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Storytellin’
Image by Viewminder
I gotta admit that I truly take pleasure in meetin’ folks and sharin’ excellent stories with them.
Great story tellers often appreciate every single others firm.
I consider I was born to be a sailor.
Because I enjoy the water and sailor’s inform the best stories.
Long hours of tediousness and boredom at sea punctuated by brief periods of indescribable terror and panic develop the ideal atmosphere for telling stories.
Not only that… but in all of that monotony sailors themselves since time started have sat about in circles and passed the ‘story torch.’
I do it on the street all the time.
It usually goes like this…
I meet a person and they inform an interesting story that I appreciate hearing.
Does not matter if the story is great most of the time…
a good story teller is an artist that can render any tale exciting and pull you appropriate into it.
The thing is… and this is constantly true…
a person who tells a great story appreciates hearing one back.
It is almost an unwritten rule and numerous a time I’ve listened to a guy finish tellin’ a story and then he looks at me like ‘alright… what do you got?’
I’ve dug hearing wonderful stories since I was a kid and my grandfather told me all sorts of stories about Planet War Two in the Pacific.
I couldn’t get adequate of those stories and everytime I saw him it was the very first thing I asked him…
‘tell me one more story grampa.’
I utilized to sit there and visualize the stories he told.
I’d really ‘see’ what he was speaking about in my thoughts and in my memories I can nevertheless ‘see’ his stories today.
I remember the way the sun glinted off the wings of the Japanese Zero Fighter that turned into his position and began firing it is machine guns at him and his buddies…
the muzzle flashes of the guns in the wings of that plane and the seconds later sound of spent brass bullet cartridges hitting the ground with a ‘tinging’ noise.
I could ‘smell’ the sweat of fear as he jumped into a foxhole and stated a few words to God as that plane flew overhead.
Shit like that tends to make a very good story and as Irish as my grandfather was the stories usually improved with a small bit of whiskey so as I grew older and encouraged him to drink more the very same stories just kept obtaining better and better.
They got even greater when he encouraged me to take a handful of sips of the whiskey.
‘How did you Feel when that plane pointed right at you and started shooting’ I asked him when.
Man I actually miss that man and his stories.
I want I’d have recorded them all.
He gave me that and those had been the ideal memories of my childhood.
Stories have gotten me into difficulty and stories have gotten me out of it.
I’d just gotten kicked out of Japan for stabbin’ a guy with a broken beer bottle.
Never be concerned…
I’m not a violent thug…
the dude broke into my residence wearing a mask and I woke up none as well sober following a excellent night at The Pig and The Whistle bar in Osaka.
It was kinda weird because I woke up punching some stranger in the face right over my futon.
He was wearing what looked like a white pillow case with eye holes reduce into it and I’d broken his nose by the time I ‘really’ woke up so my very first recollection of the complete issue was hunting at my proper fist about to hit the guy’s face once more and all kindsa blood on his mask.
I was confused as shit.
‘What was I performing… and who’s face was I pummeling’ I wondered as I took another punch.
‘Why am I doing this’ I asked myself.
I knew I must’ve had a genuinely good purpose even though.
I was actually hoping it wasn’t my roommate playing some sort of a joke.
Which was confirmed when he came around screaming behind me.
He was kinda confused too.
In that split second exactly where I stopped attempting to kill the guy and ask my roommate what the fuck was going on the guy took expert benefit of that distraction and proceeded to try to kill me.
I had no notion what the hell was going on but fairly basically place the guy was attempting to kill me so I figured that if I could stay away from that that maybe I could figure it all out later.
I didn’t know what to do.
I did not actually wanna kill the guy…
I was just tryin’ to get some sleep right after all of these Asahi’s and now appear what I gotta deal with.
Well…
for some purpose I just wanted to throw the guy outta my residence.
Seemed intelligent at the time.
Effectively believed out.
A great strategy even.
The thought of holding him ’til the police came by no means even entered my thoughts.
Possibly since we did not have a phone and I wouldn’t know how to contact the cops in Japan anyway.
I do not even bear in mind how I got the empty Asahi bottle in my hand or how it got broken like that.
I mighta taken it away from him.
My roommate was no support at all…
he was screamin’ like a small girl who just saw a nasty spider and the shock of the entire point just rendered him incapacitated as all get out.
I can realize his gettin’ freaked out.
As crazy as it is wakin’ up findin’ your self tryin’ to kill a guy it really is prolly crazier to wake up watchin’ your roommate tryin’ to kill some masked guy in your property.
Busy as I was tryin’ to kill the guy I didn’t have the luxury of freakin’ out.
Somehow with the jagged beer bottle in my proper hand and the dude with a broken nose in a headlock in my left arm I got to the front door… perhaps he’d left it open when he broke in simply because I never know how I could even have opened it with my hands full of hell like that.
And I know my roommate did not open it.
By this time he’d gone fetal on the floor.
Occasionally I wonder about my reactions that evening.
I didn’t believe about callin’ the police till it was all more than.
Instinct told me that life would be a lot much better if the guy who was tryin’ to kill me wasn’t in my property any longer.
It all occurred so quick.
When I threw him out the door somehow I pulled the guys mask off.
I felt like I hadda see his face.
When I did that he turned back on me in this rage that I’d in no way observed in a person just before.
He was goin’ for me difficult and I just sort of without much considering stabbed him in the stomach with the jagged beer bottle.
I had never ever stabbed any individual prior to and appropriate right after I did it I was tellin’ myself ‘dude… you just stabbed a guy.’
Sort of a weird point to consider.
I guess I believed perhaps he’d just die then.
I don’t know… I in no way killed a guy with a broken beer bottle to the gut ahead of.
The entire thing was a new experience.
I imply… I stuck him pretty good.
Shards of glass stuck in his stomach and some other shards fell onto the tile floor.
He got this genuinely shocked appear on his face for a second…
like ‘why the fuck did you just stab me asshole?’
There wasn’t time to say ‘because I woke up with you tryin’ to kill me dickhead.’
In addition to… I didn’t know how to say that in japanese.
As an alternative he recovered from his initial shock and came at me again.
I couldn’t believe this guy.
And my freakin’ out area mate is freakin’ out even much more ’cause now I just stabbed the guy.
It wasn’t like I was left with a complete lotta options man.
The complete scenario was a lot to deal with and I was beginning to get pissed off.
I was woken up adequate by that time that I ultimately decided to kill the guy with my bare hands.
I’d had adequate of this shit you know?
Didja ever just try to get some sleep and all of the sudden you gotta kill a guy?
A guy who appears hell bent on killin’ you?
I wasn’t angry or mad or filled with hatred… I just wanted some peace in my life and this guy’s fully going apeshit on me and we look to have differing agendas on how the evening need to end.
And I still never know what the complete thing’s all about.
We fought there in the hallway in front of the front door…
It was comedic really in a way when I believe back on it…
there was so much blood on the floor and I am barefoot in my underwear tryin’ to kill the guy but I can’t hold from slipping in the blood.
Could not keep on my feet for all the cash in the world.
Neither could he.
We ended up wrestling on the floor.
Blood on porcelain tile is truly slippery.
I feel losin’ as considerably blood as he did just took the fight out of him.
The last couple of throws from either of us had been weak and exasperating.
I don’t know what told me to let him go but I did.
Anything just told me it was all over.
He stumbled down the hallway and I went back inside.
The hallway was a bloody mess.
It was blood all more than the floor… bloody smeared handprints on the wall…
I sat down on my futon and tried to figure out if any of the blood that covered me was mine.
Did a tiny examination of all my extremities and such.
Nothin’.
A couple of cuts on my feet possibly from walking on the broken glass.
Now is exactly where I started to get angry.
I did not ask for any of that.
I tried asking my space mate what the fuck that was all about but all he could do was talk gibberish.
He couldn’t even get the words out.
I don’t know who known as the cops and they seemed to show up pretty swiftly.
Lots of them.
Now I hadda deal with that shit as well.
I couldn’t even get dressed and go wash the blood off.
They would not let me.
Because they were as well busy taking photographs of me and the blood I was wearing.
The 1st issue the cops asked when they got there and saw the bloody mess in the hallway was ‘where is the physique.’
Come on man.
Some dude just broke into my residence for factors unknown in a mask and tried to kill me and freaked the shit out of my roommate.
And now I gotta be interrogated?
I actually just wanted to take a shower and go back to sleep.
I knew sufficient japanese to score with the ladies but I had no idea how to talk to these guys.
It was crazy mojo all the way about…
and I told them what occurred but they kept treating me like the criminal right here.
Which it turned out they presumed me to be.
Due to the fact I stabbed the guy Outdoors of my house.
And I told them that.
Awwwwww fuck.
It is funny how items go that way.
It all made ideal sense at the time.
I did not believe… ‘don’t stab the guy since he’s outside of your property and it is a whole distinct ballgame if you kill him there versus killin’ him in your bedroom according to the law.’
But it was.
That is where I learned it’s usually far better to get in touch with your lawyer prior to you contact the police.
Lawyers are far better at making up stories in the middle of the night than you or I will ever be.
Not that I thought I necessary a story…
it seemed fairly clear what had occurred.
But the ‘lack of a body’ seemed to get everybody upset.
After lots and lots of interrogation I was just advised by the police the next morning that everything would be much better if I just left Japan proper away.
Like now.
Just before I was charged with something like murder.
If they located that guy’s physique.
So I quickly packed up my backpack and decided to take their guidance.
I cleaned up… shared a coffee with the roomie who could talk now and told him I’d hold in touch.
The very best way out I’d figured was the Port of Osaka.
There’s all types of ships comin’ in and out and I knew I could hitch a ride with a single.
Sailors don’t ask also a lot of concerns.
Australia was soundin’ good and I’d told my space mate that prior to I left.
‘I’ll send you a postcard’ I told him.
I couldn’t discover a ship headed to Australia that day… but there was 1 heading to Shanghai and that was like half way according to my map.
I figured I’d hafta try and jump yet another ship right there in Shanghai.
I’d consider about all that when I got there.
When I approached the ship I asked one of the crew memebers if I may well be capable to difficulty them for a ride to Shanghai.
‘Whaddaya got’ of of the sailors mentioned… starting the negotiations over how significantly the fare was gonna cost me.
‘I’m a great story teller’ I mentioned.
Nature morte (Fernand Léger, 1938)
Image by pedrosimoes7
CAM Collection, Calouste Gulbenkian Foundation, Lisbon, Portugal
Oil on Canvas
Inv. PE 127
From Wikipedia
Joseph Fernand Henri Léger (French: [leʒe] February 4, 1881 – August 17, 1955) was a French painter, sculptor, and filmmaker. In his early functions he developed a individual form of cubism which he gradually modified into a a lot more figurative, populist style. His boldly simplified remedy of modern day subject matter has caused him to be regarded as a forerunner of pop art.
Biography
Léger was born in Argentan, Orne, Decrease Normandy, exactly where his father raised cattle. Fernand Léger initially educated as an architect from 1897 to 1899, just before moving in 1900 to Paris, exactly where he supported himself as an architectural draftsman. Right after military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts following his application to the École des Beaux-Arts was rejected. He nonetheless attended the Beaux-Arts as a non-enrolled student, spending what he described as "three empty and useless years" studying with Gérôme and other individuals, while also studying at the Académie Julian.[1] He started to work seriously as a painter only at the age of 25. At this point his work showed the influence of impressionism, as seen in Le Jardin de ma mère (My Mother’s Garden) of 1905, 1 of the handful of paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger’s operate right after he saw the Cézanne retrospective at the Salon d’Automne in 1907.[two]
1909–1914
A painting of smokers
Les Fumeurs (The Smokers), 1911-12, oil on canvas, 129.2 x 96.5 cm, Solomon R. Guggenheim Museum, New York
A painting of a woman in blue
La Femme en Bleu (Woman in Blue), 1912, oil on canvas, 193 x 129.9 cm (76 x 51 1/eight inches), Kunstmuseum Basel. Exhibited at the 1912 Salon d’Automne, Paris
Painting of a nude
Nude Model in the Studio (Le modèle nu dans l’atelier), 1912-13, oil on burlap, 128.6 x 95.9 cm, Solomon R. Guggenheim Museum, New York
In 1909 he moved to Montparnasse and met such leaders of the avant-garde as Archipenko, Lipchitz, Chagall, Joseph Csaky and Robert Delaunay. His significant painting of this period is Nudes in the Forest (1909–10), in which Léger displays a personal form of Cubism that his critics termed "Tubism" for its emphasis on cylindrical forms.[three]
In 1910 he exhibited at the Salon d’Automne in the identical area (salle VIII) with Jean Metzinger and Henri Le Fauconnier. In 1911 the hanging committee of the Salon des Indépendants placed together the painters that would quickly be identified as ‘Cubists’. Metzinger, Gleizes, Le Fauconnier, Delaunay and Léger were accountable for revealing Cubism to the basic public for the initial time as an organized group.
The following year he once more exhibited at the Salon d’Automne and Indépendants with the Cubists, and joined with many artists, which includes Henri Le Fauconnier, Jean Metzinger, Albert Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp to form the Puteaux Group—also known as the Section d’Or (The Golden Section).
Léger’s paintings, from then until 1914, became increasingly abstract. Their tubular, conical, and cubed forms are laconically rendered in rough patches of primary colors plus green, black and white, as noticed in the series of paintings with the title Contrasting Types. Léger created no use of the collage method pioneered by Braque and Picasso.[4]
1914–1920
Dans L’Usine, 1918, oil on canvas, 56 x 38 cm (22 x 15 in)
The City, 1919, oil on canvas, The Philadelphia Museum of Art, A. E. Gallatin Collection
Léger’s experiences in World War I had a substantial effect on his operate. Mobilized in August 1914 for service in the French Army, he spent two years at the front in Argonne.[5] He developed a lot of sketches of artillery pieces, airplanes, and fellow soldiers although in the trenches, and painted Soldier with a Pipe (1916) while on furlough. In September 1916 he virtually died following a mustard gas attack by the German troops at Verdun. Throughout a period of convalescence in Villepinte he painted The Card Players (1917), a canvas whose robot-like, monstrous figures reflect the ambivalence of his knowledge of war. As he explained:
…I was stunned by the sight of the breech of a 75 millimeter in the sunlight. It was the magic of light on the white metal. That’s all it took for me to forget the abstract art of 1912–1913. The crudeness, range, humor, and downright perfection of specific guys about me, their precise sense of utilitarian reality and its application in the midst of the life-and-death drama we were in … created me want to paint in slang with all its colour and mobility.
This perform marked the starting of his "mechanical period", for the duration of which the figures and objects he painted were characterized by sleekly rendered tubular and machine-like types. Starting in 1918, he also developed the first paintings in the Disk series, in which disks suggestive of targeted traffic lights figure prominently.[7] In December 1919 he married Jeanne-Augustine Lohy, and in 1920 he met Le Corbusier, who would stay a lifelong friend.
1920
Still Life with a Beer Mug, 1921, oil on canvas, the Tate
The "mechanical" operates Léger painted in the 1920s, in their formal clarity as effectively as in their subject matter—the mother and child, the female nude, figures in an ordered landscape—are common of the postwar "return to order" in the arts, and link him to the tradition of French figurative painting represented by Poussin and Corot.[8] In his paysages animés (animated landscapes) of 1921, figures and animals exist harmoniously in landscapes created up of streamlined types. The frontal compositions, firm contours, and smoothly blended colors of these paintings frequently recall the operates of Henri Rousseau, an artist Léger greatly admired and whom he had met in 1909.
They also share traits with the perform of Le Corbusier and Amédée Ozenfant who with each other had founded Purism, a style intended as a rational, mathematically based corrective to the impulsiveness of cubism. Combining the classical with the contemporary, Léger’s Nude on a Red Background (1927) depicts a monumental, expressionless lady, machinelike in form and colour. His still life compositions from this period are dominated by stable, interlocking rectangular formations in vertical and horizontal orientation. The Siphon of 1924, a still life based on an advertisement in the popular press for the aperitif Campari, represents the high-water mark of the Purist aesthetic in Léger’s perform.[9] Its balanced composition and fluted shapes suggestive of classical columns are brought together with a quasi-cinematic close-up of a hand holding a bottle.
As an enthusiast of the modern, Léger was significantly attracted to cinema, and for a time he deemed providing up painting for filmmaking.[ten] In 1923–24 he made the set for the laboratory scene in Marcel L’Herbier’s L’Inhumaine (The Inhuman A single). In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger developed and directed the iconic and Futurism-influenced film, Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of pictures of a woman’s lips and teeth, close-up shots of ordinary objects, and repeated photos of human activities and machines in rhythmic movement.[11]
In collaboration with Amédée Ozenfant he established a totally free college exactly where he taught from 1924, with Alexandra Exter and Marie Laurencin. He produced the first of his "mural paintings", influenced by Le Corbusier’s theories, in 1925. Intended to be incorporated into polychrome architecture, they are amongst his most abstract paintings, featuring flat regions of color that seem to advance or recede.[12]
1930s
Starting in 1927, the character of Léger’s perform steadily changed as organic and irregular types assumed greater significance.[13] The figural style that emerged in the 1930s is totally displayed in the Two Sisters of 1935, and in a number of versions of Adam and Eve.[14] With characteristic humor, he portrayed Adam in a striped bathing suit, or sporting a tattoo.
In 1931, Léger produced his 1st pay a visit to to the United States, exactly where he traveled to New York City and Chicago.[15] In 1935, the Museum of Modern Art in New York City presented an exhibition of his operate. In 1938, Léger was commissioned to decorate Nelson Rockefeller’s apartment.[16]
The War years
In the course of Globe War II Léger lived in the United States. He taught at Yale University, and located inspiration for a new series of paintings in the novel sight of industrial refuse in the landscape. The shock of juxtaposed all-natural forms and mechanical components, the "tons of abandoned machines with flowers cropping up from within, and birds perching on leading of them" exemplified what he known as the "law of contrast".[17] His enthusiasm for such contrasts resulted in such operates as The Tree in the Ladder of 1943–44, and Romantic Landscape of 1946. A significant perform of 1944, 3 Musicians (Museum of Modern day Art, New York), reprises a composition of 1930. A folk-like composition reminiscent of Rousseau, it exploits the law of contrasts in its realistic juxtaposition of the three males and their instruments.
Upon his return to France in 1945, he joined the Communist Party.[18] In the course of this period his perform became less abstract, and he developed numerous monumental figure compositions depicting scenes of well-liked life featuring acrobats, builders, divers, and country outings. Art historian Charlotta Kotik has written that Léger’s "determination to depict the common man, as properly as to develop for him, was a result of socialist theories widespread amongst the avant-garde each prior to and after Globe War II. Even so, Léger’s social conscience was not that of a fierce Marxist, but of a passionate humanist".[19] His varied projects included book illustrations, murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume styles.
1950
Stained-glass window at the Central University of Venezuela, 1954
Following the death of his wife in 1950, Léger married Nadia Khodossevitch in 1952. In his final years he lectured in Bern, developed mosaics and stained-glass windows for the Central University of Venezuela in Caracas, Venezuela, and painted Country Outing, The Camper, and the series The Big Parade. In 1954 he started a project for a mosaic for the São Paulo Opera, which he would not live to finish. Fernand Léger died at his residence in 1955 and is buried in Gif-sur-Yvette, Essonne.
Legacy
Léger wrote in 1945 that "the object in contemporary painting must become the major character and overthrow the topic. If, in turn, the human type becomes an object, it can considerably liberate possibilities for the contemporary artist." He elaborated on this concept in his 1949 essay, "How I Conceive the Human Figure", where he wrote that "abstract art came as a total revelation, and then we have been capable to contemplate the human figure as a plastic worth, not as a sentimental value. That is why the human figure has remained willfully inexpressive throughout the evolution of my function".[20] As the 1st painter to take as his idiom the imagery of the machine age, and to make the objects of customer society the subjects of his paintings, Léger has been known as a progenitor of Pop art.[21]
He was active as a teacher for several years. Among his pupils had been Nadir Afonso, Robert Colescott, Paul Georges, Charlotte Gilbertson, Hananiah Harari, Asger Jorn, Michael Loew, Beverly Pepper, Victor Reinganum, Marcel Mouly, George L. K. Morris, René Margotton, Erik Olson, Saloua Raouda Choucair and Charlotte Wankel.
In 1952, a pair of Léger murals was installed in the General Assembly Hall of the United Nations headquarters in New York, New York.[22]
In 1960, the Musée Fernand Léger was opened in Biot, Alpes-Maritimes, France.
In May possibly 2008, his painting, Étude pour la femme en bleu (1912-13) sold for ,241,000 (hammer price tag with buyer’s premium) United States dollars.[23]
In August 2008, a single of Léger’s paintings owned by Wellesley College’s Davis Museum and Cultural Center, Mother and Youngster, was reported missing. It is believed to have disappeared some time between April 9, 2007 and November 19, 2007. A ,000 reward is becoming provided for information that leads to the protected return of the painting.[24]
Léger’s function was featured in the exhibition "Léger: Modern Art and the Metropolis" from October 14, 2013, by way of January 5, 2014, at the Philadelphia Museum of Art.[25]
Square Weave as my new pillow
Image by Monika Hankova
I ultimately had a likelihood to appear into the final German convention book and I discovered out that it is surprisingly effortless to fold from fabric. This weekend I had some time so I tried it and I believe it all turned out quite effectively. It’s all sewed by hand since I didn’t want to wait an additional week to sew it at property where mom has a sewing machine. At least I renewed my sewing skills
