Category: Culture

The visual, literary and performing arts, with some architecture thrown in.

What kind of mind dreams up a complete inversion of reality?

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I watched a movie last night—a typical horror flick where a yuppie couple ventures into a rural area, encounters hillbillies, and ends up hunted, tortured, and murdered. The only twist was that this one took place in the UK.

Are movies and media a complete inversion of reality? In real life, a yuppie couple might visit the countryside, enjoy a few nice meals, take in the scenery, and return to their urban lives after a refreshing getaway. The worst they might face could be a minor irritation like a local asking, ‘Here to see the sights?’ They’d then head back to their concrete jungle, where their diet consists of soy and high fructose corn syrup.

Why don’t they ever make a horror movie about a nice rural family visiting the city to see the bright lights and museums, only to find themselves hunted through a grim urban landscape like Detroit or Chiraq? In reality, a movie about country folk in the city would probably end within 15 minutes: ‘Family goes to the city, takes mass transit, wife and children are pushed in front of an incoming train by a homeless man,’ or ‘Dad drives into the city and gets shot at a random intersection for no reason’… roll credits. The film would be over in 10 minutes.

I suppose it’s at least a subtle acknowledgment that Hollywood imagines country folk as having the agency to set up a brutal cat-and-mouse game with city dwellers.

The only movie I can think of where suburban or rural people encounter horror in the city is when a group of hockey fans takes a shortcut to a Red Wings game and gets hunted down by a gang led by none other than Denis Leary. Detroit gang leader, Denis Leary.

What kind of mind dreams up such a complete inversion of reality? I have to say, I’m not fond of whoever concocts these movie ideas.

A Breathtaking Journey to the “Top of the Ridge”

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“Top of the Ridge” by Lafayette Maynard Dixon is a breathtaking masterpiece that effortlessly captures the rugged beauty and untamed spirit of the American West. Dixon’s attention to detail and skillful brushwork transport viewers to a world of vast landscapes and serene solitude. This painting is a true testament to the enduring power of art to evoke emotions and inspire awe.

Lafayette Maynard Dixon was a renowned American artist, celebrated for his iconic portrayals of the American West. Born in Fresno, California, in 1875, he was deeply influenced by the landscapes and cultures of the Southwest. Dixon’s artistic journey began in his youth, as he passionately sketched and painted scenes depicting the frontier.

Dixon hailed from a family with Confederate roots that had relocated to California after the American Civil War. His father, Henry “Harry” St. John Dixon, transitioned from being a Confederate officer to becoming a rancher. Supported by a nurturing environment, Dixon’s mother, Constance Maynard, a well-educated daughter of a Navy officer from San Francisco, nurtured his love for literature and art, encouraging his writing and drawing pursuits.

During his early career, Dixon explored various artistic styles, including Impressionism and Tonalism. However, it was his profound admiration for the American West and its distinct character that ultimately became the defining theme of his work. He rose to prominence as a prominent member of the Taos Society of Artists, significantly contributing to the promotion of the Western art movement.

Dixon’s paintings masterfully captured the vast, open landscapes, cowboys, Native Americans, and the rugged beauty of the West. Through bold brushstrokes, vibrant colors, and a keen understanding of light and shadow, he skillfully conveyed the essence of the region. His artworks not only showcased the physical features of the West but also reflected his deep spiritual and emotional connection with the land.

Beyond his artistic endeavors, Dixon held a deep admiration for Native American culture. He dedicated himself to preserving and honoring their traditions through his art, extensively traveling throughout the Southwest and immersing himself in the study of Native American tribes. Their customs and rituals became integral elements in his artwork.

Throughout his career, Dixon received widespread recognition and acclaim for his unique artistic style, capable of evoking awe and nostalgia in viewers. His works have been displayed in prominent galleries and museums, and his enduring legacy continues to inspire artists and art enthusiasts to this day.

Lafayette Maynard Dixon’s contributions to American art are immeasurable. His ability to capture the very essence of the American West in his paintings has left an indelible mark on the art world. Through his art, he immortalized the spirit of the frontier and the timeless beauty of the landscapes he held dear. Dixon’s powerful storytelling, technical brilliance, and profound connection to the natural world make his art a source of celebration and admiration.

The Madonna of the Lilies

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The Virgin of the Lilies (French: La Vierge au lys), also known as The Madonna of the Lilies, is an 1899 oil painting by the French artist William-Adolphe Bouguereau, now owned by a private owner.

William-Adolphe Bouguereau 30 November 1825 – 19 August 1905) was a French academic painter. In his realistic genre paintings, he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life, he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. He finished 822 known paintings, but the whereabouts of many are still unknown.

The Battle Of New Orleans – Johnny Horton

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John LaGale Horton (April 30, 1925 – November 5, 1960) was an American singer-songwriter and musician. Initially performing traditional country, Horton later performed rockabilly songs. He is best known for a series of history-inspired narrative country saga songs that became international hits. His 1959 single “The Battle of New Orleans” was awarded the 1960 Grammy Award for Best Country & Western Recording. The song was awarded the Grammy Hall of Fame Award and in 2001 ranked No. 333 of the Recording Industry Association of America‘s “Songs of the Century“. His first No. 1 country song was in 1959, “When It’s Springtime in Alaska (It’s Forty Below)“.

The Battle of New Orleans was fought on January 8, 1815 between the British Army under Major General Sir Edward Pakenham and the United States Army under Brevet Major General Andrew Jackson, roughly 5 miles (8 km) southeast of the French Quarter of New Orleans, in the current suburb of Chalmette, Louisiana.

The battle was the climax of the five-month Gulf Campaign (September 1814 to February 1815) by Britain to try to take New Orleans, West Florida, and possibly Louisiana Territory which began at the First Battle of Fort Bowyer. Britain started the New Orleans campaign on December 14, 1814, at the Battle of Lake Borgne and numerous skirmishes and artillery duels happened in the weeks leading up to the final battle.

The battle took place 15 days after the signing of the Treaty of Ghent, which formally ended the War of 1812, on December 24, 1814, though it would not be ratified by the United States (and therefore did not take effect) until February 16, 1815, as news of the agreement had not yet reached the United States from Europe. Despite a large British advantage in numbers, training, and experience, the American forces defeated a poorly executed assault in slightly more than 30 minutes. The Americans suffered just 71 casualties, while the British suffered over 2,000, including the deaths of the commanding general, Major General Sir Edward Pakenham, and his second-in-command, Major General Samuel Gibbs.

The Storm on the Sea of Galilee

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The Storm on the Sea of Galilee is a 1633 oil-on-canvas painting by the Dutch Golden Age painter Rembrandt van Rijn. It was previously in the Isabella Stewart Gardner Museum in Boston but was stolen in 1990 and remains missing. The painting depicts the biblical story of Jesus calming the storm on the Sea of Galilee, specifically as it is described in the fourth chapter of the Gospel of Mark. It is Rembrandt’s only seascape.

The painting, in vertical format, shows a close-up view of Christ’s disciples struggling frantically against the heavy storm to regain control of their fishing boat. A huge wave beats the bow and rips the sail. One of the disciples is seen vomiting over the side. Another one, looking directly out at the viewer, is a self-portrait of the artist. Only Christ, depicted on the right, remains calm.

The close-up treatment of the subject and the overall composition go back to the print made by Adriaen Collaert after a design by the Flemish artist Maerten de Vos. That print depicting The storm on the sea of Galilei was plate 8 in the 12-part Vita, passio et Resvrrectio Iesv Christ which was published by Jan and Raphael Sadeler in Antwerp in 1583. Rembrandt’s painting follows the portrait format in his composition and also depicts the boat in a forward tilting position. Like in the print, most of the space of the work is taken up by the main motif, which is the disciples on the boat struggling against the elements.

Julbocken 

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by John Bauer

John Albert Bauer (4 June 1882 – 20 November 1918) was a Swedish painter and illustrator. His work is concerned with landscape and mythology, but he also composed portraits. He is best known for his illustrations of early editions of Bland tomtar och troll (Among Gnomes and Trolls), an anthology of Swedish folklore and fairy tales.

Bauer was born and raised in Jönköping. At 16 he moved to Stockholm to study at the Royal Swedish Academy of Arts. While there he received his first commissions to illustrate stories in books and magazines, and met the artist Ester Ellqvist, whom he married in 1906. He traveled throughout Lappland, Germany and Italy early in his career, and these cultures deeply informed his work. He painted and illustrated in a romantic nationalistic style, in part influenced by the Italian Renaissance and Sami cultures. Most of his works are watercolors or prints in monochrome or muted colours; he also produced oil paintings and frescos. His illustrations and paintings broadened the understanding and appreciation of Swedish folklore, fairy tales and landscape.

When Bauer was 36, he drowned, together with Ester and their son Bengt, in a shipwreck on Lake Vättern in southern Sweden.

Children need heroes.

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Giving hope to discouraged parents – “My praying with them at home and taking them to church is not enough to compete with what is happening to them at school. I’m not going to win.”

As we talked, she admitted that she doesn’t know what her daughter is reading at school. She can’t keep up. But she has noticed that what her daughter reads influences her ideas. And what her daughter brings home from the school library is not what she wants her to be reading.

Classical Difference’s post Talk to Strangers Oct 13, 2022

If you can’t rescue your children from government education and send them to a Classical or Classical Christian school at least offer them reading material that inspires their dreams, offers them hope, teaches them morals and sets worthy examples.

“Since it is so likely that (children) will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” ― C.S. Lewis

Even our local library has become a cesspool of modern slop. I recommend two sites for worthwhile children’s books. https://archive.org/ and https://www.gutenberg.org/

My son and I recently read The Children’s Plutarch, tales of the Greeks & tales of the Romans. You can get them for free here – https://archive.org/search.php?query=Children%27s+Plutarch&sin=

or buy them on Amazon in several formats

The Children’s Plutarch: Tales of the Greeks (Yesterday’s Classics)

The Children’s Plutarch: Tales of the Romans (Yesterday’s Classics)

The Creation

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The six days of the Creation. This is a page size miniature that Michiel van der Borch made in a manuscript of Jacob van Maerlant’s rhymed Bible. The text was Van Maerlant’s translation and adaptation of Petrus Comestor’s Historia scholastica.

Michiel put his name and the date below another miniature in the manuscript, making him the first painter known by name in the Netherlands.

Top left: God addresses a group of angels, who represent Light.

Center left: God creates a firmament which he called Heaven. It divided the waters in heaven and below.

Bottom left: on the third day God separated land and water in the waters below. He made plants and trees grow on the land.

Top right: on the fourth day God set the sun, the moon and the stars in the firmament of the heaven.

Center right: the creation of the great whales, the fish, and of the birds.

Bottom right: the sixth day. God created cattle, “creeping thing”, wild animals, and, finally, man. God pulls Eve from one of sleeping Adam’s ribs.