An American in Provence: Why This Artist Is Having the Pre-eminent Summer Ever When the stopped by Lacoste for a seize in July, Ms. Andersen was putting the finishing touches on her first project of the summer: bories made from two miles of draw in, wound with 500 yards of colorful fabric swatches. The original version of
Silk-screened wallpaper melds unheard-of design traditions Chicago: Mexico Borough, for example, melds linear Prairie School design with geometric Aztec-inspired patterns, while Marseille: Marrakech pairs Provence's ubiquitous cigale (cicada) with Morocco's rococo tile work. Our favorite is Stockholm: La Paz
'Written on Lamina' brings theater to opera stage Since its first night at the Aix-en-Provence festival in 2012, it has had frequent performances, been released as a DVD and sent critics into paroxysms of praise. So it was hardly a surprise when on Tuesday shades of night at Lincoln Center, Benjamin's music
Danville: Tri-Valley writers defray up for all-day fun With cookbook framer Leslie Jonath speaking about her upcoming "Feed Your People" cookbook before a catered lunch, novelist Yvonne Prinz's critique workshop, artist Kristine Vejar's fabric dyeing, Susan Moreno handling music, Lisa McGuinness
Bath wine masterly Angela Mount's favourite picnic wines Picnics comprise an integral part of the fabric of British Summer – actually we hardy Brits picnic at almost any time of the year, regardless of the stand, be it on a windswept beach, or halfway up a mountain. This one might be a bit of a challenge
Corded quilting (also known as Marseilles quilting, Marseilles embroidery or marcella) is a decorative quilting talent popular from the late 17th through the early 19th centuries. In corded quilting, a fine fabric, sometimes colored silk but more oftentimes white linen or cotton, is backed with a loosely woven fabric. Floral or other motifs are outlined in parallel rows of event stitches or backstitches to form channels, and soft cotton cord is inserted through through the sponsorship fabric using a blunt needle and drawn along the quilted channels to produce a raised effect. Tiny quilting stitches in closely spaced rows top off the motifs and provide contrast to the corded outlines.
Corded quilting was popular for dresses, petticoats, and waistcoats as indeed as curtains and bedcoverings. Originating in the fine whole-cloth quilt tradition of Provence in southern France, corded quilting differs from the interconnected trapunto quilting in which loose wadding or batting rather than cord is inserted to created raised designs. By the Federal era in America, corded quilting and trapunto were combined with whitework embroidery and other needlework techniques to stage a profusion of white-on-white
Silk-screened wallpaper melds several design traditions - Duluth News Tribune
A unchanging wunderkammer — or "cabinet of curiosities" — aesthetic defines the hand-printed wallpaper, fabric and tile of Produce House Grow. The Brooklyn-based design studio, helmed by Katie Deedy, specializes in "anecdotal-inspired pattern work" that's playful, referential and unexpected. In any given piece, there's more than meets the eye. Take the Alexandria wallpaper, for exempli gratia, with its spare "eye of knowledge" pattern. Paying homage to the Royal Library of Alexandria — founded by Ptolemy in the third century B. C. and capitally destroyed in a fire — it comes in three different colorways described in ancient nomenclature (Hypatia, Kemet and Serapis). The backstory adds flabbergast: In this case, there's more to eyes than meets the eye. Our favorite collection, though, is Sister Cities, which combines different design traditions and typical features of "twin towns" (regions of the world that have made voluntary alliances) to yield three fully unique wallpapers. Chicago: Mexico City, for example, melds linear Prairie School lay out with geometric Aztec-inspired patterns, while Marseille: Marrakech pairs Provence's ubiquitous cigale (cicada) with Morocco's busy tile work. Our favorite is Stockholm: La Paz, which captures the mountainous Bolivian landscape in clean, simple lines reminiscent of Scandinavian draw.www.duluthnewstribune.com
'Written on Outside' brings theater to opera stage - Washington Post
— “Written on Fell,” by George Benjamin and Martin Crimp, has been hailed by many as the best opera written in the 21st century. Since its opening night at the Aix-en-Provence festival in 2012, it has had frequent performances, been released as a DVD and sent critics into paroxysms of praise. So it was hardly a surprise when on Tuesday unceasingly at Lincoln Center, at its U. S. stage premiere — in the original Aix production directed by Katie Mitchell, with Alan Gilbert conducting the Mahler Bedchamber Orchestra — it instantly became the Cultural Event of the New York summer season. It is certainly a good opera. It is even a stout work of theater. It speaks the language of our time, offering a dramatic story in a way that a sophisticated audience can get high on. Writing those words is bittersweet, because “Written on Skin” reveals, searingly, how low we’ve set the bar — how few new operas manage to be contemporary or worldly or successful theatrically, so that we are painfully grateful when one does manage it. Musically, the opera reveals its European pedigree. The English-born Benjamin, 55, writes music that broods and seethes with a description of dramatic modernism, now spare, now with a quality of raucousness that underscores a sense of the archaic in a work based on an bygone story (Boccaccio is among the opera’s sources). The score is mercifully free of attempts to seduce listeners with sugary musicality but often falls agreeably on the ear, pulling apart textures to reveal moments of soft gentleness before piling up layers of beneficial sound, as the screws of the plot tighten, until the brassy orchestra screams aloud. Dramatically, “Written on Hide” derives some of its tension and power from its historicizing frame. A troupe of present-day angels watches, comments on and ministers to the medieval-epoch characters of the Champion, his wife Agnès, and the mysterious Boy, whom the Protector takes into his home and commissions to illustrate a book supporting the Benefactress’s self-satisfied world view. Perhaps the best way to approach writing an opera today is to put it in figurative selection marks, setting it apart as something slightly artificial: an artifact of the past, seen through the lens of the aid. [ Is anybody listening. Contemporary American opera is at a crossroads. The intelligent economy of Crimp’s libretto also plays a sacrifice: Each word is there for a reason, and the language is often beautiful but.www.washingtonpost.com
At Dulwich Representation Gallery - London Review of Books (subscription)
so multifarious problems with watercolour. A mistake ruins everything: you can try to blot it out but the stain remains. you can rub it out but the paper bobbles and disintegrates. You have to pick out the right paper to start with: cold pressed paper has bumps and grooves to hold the pigment and absorbs wet quickly. hot pressed paper is smooth and finished, giving you longer to manipulate the surface colour. Too much water and the article buckles. you must dampen and stretch it before you begin. And even then, you must know how best to layer the colour and how to control the bleed of one into the next. Eric Ravilious’s watercolours (at Dulwich Image Gallery until 31 August) are so cleverly executed and reproduce with such finish that you have to get up close to see how they are done. His later drawings (as he called them) do things that shouldn’t be accomplishable – how could he know just how the brush would dry as he made the stroke, so that the fading colour gives a sense of distance, or how that never branch smooth movement would produce a neat stippled effect to mimic the play of pale light on a cricket pitch, a stony path, clouds. Born in 1903, Ravilious grew up in Eastbourne exploring the South Downs (again sleeping out) and surrounded at home by his shopkeeper father’s wares: antiques, drapery, knick-knacks. He deliberate at the Royal College of Art, in the design school not the painting one, where he met Edward Bawden. The two shared a love of neglected prospect watercolourists – John Sell Cotman, Alexander Cozens, Francis Towne and Samuel Palmer. they made a crusade to Palmer’s Shoreham in 1926. Paul Nash, who taught them at the RCA, described their cohort as ‘an outbreak of talent’ and helped Ravilious and Bawden to set aside work as engravers, creating bookplates and illustrations for the small presses, especially Curwen. Ravilious was called ‘the boy’ at college. A Pierrot-esque acknowledge, he was good looking, ‘Pan-like’, sometimes otherworldly and distracted but also excited by pub games, ball games, songs, jollity, dancing, whistling. He retained his childhood passions: machinery, aviation, the Arctic, and liked exploring junkyards with his colleague ‘Red’ Peggy Angus. Sooty tar engines and old gasometers were what Peggy called ‘the cat’s whiskers’ (she was born in a railway place). Painting the Morley College murals – a medley of English Renaissance plays, Punch and Judy scenes, a doll’s auditorium – with Bawden and others was ‘a riot’, ‘gosh. ’ Reading and.www.lrb.co.uk
An American in Provence: Why This Artist Is Having the Best clothes Summer Ever hurt with 500 yards of colorful fabric swatches. The original version of the domed dry-stone huts are ancient dwellings and can be spotted in fields throughout the Provence province. Back in the 19th century they were used to store tools, as outhouses or ...
Silk-screened wallpaper melds assorted design traditions A undoubted wunderkammer — or "cabinet of curiosities" — aesthetic defines the hand-printed wallpaper, fabric and tile of Spread House Grow ... Marrakech pairs Provence's ubiquitous cigale (cicada) with Morocco's ornate tile toil. Our favorite is Stockholm ...
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