Gainsborough Greeting Card : Sarah, Lady Innes & her Hand with Rose
Saint-Aubin Greeting Card_ The Private Academy
Exhibition Catalogues
Crises Benny Olk and Erin Dowd in this 1960 Merce Cunningham work at the Whitney Museum.
Credit Andrea Mohin/The New York Times
Swan Lake Marcelo Gomes and Gillian Murphy danced the roles of Prince Siegfried and Odette-Odile
on Monday in American Ballet Theater’s opening night of the dance, at the Metropolitan Opera House.
Credit Andrea Mohin/The New York Times
Frederic Leighton’s “Flaming June,” from around 1895.
Credit Museo de Arte de Ponce, The Luis A. Ferré Foundation, Inc.
“Flaming June” by Frederic Leighton (1830-1896), a famous Victorian painting, has come to New York
for the first time in more than 35 years, for a solo turn at the Frick Collection.
Anyone who’s ever perused books of late-19th-century British art will instantly recognize the idyllic image
of a young woman in a sheer, incandescent orange dress curled up in sleep on piles of drapery on a marble bench,
with a sunstruck Mediterranean in the distance. She’s particularly memorable for her disproportionately long
and muscular right thigh. Tightly wrapped in diaphanous fabric, it extends from buttock to bended knee across
the lower middle of the picture, practically dwarfing the upper part of her body. Leighton based her pose
on Michelangelo’s sculpture “Night” and on a copy of his lost painting “Leda and the Swan,” both of which
feature similarly bent legs with powerful thighs.
Measuring just under 4 feet by 4 feet, “Flaming June,” circa 1895, appears within a brightly gold-leafed, tabernacle
frame that imitates the Ionic architecture of ancient Greco-Roman temples. It invites viewers into a hallucinatory space
of pagan mystery. At the Frick, the whole assemblage hangs between dark, wooden, Ionic pilasters in the museum’s
Oval Room. In the company of James McNeill Whistler’s tall portraits of three fashionable women and a man, all
brushily rendered in muted colors (they are permanent Frick fixtures), “Flaming June” glows.
It looks as if she was always meant to be here. (Why it’s called “Flaming June,” no one knows.)
Girl with a Pearl Earring (c. 1665) by Johannes Vermeer - Masterpieces of Dutch Painting
See more at: http://www.frick.org/exhibitions/past/2013/mauritshuis#sthash.03203rrN.dpuf
Katherine Jenkins Live in Concert
Tracks:
01. Overture (From "Bring Me To Life") 00:00
02. Till There Was You 01:20
03. I Believe 04:46
04. Parla Più Piano (Love Theme From "The Godfather") 09:20
05. Angel 14:12
06. Fear Of Falling 20:09
07. La Vie En Rose 24:45
08. Adagio 29:30
09. Love Never Dies 33:25
10. Ancora Non Sai 39:00
11. Se Si Perde Un Amore 45:30
12. Prelude: Carmen 50:25
13. Habanera 52:04
14. Seguidilla 55:13
15. Chanson Boh-me 57:25
16. La Califfa 01:02:30
17. Endless Love 01:06:35
18. Who Wants To Live Forever 01:10:56
19. Bring Me To Life 01:16:52
20. Nella Fantasia 01:22:47
Saint-Aubin Greeting Card_ The Private Academy
Exhibition Catalogues
Crises Benny Olk and Erin Dowd in this 1960 Merce Cunningham work at the Whitney Museum. Credit Andrea Mohin/The New York Times
Swan Lake Marcelo Gomes and Gillian Murphy danced the roles of Prince Siegfried and Odette-Odile on Monday in American Ballet Theater’s opening night of the dance, at the Metropolitan Opera House. Credit Andrea Mohin/The New York Times
Frederic Leighton’s “Flaming June,” from around 1895. Credit Museo de Arte de Ponce, The Luis A. Ferré Foundation, Inc. “Flaming June” by Frederic Leighton (1830-1896), a famous Victorian painting, has come to New York for the first time in more than 35 years, for a solo turn at the Frick Collection. Anyone who’s ever perused books of late-19th-century British art will instantly recognize the idyllic image of a young woman in a sheer, incandescent orange dress curled up in sleep on piles of drapery on a marble bench, with a sunstruck Mediterranean in the distance. She’s particularly memorable for her disproportionately long and muscular right thigh. Tightly wrapped in diaphanous fabric, it extends from buttock to bended knee across the lower middle of the picture, practically dwarfing the upper part of her body. Leighton based her pose on Michelangelo’s sculpture “Night” and on a copy of his lost painting “Leda and the Swan,” both of which feature similarly bent legs with powerful thighs. Measuring just under 4 feet by 4 feet, “Flaming June,” circa 1895, appears within a brightly gold-leafed, tabernacle frame that imitates the Ionic architecture of ancient Greco-Roman temples. It invites viewers into a hallucinatory space of pagan mystery. At the Frick, the whole assemblage hangs between dark, wooden, Ionic pilasters in the museum’s Oval Room. In the company of James McNeill Whistler’s tall portraits of three fashionable women and a man, all brushily rendered in muted colors (they are permanent Frick fixtures), “Flaming June” glows. It looks as if she was always meant to be here. (Why it’s called “Flaming June,” no one knows.)
Girl with a Pearl Earring (c. 1665) by Johannes Vermeer - Masterpieces of Dutch Painting See more at: http://www.frick.org/exhibitions/past/2013/mauritshuis#sthash.03203rrN.dpuf
Katherine Jenkins Live in Concert Tracks: 01. Overture (From "Bring Me To Life") 00:00 02. Till There Was You 01:20 03. I Believe 04:46 04. Parla Più Piano (Love Theme From "The Godfather") 09:20 05. Angel 14:12 06. Fear Of Falling 20:09 07. La Vie En Rose 24:45 08. Adagio 29:30 09. Love Never Dies 33:25 10. Ancora Non Sai 39:00 11. Se Si Perde Un Amore 45:30 12. Prelude: Carmen 50:25 13. Habanera 52:04 14. Seguidilla 55:13 15. Chanson Boh-me 57:25 16. La Califfa 01:02:30 17. Endless Love 01:06:35 18. Who Wants To Live Forever 01:10:56 19. Bring Me To Life 01:16:52 20. Nella Fantasia 01:22:47