"The Greedy Child"

Mrs. Wonderley was everything her name suggested. She was joyful, energetic, vibrant…she taught with a passion and love of the thing; Art. Her knowledge of the subject ran deep. Art’s history, movements and techniques were all introduced to her students. Her classes ranged from pottery to macramé and from mixed-medium to painting, drawing and graphics. Mrs. Wonderley taught from her head but she taught mostly from her heart and love. Her gift to us was a richer understanding and meaning to what art was and could be. She inspired and was wonderful!

The methods of teaching she choose were tried and true and from the respected scientific laws of seeing. Drawings from plaster models and life were done in her art room as we learned the importance of symmetry, perspective, form and composition. There was little she missed but one of the simplest and yet most extraordinary things she did was after instruction and background on our assignments she would jump in and do her own version of the topic. There was no competition in this but she knew as did Leonardo that working with a superior more experienced artist would only make us better. The reality is that she truly enjoyed expressing herself as she continued her own learning and artistic growth. At these times she would most often create originals but copies would sometimes be her choice of expression, depending on her whim. 

On one occasion as we students worked on assignment Mrs. Wonderley chose to copy something from Picasso’s Blue Period, “The Greedy Child.” To see her copying as a drawing this master piece of 20^th century painting, this modernist marvel from a master’s hand was a thing of beauty onto itself.  She worked with a relaxed diligence that showcased her talent and ability to see and reproduce both the detail, depth of feeling and nuance of the original. It was impossible to discern any real difference between the graphic structure of the image she copied from and the image we saw unfold on Mrs. Wonderley’s paper. Her choice to copy “The Greedy Child” would increase my admiration for my teacher as well as for the masterful, Pablo Picasso.

Forty years later while walking, relaxing, passing through the National Gallery in Washington, DC my grandchildren and I would stop to sit before a work from the museum’s permanent collection. This was an opportunity to study and further enjoy a painting of beauty, worthy of deeper reflection. It was a gift of sort from me to them. I felt something wholly unique and special as we look at the miraculous, this original work of art “The Greedy Child.” I thought about Mrs. Wonderley and as we looked; the wheel turned. Within this rarest of moments I somehow knew the essence and meaning of art.

Bitches Brew

 

There was a time when music was saved or recorded onto vinyl discs; the discs were packaged and sold in wrappings that were decorated as works of art. Artist including Andy Warhol, Frank Frazetta, Salvador Dali and Roger Dean would be commissioned and their works reproduced for these designs. One of the most radical and innovative works of cover art was for a new music by musician Miles Davis. The Davis recording of what he referenced as “New Directions in Music” was titled “Bitches Brew.” It was a landmark and pivotal work in that it changed perceptions of the nature of music itself; particularly Jazz. What the music really was is still being argued. The cover art was by artist Mati Klarwein. He would produce several famous works for recording artists/performers like Miles including an incredible rendition of “The Annunciation” that Carlos Santana would see and use for his opus; “Abraxas.”

The cover for “Bitches Brew” was a painting somewhat surreal in nature featuring an African couple; lovers, standing on a beach gazing at a stormy sea and beyond into infinity. To the left of the couple is a flower erupting in flame as it begins to ignite the woman’s hair filling the sky with smoke. Above the couple to their left is an extreme close up of another African profile with large beads of sweat strategically placed adding intensity to the portrait. The cover wraps around to the back and becomes a sort of a mirror/reversal of the front. The large dark tone face morphs into pink or extremely lighted skin on the back. The images of the facial profiles snake into two joined hands; one black the other white which could be seen as a form of commonality and unity reflected in humanity even with the obvious differences in skin hue. The stars of night subtly illumine the darkness of the reversed back cover. A figure seemingly in a fit of rage or pain grimaces.  A woman of resolve or quiet hope rounds out the composition as we are left to ponder.

Klarwein's original piece for “Bitches Brew” was much admired and sought out by Miles but he was unable to acquire the piece. It would have been an amazing addition to Davis’ art collection but it was not meant to be. Miles was himself a water color and pen & ink artist. His tastes ran from fine sculpture to French and European graphic novels.   

Davis and Klarwein were immensely creative.  Their admirers were and remain many. “Bitches Brew” an achievement for both men and all from a time when music albums were vinyl and the covers were works of art.

 

Miles Music

 

Quentin Tarantino Inglorious Basterd

The pen and mind of Quentin Tarantino have produced works of malevolence, humor, brutality and passion that illuminate a reflection of life from a most incredibly unique perspective. His perspective is like none the world of film or perhaps the world in any form has known before. Oh that we all could be so blessed as Mr. Tarantino. The characters in his films are often cool to a point of ice cold; violent and bloody (no kiddie stuff here) but they are never lacking of a strong wit to complement their cunning. Tarantino; the magician that he is, makes movies of thought and complexity that are immensely entertaining.  

“Reservoir Dogs” was his first directorial piece but his “Pulp Fiction” burst upon us like nothing before. This powder keg would dramatically change and challenge every established notion of film.  “Pulp Fiction,” something so radical, so different that nothing worthy of comparison has appeared since; except for perhaps some of Quentin’s own works. There’s nothing close to his level. He has spawned some imitation that at best serves merely as flattery. Tarantino is much flattered by his imitators. “Pulp Fiction” revived the career of John Travolta, show-cased the talents of Samuel L. Jackson and made the sound track central to the story telling. The timing and pacing of the piece was everywhere at once and the ending of the film is the chronological center of the actual events. Great job Quentin!   

 

 

 

Tarantino is well on his way of becoming one of the all-time favorites and greats of the cinema. Certainly the most distinct visionary of this age of film. His recent Oscar win for best original screenplay speaks volumes for his craftsmanship. His brilliance and daring are to be envied. In his most recent venture he has been able to take one of the worst segments of American History twists it, turns it, shakes it up and produces a work that elicits laughs, horror, tears and revulsion. He offers questions, enigma, insights and solutions to what is largely the unspeakable; American Slavery.His “Django Unchained” is brilliant in that it is both epic in scope while retaining something of the fun of a romp.  Christoph Waltz wins an “Oscar” for best supporting actor portraying a dentist turned bounty hunter in ‘Django.”  Waltz’s character develops a heart through the course of the film as he and Jamie Fox complement each other well. Samuel L. Jackson is stellar in his portrayal of the “Uncle Tom” character.  No plantation even a fictional one should be without an “Uncle Tom.” Jackson and Leonardo DiCaprio also serve well as foils to their respective characters.

 

 

The list of Tarantino films continues to grow longer and they are increasingly more intriguing. There is talk of a third “Kill Bill” and I’m expecting “Django” to be at least a trilogy; possibly a series. Django and Broom Hilde are prime for a civil war Bonnie and Clyde in a second outing. The third would take place in the reconstruction years and most likely unfold out west in the true “Cowboy” era.

    Quentin Tarantino; one heck of a film maker. Watch out! He’ll be back and I can hardly wait.