiculous. Wyatt kept the sculpture and displayed it in his own studio in 1834, and later at 1851’s Great Exhibition where it was heralded as the finest figure of a quadruped ever sculpted.

Detail showing topaz and sardonyx eyes
The Victoria and Albert Museum
As times and tastes changed, Bashaw’s sculpture fell out of favor. In 1960, The Victoria & Albert Museum purchased the piece for only £200. Today, however, it is appreciated for the impressive statue that it is. You can see Bashaw in all his glory as he nonchalantly tramples a large snake (which also serves to hold him up) when you visit London’s V&A.

Treat of the Week: A Crumb-topped Pear Cake

It’s difficult for me to pick a favorite from all of my mother’s exceptional creations, however, this cake certainly tops the list.  This moist cake made from fresh autumn pears is incredibly moist and just melts in your mouth.  It’s crowned with a delectable crumb-topping which adds beautiful texture and the lovely flavors of cinnamon and brown sugar to the mild pear.  This is the sort of cake that is impossible to resist.  Served with a stiffly whipped cream and a steaming cup of cocoa, this cake brings sunshine to even the grayest of Fall days.

Punch's Cousin, Chapter 97

Mr. Punch sat up and cradled the baby in his arms. Toby rose to his feet and pulled his ears back, growling at the female figure which loomed above them.


“Here!” Mr. Punch said angrily. “You don’t belong in here, you don’t.”

“I belong wherever I wish to be.” Iolanthe Evangeline answered sharply. “Is that Adrienne’s child?”

Mr. Punch held Fuller tightly. “You’re not to look at him.”

“He’s a fine looking little boy,” Iolanthe grinned.

“You can’t have this one.” Mr. Punch spat. “This one ain’t for sale. Go see that Barbara Allen if you’re wantin’ more babies to sell.”

“I’ve not come here for babies, Lord Fallbridge.” Iolanthe said coyly.

“Why have you come here, then?” Mr. Punch asked.

“It’s Christmas. I’ve come to pay a call on old friends.”

“No one here’s a friend of yours, Ogress.” Mr. Punch growled. Toby barked.

“Don’t call me that!” Iolanthe spat. “That is an unkind name. I don’t like it and I don’t want you thinkin’ I do. What makes me a monster? Hmmm? Just because I’ve got a good head for business? On a man, they’d call it brilliance. On me, they call it devious.”

“You are devious. You’re a devil, you are. And, I always beat the devil.” Mr. Punch said firmly. “Every time.”

“You won’t beat me, Lord Fallbridge.” Iolanthe winked. “No one can. Besides, you have no reason to beat me. I’m your friend. We’re not so different, you and I.”

“Yes, we are.” Punch frowned. “And, I’ll tell you why you’re called ‘ogress,’ it’s cuz you hurt people what’s done nothin’ to ya!”

“I don’t deny that I’ve hurt people. But, only those who’ve wronged me first.”

“What about me pa?” Mr. Punch asked. “Had him killed, you did. He didn’t do nothin’ to ya!”

“I don’t know what you’re talking about, you lunatic.”

“Sir Colin Molliner. Had him killed! You’re the reason he’s dead!” Mr. Punch cried.

“Well, then, is that what you’ve been told?” Iolanthe smiled. “That clever little witch. I suppose your sister has told you that. Well, you fool, I had nothing to do with Sir Colin Molliner’s death. I must confess that his murder was convenient for me, but it wasn’t at my request.”

“You’re a liar!” Mr. Punch said.

“Am I?” Iolanthe laughed. “I suppose I am. However, I’m not lying about this and I don’t want you thinkin’ that I am.”

“Just get yourself out of this house.” Mr. Punch demanded.

“Not until I’ve paid my call upon my former associate and her husband. Who knew that a sculptor could be such a good shot? I suppose he’d have to have steady hands. I see you have a new toy for yourself.” She pointed to the puppet in Mr. Punch’s lap. “Did the sharp-shooting Mr. Halifax make that for you? It’s quite fine.”

“He’s none of your concern.” Mr. Punch frowned.

“You’re rather like a child yourself. Aren’t you?” Iolanthe said. “I’ll tell you a secret, Lord Fallbridge. I rather like children. I have one of my own. A boy. I don’t get to see him very often, but I like knowing that he exists.”

“Didn’t sell him?” Mr. Punch asked.

“Not my own son, no.” Iolanthe smiled, but her smile quickly faded. “Besides, his is a face that…” She paused. “He’s different, let’s say.”

“Who’s his father?” Mr. Punch asked coldly. “In your trade, I ‘spose, it’d be hard to know.”

“Yes, you are a child.” Iolanthe frowned. “A child in a man’s body. You’re sharp, I’ll give you that. What a strange creature you are.” She walked across the room, “Where’s Adrienne?”

“I wouldn’t tell you. Not never!” Mr. Punch said.

“You know I’ll find her. We have a score to settle. Several, in fact. First Adrienne, and then her English husband. Speaking of which…” She grinned again. “Where’s your companion? Usually he’s glued to your side—watching over you to keep you from becoming too wild.”

Mr. Punch swallowed hard as he recalled Robert who had gone upstairs in pursuit of the nanny.

“Not talking?” Iolanthe smirked. “No matter.” She sat down on the settee by the piano. “I shall wait here.”

A terrible anger rose in Mr. Punch, but he tried to suppress it since he was still holding the baby. Toby continued to growl at Iolanthe.

“Isn’t it interesting how everything is so loyal to you?” Miss Iolanthe chuckled. “Your dog, your companion, his family, even your servant—that Voodoo priest. Yet your own family could not care less about you. You should hear the things your sister has said about you. The names she’s called you. And, her husband! He positively loathes you. What makes one group of people so loyal to a man while his own kin abhors him? Perhaps it’s because you’re mad. Perhaps it’s because you’re wild—like me. You know, Lord Fallbridge, you don’t have to return to England. With Leon dead, I need someone to help me. You’re clever, but foolish enough to be destructive. It’s the perfect combination. Just like ‘The Professor.’ Just like me.”

“I ain’t nothin’ like you and neither is me master!” Mr. Punch whispered angrily.

“Your master?” Iolanthe chuckled. “Who’s your master?”

“Julian!” Mr. Punch blurted out without thinking.

“Aren’t you Julian?” Iolanthe smiled. “No, you’re not, are you? You’re someone else. You really are one of those lunatics, aren’t you? You think you’re two different people.”

Mr. Punch began to tremble, holding the baby tightly.

“Now, now,” Iolanthe grinned. “You’re shaking. Perhaps you’d best let me hold the child. I’ll take such good care of him. Just as if he was my own.”

Mr. Punch’s eyes widened in rage.

At that very moment, upstairs, Robert was grabbing Agnes Rittenhouse by her bony arm.

“I told you not to come back to this house or you’d suffer the consequences.”

“I came to leave a gift for His Lordship!” Agnes said—frightened.

“So, that’s why you were coming out of his bedchamber?” Robert asked viciously. “Why didn’t you give it to him personally when you visited this morning?”

“I forgot it,” Agnes lied.

“Show me this gift.” Robert said, flinging the door to Julian’s room open. He pulled Agnes inside.

Cleverly, along with the note that Ulrika had given her—the note which Agnes had tucked into the pocket of one of Julian’s coats—she had thought to bring along something to use as an excuse.

On the writing desk, sat a wind-up toy—a furry bear with a worn body and tattered face.

“It’s Ursula.” Nanny Rittenhouse trembled. “She was His Lordship’s when he was a little tyke. He took it everywhere with him until Sir Colin gave him that figure of Punch. I’ve kept it all these years. I found it amongst the things I brought with me from England and I thought he might like to have it as a reminder of his youth.

Robert drew in a deep breath and hissed. “His Lordship doesn’t much care to be reminded of his youth! Did you know that?”

Agnes shook her head.

“Something makes him not wish to remember.”

“It wasn’t my fault,” Nanny Rittenhouse began to sob. “It wasn’t my fault. Please, let me go!”

“What wasn’t your fault?” Robert snarled.

“Let me go, Sir.” Agnes pleaded.

Robert pulled the woman to the window. “What did you do to him?”

“I didn’t do anything!” Agnes sobbed.

Robert pushed Agnes against the cold glass of the window.

“Tell me or I’ll push you through this glass.”



Did you miss Chapters 1-96? If so, you can read them here.

Goal for the Day: Remember Your Plan

Instead of starting each day blindly unprepared for what you’re about to face, you can approach each new opportunity with a plan. While we can never predict what may happen during the day, you can always know where you want the day to take you. Start today with a clear plan. Know your goals, know what you want to accomplish and try to keep in mind how each step fits into your greater goals.


Even if you need to make a list—just for yourself—each day of what you want to happen, you can remember exactly what it is you want out of life. Your list should be flexible. As unexpected things happen, you’ll need to adjust. However, with a clear finish line, you’re sure to reach it even when obstacles get in your way.

Object of the Day: A Louis Philippe Style Mirror

King of France, Louis Philippe, reigned only from 1830 until 1848. Today, many of us associate him with the style of furniture which carries his name. Louis Philippe furnishings are notable for their simple elegance. A reliance upon soft curving lines, dark woods and gentle plains of molding defines the style.


This Louis Philippe style mantel mirror dates to about 1840. This is an English interpretation of the style popularized in France during the reign of Louis Philippe. In this version, we see that the typical dark walnut and maple has been ebonized and gilt in the fashion poplar in England during that period. While the mirror itself shows the silhouette of a quintessential Louis Philippe mirror with its low basket-handle arch, the styling is typically English. The ebonized part of the frame has been simply adorned with hand-painted stars which are evenly spaced around the arch. The curve of the frame is anchored by ornamental gilt plinths.

The combination of English and French sensibilities of the time makes this mirror quite unique and attractive. Still sporting its original glass, it makes a grand statement no matter where it hangs.