James Joyce called attention to our “epiphanies,” but some of us live through days upon days filled with epiphanies and storms and wild hopes and dullness . . . Et “Quand c’est fini, N-i, ni, ni, Ça recommence” (Léo Ferré). Which leads to a poem overlaid on a drawing, and accompanied by another drawing, done in the café of the Rubin Museum. Vita longa, ars brevis?
A model turned into a bee by lemon and honey. A model who, out of lipstick, used blood instead. How can this be called “Fun with titles”? Jeremiah, long ago, may have been on to something: “Peace, peace,” they say, when there is no peace?
I went to the Whitney Biennial, and, you might say, all I got was this pastiche. (None of it “true,” and this even if we are realizing that true doesn’t mean what we long thought—and wished!—it did.) The subject, the scourge of explanation in art. “Image of the Week” from William Eaton.
What makes a good artists’ model a good model? An aspect or mood of the model speaking to an aspect or mood of the artist? And what’s in the model’s head or heart matters more than any physical forms, however unclothed? Not to ignore the advantages of bad models and bad moods! Short text accompanied by images from William Eaton’s drawings, and with a closing text adapted from Rilke (on the marriage of model and artist?).
Comments and translation regarding the renaming of Marie-Guillemine Benoist’s “Portrait d’une négresse”, a.k.a. “Portrait de Madeleine.” This as regards the show “Le modèle noir de Géricault à Matisse” (Musée d’Orsay), earlier known as “Posing Modernity: The Black Model from Manet and Matisse to Today.” The comments also touch on Degas’s “Petite Danseuse” and work by Thomas Eakins, Francis Bacon and Lucian Freud, and the piece includes charcoal drawings by William Eaton.
Erotic sweet potato drawings/watercolors, done in the manner of Rodin’s erotic drawings? With commentary that begins with John Stuart Mill on happiness, marriage and divorce, and includes a link for a recipe for duck breast (plus sweet potatoes, of course).
Portrait by William Eaton of a model with much in and on her mind. A few words about Nina Simone and the songwriter (Richard M. Jones), along with an extract from the song: “Trouble in Mind.”
Colorful portrait of a nicely-hatted woman in an outdoor café. Complete with a short commentary that quotes from the subject of one of Thomas Eakins’s greatest paintings: Miss Alice Kurtz. (The portrait, however, owes more to Degas, Lautrec and nineteenth-century Paris than to Eakins and early twentieth-century Philadelphia.)
Drawing made at the Woodstock (NY) Drumming Circle in March 2019, by William Eaton. The drawing is non-figurative; however, earlier, figurative Eaton drawings of the Circle have been on exhibit in the gallery of the Woodstock Byrdcliffe Guild. The post includes one of John Cage’s Zen-ish stories, from the Indeterminacy website.