Radha, daughter of Vrishabhanu, was the mistress of Krishna during that period of his life when he lived among the cowherds of Vrindavan…So great was Radha’s love for Krishna that even today her name is uttered whenever Krishna is referred to, and Krishna worship is thought to be incomplete without the deification of Radha.
In many paintings (2003.178a), the divine couple is presented within a fertile, flowering landscape filled with pairs of birds.
“Krishna and Radha (Primary Title)”~ Though early textual sources make only brief mention of a favorite gopi, later devotional literature overflows with accounts of Krishna’s adored Radha. Their love began when they were young children and later erupted into a highly charged passionate affair. Metaphorically, their frequent trysts in the forest reference the soul’s (Radha’s) ardent desire for union with God (Krishna).
“Krishna and Radha under a Tree in a Storm”~ This painting depicts the Hindu god Krishna sitting beneath a tree while his beloved, Radha, runs to join him, seeking shelter from an impending storm…Krishna’s love affair with Radha is used as an analogy for the relationship between God and devotee: deeply satisfying but not without its challenges. Here, Radha turns to Krishna for comfort in much the same way a devotee would turn to God.
“Radha and Krishna Dressed in Each Other’s Clothes”~ This unique visual motif of the clothing exchange serves as a metaphor for Radha and Krishna’s shared essence. Radha’s and Krishna’s donning of each other’s garments signifies that the two are identical.
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The Gates / 1979-05 / 7,503 vinyl “gates” / Central Park, NYC, February 12, 2005-February 27, 2005
Christo Vladimirov Javacheff and Jeanne-Claude were a married couple who created environmental works of art. Christo and Jeanne-Claude were born on the same day, June 13, 1935; Christo in Gabrovo, Bulgaria, and Jeanne-Claude in Morocco. They first met in Paris in October 1958 when Christo painted a portrait of Jeanne-Claude’s mother.
Their works include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Fence in Sonoma and Marin counties in California, and The Gates in New York City’s Central Park.
Jeanne-Claude died, aged 74, on November 18, 2009, from complications of a brain aneurysm. ~Wikipedia
The couple emigrated from Paris to New York in 1964. “We immediately loved New York,” Jeanne-Claude said. “As we were standing on the prow of the SS France, suddenly there it was in front of us. And Christo took me in his arms and said, ‘Do you like it? I love it! I give it to you, it’s all yours!'” (He proposed, but never got permission, to wrap several skyscrapers.)
Their relationship lasted 51 years, and they did everything together, Jeanne-Claude said, except three things: “We never fly on the same airplane… I do not draw. Christo is the one who puts on paper our ideas… And I have always deprived him of the joy of working with our accountant.” ~The Guardian
In Flanders Field-Where Soldiers Sleep and Poppies Grow / Robert Vonnoh
1890 / Oil on canvas / 58”x104” / The Butler Institute of American Art
In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie,
In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.
“In Flanders Fields” is a poem written by the Canadian army physician and poet John McCrae. He wrote it in early May 1915 in his medical aid station near Essex farm, 2 km to the north of the centre of Ypres. The poem was published on 8 December 1915. John McCrae died on 28 January 1918, while in charge of the Canadian General Hospital in Boulogne. He is buried in Wimereux cemetery (Pas-de-Calais, France).
“In Flanders Field” became popular almost immediately upon its publication. It was translated into other languages and used on billboards advertising Victory Loan Bonds in Canada. The poppy soon became known as the flower of remembrance for the men and women in Britain, France, the United States, and Canada who have died in service of their country.
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1764–72 / Polychrome woodblock print; ink and color on paper, with embossing / 11 1/4”x8 1/8” / The Met
Courtesan Senri Receiving a Love Letter
Suzuki Harunobu (1725?-1770) played a pivotal role in the evolution of Japanese printmaking during its great period — the last half of the i8th and the first years of the 19th century. In the final years of his relatively brief life, he opened up a new dimension of expression in that tradition of graphics by introducing many colors to what had essentially been a mono-chromatic art form.
A Woman Sweeping up Her Love Letters
Just 20 or so years previously, the invention of so-called benizuri-e had made it possible to print ukiyoe in three or four colors, but already it was becoming possible to print about ten different colors on a single sheet of paper. It was Harunobu who first applied this new technique to ukiyoe prints. Such prints were called nishiki-e.
A Caged Bird and a Love Letter
Harunobu died in 1770, only five years after introducing the nishiki-e print. However, in those last few years of his life, he produced over one thousand print designs, chiefly depictions of willowy young girls, and also a fair percentage of shunga (erotic prints), as most ukiyo-e artists did. He is known to have produced at least seven shunga volumes.
Suzuki Harunobu / ukiyo-e.org
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International Photography Hall of Fame and Museum~ http://www.iphf.org/hall-of-fame/dorothea-lange/
Dorothea Lange (1895-1965) documented the change on the homefront, especially among ethnic groups and workers uprooted by the war. Three months after Pearl Harbor, President Franklin Roosevelt ordered the relocation of Japanese-Americans into armed camps in the West. Soon after, the War Relocation Authority hired Lange to photograph Japanese neighborhoods, processing centers, and camp facilities.
Lange’s earlier work documenting displaced farm families and migrant workers during the Great Depression did not prepare her for the disturbing racial and civil rights issues raised by the Japanese internment. Lange quickly found herself at odds with her employer and her subjects’ persecutors, the United States government.
To capture the spirit of the camps, Lange created images that frequently juxtapose signs of human courage and dignity with physical evidence of the indignities of incarceration. Not surprisingly, many of Lange’s photographs were censored by the federal government, itself conflicted by the existence of the camps.
The true impact of Lange’s work was not felt until 1972, when the Whitney Museum incorporated twenty-seven of her photographs into Executive Order 9066, an exhibit about the Japanese internment. New York Times critic A.D. Coleman called Lange’s photographs “documents of such a high order that they convey the feelings of the victims as well as the facts of the crime.”
National Archives~ https://www.archives.gov/news/articles/japanese-internment-75th-anniversary
National Park Service~ https://www.nps.gov/manz/learn/photosmultimedia/dorothea-lange-gallery.htm
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1949 / Gouache, ink and graphite pencil on paperboard / 11 3/4”x10 1/2″
Ernest Baker, born in 1889 in Rhode Island, was a self-taught illustrator. Most of his works were covers for Time magazine, although he was responsible for eleven covers for Fortune magazine between 1929 and 1941.
Beginning in 1939, Baker produced over 300 covers for Time during his seventeen-year tenure with the magazine. He was described by Time publisher, Ralph Ingersoll, as an artist who could do anything.
In December of 1949, Winston Churchill was chosen by Time magazine as the “Man of the Half-Century”, celebrated in a 16-page supplement which was contained in the January 2nd issue of 1950. Baker did the cover illustration for that issue.
Describing Mr Churchill as “the man of the half -century,” Time magazine says: “No man’s history can sum up the dreadful, wonderful years 1900-50. Mr Churchill’s story comes closest …. Sometimes wrong, often right, he fought his way toward the heart of every storm.”
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