Monthly Archives: March 2016

mistral = miserable.


Vincent van Gogh lived with Paul Gauguin in the Yellow House for about nine weeks.


If you ask me, that’s about nine too many.

During that hellacious time, Gauguin painted Mistral. The subject, Madame Ginoux, was the owner of a cafe, and is featured in multiple portraits by both artists. Doesn’t she look doggone miserable?! Cold wind, or cold dead stare from being visually confronted in a Gauguin again!? Definitely latter.

This bush looks like a face, though, right? Or does Gauguin just make me go crazy and see things that aren’t really there?

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battle of the pauls


Not to be redundant, but Paul Cezanne’s Still Life with Fruit Dish makes its appearance in Paul Gauguin’s Woman in front of a Still Life by Cezanne. I know what you’re thinking: WOW, Gauguin, super original.

A few things I absolutely hate about this work (surprise, surprise)…

1. Knife: Why does it look like it’s floating!? Worst.

2. Signature: Gauguin does a pretty rude move where he signs the white border of the Cezanne work. Like, are you serious, Gauguin? Way to take credit for a work you didn’t actually create with that borrowed background! Lucky us, though, since we get to interpret the signature as witness (a la Jan van Eyck’s Arnolfini Wedding Portrait) or as a self-important chump (a la Duchamp’s urinal). Personally, I’m going with latter.

3. Ownership: Gauguin once said that he would never sell this Cezanne without “direst necessity.” But guess what?! He later sold it to pay for medical treatment in Tahiti…something to do with syphilis, perhaps? (I ignore ALL dental analysis theories; don’t you dare rain on my parade, science!)

4. That WAIST: Mainly since I’m damn jealous. You can keep your hate-filled glare, though, girl. I’m not about that.

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I have nothing clever to say about this work, other than to share its title is Portrait of a Young Woman as a Wise Virgin.

This means she’s neither wise, nor a virgin, right? Sebastiano del Piombo FTW on this broad. Cute braid, though.

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party in paris

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Max Beckmann’s Paris Society presents the viewer with a sensational soiree, yet zero attendees look happy to be there. (Note: All these fancypants subjects are a mix of Beckmann’s friends, one banker, and a music historian.)

I generally feel that way about parties, which is probably why I just copy all those betches instagram posts and send them to my friends.

9 things

Earlier this week, Katherine Brooks (HuffPo’s senior Arts & Culture editor) described nine things museums can do to improve how people experience art. Suggestions include rebranding, identifying the construct itself as a safe space, and working to ensure the spaces are accessible for a variety of diverse populations emotionally and physically.

It’s a really well-worded piece about how museums can do more for its audiences. And while I usually would just add some quip about “more alcohol, less mixers!” (well, that’s true, Katherine), I really just think museums these days are doing some of the coolest things to interact with its public, and I’m totally on board.

But really, less mixers.


I can’t tell what I like more about this painting: the fact that this girl is stylish as can be in all this excess fabric, or that she’s actually throwing daggers at someone who undoubtedly flirted with her last night, but actually has a girlfriend.

Both usually happen to me, so, girl, I hear you. Men are the pits.



When I learn tomorrow’s the start of a five day work week.

Someone must pay.

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Breakfast Time is my weekend Instagram a painting by Swedish artist Hanna Pauli from 1887. She wasn’t engaged yet, so it’s signed as her maiden name (here’s hoping she went by St. Pauli’s girl during their courtship, amirite?).

This painting went on display during the Paris Exhibition and the Chicago World’s Fair. Fun Fact: The Art Institute of Chicago and the Museum of Science and Industry are the only two structures built for the World’s Fair in 1983.

Trust me, you’ll sound so smart at brunch this weekend.

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Salvador Dali’s Sleep from 1937 illustrates Dali’s vision of using crutches to support us during consciousness, and then removing them during sleep:

I have often imagined the monster of sleep as a heavy, giant head with a tapering body held up by the crutches of reality. When the crutches break we have the sensation of falling. – Dali, The Secret Life of Dali

Right, Sal. I feel the same way about getting through my to-do list before five.

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