The Spirit of 76

 From Wikipedia:
Archibald MacNeal Willard (August 22, 1836–October 11, 1918) was an American painter who was born and raised in Bedford, Ohio.

Willard joined the 86th Ohio Infantry in 1863 and fought in the American Civil War. During this time, he painted several scenes from the war and forged a friendship with photographer James F. Ryder. Willard painted The Spirit of '76 in Wellington, Ohio after he saw a parade pass through the town square. Willard also painted three murals in the main hall of the Fayette County courthouse in Washington Court House, Ohio: The Spirit of Electricity, The Spirit of Telegraphy, and The Spirit of the Mail.

Willard is buried in Wellington, Ohio at the Greenwood Cemetery. There is a Willard Drive in Bedford and a Willard Avenue in nearby Garfield Heights named after him.

Willard's most famous work is The Spirit of '76 (previously known as Yankee Doodle), which was exhibited at the Centennial Exposition. The original is displayed in Abbot Hall, Massachusetts, with several later variations painted by Willard exhibited around the country (including in the United States Department of State). Of note, he used his father as the model for the middle character of the painting.

I crave your indulgence

My mother's sister is visiting for three days.


My mom's deaf as a post, my dad can't be bothered to get out of his chair, so I will be doing the entertaining - the chauffeuring and the talking and the communicating - for the next three days.


So I'll be posting back here Thursday.


Thanks for your patience.

Franz Marc: Haystacks in the Snow

English: "Haystacks in the Snow," oil on canvas, by the German artist Franz Marc. 79.5 cm x 39.37 cm (31.3 in. x 39.37 in.) Courtesy of the Franz Marc Museum, Germany. Image courtesy of The Athenaeum. Date 1911(1911)

Source The Athenaeum

Salvador Dali's Atomicus

In 1941, American photographer Philippe Halsman met the surrealist artist Salvador Dalí in New York City and they began to collaborate in the late 1940s. The 1948 work Dali Atomicus explores the idea of suspension, depicting three cats flying, water thrown from a bucket, an easel, a footstool and Salvador Dalí all seemingly suspended in mid-air. The title of the photograph is a reference to Dalí's work Leda Atomica (at that which can be seen in the right of the photograph behind the two cats.) Halsman reported that it took 28 attempts to be satisfied with the result. This is the unretouched version of the photograph that was published in LIFE magazine. In this version the wires suspending the easel and the painting, the hand of the assistant holding the chair and the prop holding up the footstool can still be seen. The frame on the easel is still empty. The copyright for this photo was registered with the U.S. Copyright Office but according to the U.S. Library of Congress was not renewed, putting it in the public domain in the United States and countries which adopted the rule of the shorter term.

Salvador Dali's Persistence of Memory

The Persistence of Memory (Spanish: La persistencia de la memoria; Catalan: La persistència de la memòria) is a 1931 painting by artist Salvador Dalí, and is one of his most recognizable works. The painting has been in the collection of the Museum of Modern Art (MoMA) in New York City since 1934. It is widely recognized and frequently referenced in popular culture.

Description
The well-known surrealist piece introduced the image of the soft melting pocket watch.[2] It epitomizes Dalí's theory of "softness" and "hardness", which was central to his thinking at the time. As Dawn Ades wrote, "The soft watches are an unconscious symbol of the relativity of space and time, a Surrealist meditation on the collapse of our notions of a fixed cosmic order".[3] This interpretation suggests that Dalí was incorporating an understanding of the world introduced by Albert Einstein's Special Theory of Relativity. Asked by Ilya Prigogine whether this was in fact the case, Dalí replied that the soft watches were not inspired by the theory of relativity, but by the surrealist perception of a Camembert cheese melting in the sun.

Although fundamentally part of Dalí's Freudian phase, the imagery precedes his transition to his scientific phase by fourteen years, which occurred after the atomic bombings of Hiroshima and Nagasaki in 1945.

It is possible to recognize a human figure in the middle of the composition, in the strange "monster" that Dalí used in several period pieces to represent himself – the abstract form becoming something of a self-portrait, reappearing frequently in his work. The orange clock at the bottom left of the painting is covered in ants. Dalí often used ants in his paintings as a symbol for death, as well as a symbol of female genitalia.

The figure in the middle of the picture can be read as a "fading" creature, one that often appears in dreams where the dreamer cannot pinpoint the creature's exact form and composition. One can observe that the creature has one closed eye with several eyelashes, suggesting that the creature is also in a dream state. The iconography may refer to a dream that Dalí himself had experienced, and the clocks may symbolize the passing of time as one experiences it in sleep.

The Persistence of Memory employs "the exactitude of realist painting techniques" to depict imagery more likely to be found in dreams than in waking consciousness.

Versions
Dalí returned to the theme of this painting with the variation The Disintegration of the Persistence of Memory (1954), showing his earlier famous work systematically fragmenting into smaller component elements, and a series of rectangular blocks which reveal further imagery through the gaps between them, implying something beneath the surface of the original work; this work is now in the Dalí Museum in St. Petersburg, Florida, while the original Persistence of Memory remains at the Museum of Modern Art in New York City. Dalí also produced various lithographs and sculptures on the theme of soft watches late in his career. Some of these sculptures are the Persistence of Memory, the Nobility of Time, the Profile of Time and the Three Dancing Watches

Franz Marc: Horse in a Landscape