1895 / Silent film documentary / Running time: 46 seconds / http://www.institut-lumiere.org/
None of them are dated, the case it seems of most of Lumiéres’ films. A contemporary report talked about the film shot on March 19 featuring a horse, so that rules out one version, which has a dog but sans horse. The other two versions must be judged by which looks more likely to have shot in March, from the workers’ clothes and the shadows they cast. What this uncertainty almost certainly means is that, after making what’s said to be the world’s first film, the Lumière brothers also made the world’s first remake, Fremaux joked.
Previous March 22 posts:
c.1931 / Oil on canvas / 43 1/16”x37 1/16” / Philadelphia Museum of Art
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
c.1936 / Oil on canvas / 25 5/8”x25 5/8” / Tate Modern, London
1980 / Oil on canvas / 50”x39” / Museum of Republic Bank Art Collection, Bogota, Colombia
1991 / Lithograph and Woodcut
/ 20 7/8”x14 3/4”
/ Edition of 40
(Learn more by clicking on embedded hyperlinks)
Charles was a designer with an eye for form. Ray was an artist with an eye for color. They complemented each other on projects like coat hangers, films, their namesake chairs, and large architectural projects. Through four decades of creative work, they revolutionized design and created an indelible mark on American History. The duo was not without faults, but the pair proved to be inseparable and inspirational. They were the Eameses.
The Eames studio—part workshop, part circus— was a partnership of two free spirits: one, an architecture school dropout who never got his license; the other, a painter trained by Hans Hofmann who used objects or any other surface as her canvases. They shunned the term “artist” as pompous.
Charles and Ray Eames arrived in Los Angeles in 1941, a year after they met at the Cranbrook Academy of Art. Charles was married to his first wife, Catherine at the time, but Ray began assisting him and Eero Saarinen in their designs for the Museum of Modern Art’s Organic Design in Home Furnishings Competition, and soon he divorced Catherine and married Ray.
There is always a karmic danger in marrying someone with whom you committed adultery. The women at the company almost uniformly describe him as charismatic. At one point (that we know of), Charles was looking to leave Ray, and was only stopped because the woman confesses, she couldn’t do that to Ray. (https://ageofthegeek.org/2011/11/23/eames-the-architect-and-the-painter-or-why-feminism-matters/ ), Pasadena Art & Science Beat,
Their partnership, which obliterated the distinctions between private and professional lives, inspired numerous contemporary working marriages…Charles and Ray, architect and artist, wanted to do everything — disciplinary boundaries meant nothing to them — and, by and large, succeeded.
The Work of Charles and Ray Eames: A Legacy of Invention
AD Classics: Eames House / Charles and Ray Eames
The Love Letters of Charles & Ray Eames
Helen Frankenthaler (1928-2011), American pivotal in the transition from Abstract Expressionism to Color Field painting http://www.frankenthalerfoundation.org/helen/biography
Nature Abhors a Vacuum / 1973 / Acrylic on canvas / 103 1/2”x112 1/2”
Yayoi Kusama (Born 1929), Japanese self-described “obsessional artist” employs painting, sculpture, performance art, and installation https://www.britannica.com/biography/Yayoi-Kusama
Aftermath of Obliteration of Eternity / 2009 / Wood, metal, glass mirrors, plastic, acrylic paint, LED lighting system, and water / 163 1/2”x163 1/2”x113 1/4”