Impressionist teacher and artist extraordinaire, William Merritt Chase, now at the Phillips

William Merritt Chase, Portrait of Dora Wheeler, 1882-1883, Cleveland Museum of Art.  A painting of one of his students, this was one Chase's early masterpieces which won an Honorable Mention at the 1883 Paris Salon and a Gold Medal at Munich's Crystal Palace exhibition.

 William Merritt Chase, The Young Orphan, c. 1884, National Academy Museum, New York.  His subject for this painting likely came from the orphan asylum located next door to Chase's Tenth Street Studio in New York.  It's reminiscent of The Artist's Mother by James Abbott McNeill Whistler, an artist Chase admired.

 William Merritt Chase, Washing Day - A Backyard Reminiscence of Brooklyn, c. 1887, from the collection of Lilly Endowment, Inc.

 William Merritt Chase, The End of the Season, c. 1884-1885, Mount Holyoke College Art Museum

 William Merritt Chase, I Think I Am Ready Now, c. 1883, private collection

 William Merritt Chase, The Tenth Street Studio, 1880, Saint Louis Art Museum. Chase's well-known studio, filled with what he loved: art, bric-a-brac, people, his Russian hound, and, on one side, there he is.

 William Merritt Chase, Sunlight and Shadow, 1884, Joslyn Art Museum, Omaha. Chase painted this in Holland where he resided during the summer at the coastal cottage of his friend and artist, Robert Blum, the man above.  Chase referred to this work as The Tift.  A partially hidden woman lies in the hammock while another one scurries away.  The Triangle?

William Merritt Chase, Self-Portrait in 4th Avenue Studio, 1915-1916, Richmond Art Museum, Indiana, completed the year he died.

William Merritt Chase, Lydia Field Emmet, 1892, Brooklyn Museum, one of his students who became "one of the foremost American woman portrait painters of the late 19th century," according to the wall copy.

All it takes to win a chance for a trip for two to Boston in celebration of the William Merritt Chase (1849-1916) exhibition now at the Phillips Collection, is a brief explanation on social media of your favorite Chase work by September 11, 2016. (See line below for details.)
 
Artist and teacher of Marsden Hartley, Edward Hopper, Georgia O'Keeffe, Joseph Stella, John Marin, and George Bellows, among many others, William Merritt Chase is honored by the Phillips in the centenary year of his death in this first Chase retrospective in 30 years.

A must for any fan of Impressionism.

The 70 works span 40 years in an enthralling presentation which seems much larger, perhaps because it is easy to lose yourself in the paintings and get carried away.

His obituary in the Washington Times on October 26, 1916 noted his career path followed that of many artists: His father wanted him to be something else. To be like him! A retail merchant, but the son used his father's business supplies, wrapping papers, to draw sketches, and, at age 20 took off from middle America for New York.

About a year later, the ailing family business, now in St. Louis, beckoned Chase to come and help out, and he did.
 
There, art aficionados recognized his talents and, in exchange for original works, arranged training for him in Europe where he studied for several years in Munich and Italy.

Returning to the U.S. and "representing the new wave of European-educated American talent" (Wikipedia), his "first fame" came with "Keying Up"-The Court Jester (1875) which won a medal at the Philadelphia Centennial Exposition and which viewers may see at the Phillips.

Chase etched and painted portraits, landscapes, still lifes, urban and domestic scenes using watercolor, oils, pastels, and ink. His subjects included notable persons of the era including his wife, Alice, and their eight children during his "most energetic" period. At Shinnecoke Hills, Long Island, N.Y. he was persuaded to take over an art school where he taught from 1891 to 1902, among many places. (Now his Shinnecoke home and studio are on the National Register of Historic Places.)
 
His Tenth Street Studio in New York was considered "the most famous artist's studio in America and a virtual manifesto of his and his generation's artistic practices and beliefs, and of the dignity of the artistic calling," according to a biographical sketch at the National Gallery of Art. Several of his works at the Phillips are titled Tenth Street Studio.

Chase established the Chase School, which later became Parsons The New School for Design, and for a decade (1885-1895) he was president of the Society of American Artists.

At the turn of the century he and his rival instructor, Robert Henri, were considered the nation's most important teachers of American artists.

On his death the New York Tribune on Oct. 27, 1916 called him "one of the most useful painters we ever had."  

The Terra Foundation for American Art whose mission is dedicated that of its founder, Daniel J. Terra (1911-1996) who believed "engagement with original works of art could be a transformative experience," has enabled the presentation of the Chase show at the Phillips where the Terra team succeeds!

This is the first Chase exhibition to travel abroad where it will stop in Venice in February at the International Gallery of Modern Art after a tour at Boston's Museum of Fine Arts (October, 2016 - January, 2017).
 
At the show's opening, curator Elsa Smithgall called Chase "a painter's painter."
 
Catalogues are available in the gift shop.

What: William Merritt Chase: A Modern Master
 
When: Now through September 11, 2016 (except Mondays), 10 a.m.-5 p.m., and Sundays, 12-7 p.m. Extended hours until 8:30 p.m. on the first Thursday of the month for separate ticketed event September 1, "Art and Play," inspired by Chase's art and Karel Appel's (another exhibition currently at the Phillips) with music by Color Palette, food and drink presented in partnership with the Embassy of the Netherlands. The Thursday events often sell out.
 
Contest! Enter the Chase Contest at the Phillips by September 11, 2016 for a chance to win a trip for two to Boston. Just mention a favorite Chase work on social media (with certain hash tags) and submit! Easy! See complete details here.

Where: The Phillips Collection, 1600 21st St., N.W. at Q St., Washington, D.C. 20009
 
Tickets: $12, $10 for students and those over 62, free for members and for children 18 and under.
 
Metro Station: Dupont Circle (Q Street exit. Turn left and walk one block.)

For more information: 202-387-2151


Patricialesli@gmail.com

'Café Society' wins early Oscar for Dullest Movie

Jesse Eisenberg and Kristen Stewart in Woody Allen's "Cafe Society"

"Café Society" reminded me of a glass of tea without sugar or lemon, however, a glass of tea without sugar or lemon has more passion.  The colors are the same. The movie (costuming, plot, design, sound) is drenched in sepia tones.

Was this 3-D and I missed the glasses going in?

Did you ever wonder who finances Woody Allen's movies? Maybe the same person who finances Trump's campaign. 

Where is the action?   

Steve Carell is the cheating yawn husband who gives the impression he hasn't been on stage long. Believeable?  Hardly.  (He's straight out of "The Office," and for that I am grateful since I'm still mad over his departure from that show which was ten times funnier than "Cast-Off" or "Cast Out" or "Cash Out Society" or whatever is a better title.  Casting!  Where is casting?)

"Café" is also billed as a comedy, but where is the humor?  This is a comedy like the ones Edgar Allan Poe wrote in his sleep.

It's good fodder for nursing homes where hard-of-hearing residents need not worry since the dialogue is not important.  

There's not much else to say except I couldn't help but wonder if this is another autobiographical Allen tale.

Despite harsh criticism from others, I still immensely liked many Allen films: "Matchpoint," "Crimes and Misdemeanors," "Hannah and Her Sisters," "Annie Hall." Since 1965, he's churned out about one film every year which is incredibly productive, except when measured against box office receipts.

But "Society"?  Over the years we movie fans keep going, going, going, hoping, hoping, hoping for a Woody Allen winner, and yet, it ain't happenin'. For years.

Here I see the existence of an inverse ratio with Allen's advancing years (he's 80) and his films, which continue to plummet in style and substance.  

Hey, Woody!  We don't give a flip about your flippin' love life!  Get over it! Do you have to put them on the Big Screen?

patricialesli@gmail.com

Bike Virginia's Creeper Trail

On the Virginia Creeper Trail/photo by Patricia Leslie

It may look like a roadway, but four-wheeled monsters are prohibited on the Virginia Creeper Trail which runs almost 35 miles from Whitetop Mountain   through Damascus to Abingdon in the southwestern part of the state. 

Historical markers enlighten riders about the Virginia Creeper Trail. Thomas Jefferson's father, Peter Jefferson (1708-1757), surveyed the area/photo by Patricia Leslie

It's open to bikers, hikers, and horseback riders, and just about five hours from D.C. Well worth the trip down Interstate 81 for exercise, beauty, solitude, and just plain fun!

It begins in either Abingdon (2,000 feet ascent) or Damascus where riders may board a shuttle (laden with bicycles) for a 30- to 45-minute trip to the top of Whitetop Mountain, Virginia's second tallest mountain after Mount Rogers.  (Damascus has all the bicycles and fixuns' ready to rent or take your own.)  

At Whitetop, riders begin the easy 17-mile ride down and around the mountain to Damascus, or continue to Abingdon for a total of 35 miles. (Simple to Damascus, even for grandmas like me!)

On the Virginia Creeper Trail.  Some people (athletic in nature) ride UP the trail, like dumb fools.  They are all thin, and it is true:  I am jealous/photo by Patricia Leslie

The trail hugs Virginia's southwestern boundary which separates the state from North Carolina and Tennessee. From a certain point, the shuttle driver said, you can see all three states! 

It was a hot, muggy day in the lower elevations in the towns, but not for us! We felt only cool breezes emanating from the path strewn with wood chips and some rocks. No sweat!  Of course, you can ride in cooler times, too, but fall months are the most popular ("Lookit those leaves!") and often sell-out, so make reservations now. 

Whatever, it's the best!

What's this?  Van Gogh on the Creeper Trail?  Nope.  He died in 1890 or he might have been here. It's just, just (!) another typical scene found along the trail filled with all things Mother Nature. What artificial beauty could be lovelier? (The building materials came from Mother Woods.)/photo by Patricia Leslie

Christmas trees (in the distance, not those weeds) grow along a stretch of the Virginia Creeper Trail.  Buy a Carolina Fraser fir!  No fragrance like it to match the beauty, sounds, and scenery of a North Carolina mountain top.  (Hey, we're in Virginia, not North Carolina!)/photo by Patricia Leslie

A free museum (with seasonal hours) provides a bit of local yore at Greencove Station (with rest rooms) on the Virginia Creeper Trail /photo by Patricia Leslie

Home sweet home on the Virginia Creeper Trail/photo by Patricia Leslie

Who needs helmets on the Virginia Creeper Trail?  Not these young'uns/photo by Patricia Leslie

Children ride with abandon near a crossing of the Appalachian Trail on the Virginia Creeper Trail/photo by Patricia Leslie

The Appalachian Trail crosses the Virginia Creeper Trail at least three times/photo by Patricia Leslie

Time out to wave "hallo" on the Virginia Creeper Trail/photo by Patricia Leslie

Take a break and listen to the water rush on the Whitetop Laurel River which runs alongside the Virginia Creeper Trail/photo by Patricia Leslie

A naturalist pointed out beavers at work on the Virginia Creeper Trail/photo by Patricia Leslie

Bike racks aplenty stand ready to house your vehicle while your party stops for a bite to eat on the trail. (Said the guy in red:  "I wish I had that bike.")/photo by Patricia Leslie

On the Virginia Creeper Trail/photo by Patricia Leslie

You see what I mean about tree canopies? On the Virginia Creeper Trail/photo by Patricia Leslie

Stop and admire the scenery on the Virginia Creeper Trail/photo by Patricia Leslie

Is that kudzu on the Virginia Creeper Trail?/photo by Patricia Leslie

Finish your trip in Damascus with a great big pitcher of margueritas at Hey, Joe's! I'll drink to that!/photo by Patricia Leslie


The people are grateful to the U.S. Forest Service, the cities of Damascus and Abingdon, and property owners who maintain the trail and let us use it. Thanks be to all!

Wikipedia has some history on the trail, but the name is never explained on any of the websites I found.  
It creeps along the states' borders?  
It creeps along the river?  
It creeps where rails used to roam.  
Sounds like the title of a song or poem to me.  

Van Gogh in Damascus?  Novel, anyone?

patricialesli@gmail.com 

Kennedy Center's 'Phantom' draws ovation

The company sings "Masquerade" to open the second act of "The Phantom of the Opera" at the Kennedy Center/Photo by Alastair Muir

At the end theatergoers stood and cheered the performers who came out on stage to receive the accolades, to bob up and down like puppets, holding hands and moving in rows to a replay of "Masquerade" which they had sung moments earlier in Cameron MacIntosh's remake of Andrew Lloyd Webber's "The Phantom of the Opera" now at the Kennedy Center.

A great show, enjoyable in every respect. And I could see it and hear "The Music of the Night" again. Tonight!

The Phantom (Chris Mann) leads Christine (Katie Travis) to his den in the Kennedy Center's "The Phantom of the Opera"/Photo by Matthew Murphy

Give the people what they want:  exciting melodrama, unforgettable music (lyrics by Charles Hart and Richard Stilgoe), soaring sets, dazzling costumes, voices you wish would echo at every play you ever attend, and that, my friend, explains the endurance and haunting allure of "Phantom," the longest running show on Broadway where it opened in 1988, and in London where it still plays after 30 years.

Storm Lineberger is Raoul in the Kennedy Center's "The Phantom of the Opera" /Photo by Matthew Murphy

From the get-go, before the announcement to shush your phones, you knew this show was set to be another smashing "Phantom" as you gazed upon the large, opening scene with its high, very high ceiling, shrouding a dark, black and shadowy stage, where single cascading strands of light outlined stark statues and forecast the eerie presentation about to unfold. 


I've seen "Phantom" in Nashville, New York, and twice at the Kennedy Center, and it does not become tiresome (like "West Side Story") since it's enlivened by new actors, sets, and magnificent costumes. (Maria Björnson a "designer's designer" says Wikipedia, was the costume designer and Tony winner who died in 2002. Her most famous creation, the show's chandelier, treated a bit differently in this production, is named after her.)


That a strong, melodious voice emanates from the dainty, minute body of Kaitlyn Davis starring as the heroine, Christine Daaé, in "this dream come true" role is unanticipated, Ms. Davis being the understudy for Julia Udine.  (Is it ironic that understudies are part of the script?)
  
Chris Mann, a forceful, credible Phantom in Mann's "dream role," competes against Christine's childhood friend, the handsome, Raoul (Storm Lineberger) whose rich voice matches his appearance.

Other notable cast members are Jacquelynne Fontaine as the talented, strong-willed star of the opera house, Carlotta, (and one can easily understand why she was the main attraction until upended by a little upstart), and the opera house's new owners, Monsieur Firmin (David Benoit) and Monsieur André (Price Waldman) who elicit much-needed noteworthy, lighter moments and audience snickers.


Edgar Degas ballerinas danced and frequently fluttered across the stage and relieved serious undertones (choreography by Scott Ambler).
Not to be overlooked are the musicians under the direction of Dale Rieling and members of the Kennedy Center Opera House, directed by Philippe Auguin.  


"Phantom" is a heartbreaking triangle romance with a not-so-happy ending. Ahhh, whom to choose? The ugly, the banished, the forlorn and forgotten? Or, the handsome knight come to save the poor lass.  You decide.  


Laurence Olivier and Tony awards winner Paule Constable designed the spectacular lighting.

Paul Brown's frequent set changes add to the effectiveness with seamless transitions into offices, dungeons, and behind-the-scenes perspectives on the opera's stage.
Laurence Connor directs, Mick Potter is sound designer, and Nina Dunn, video and production designer.

All I ask of the Kennedy Center is to think of me and seat latecomers (wishing they were somewhere not here again) only at intermission and prohibit candy sales to inhibit the crinkling of little wrappers. 

A phreakish Phantom phan, I am! 


What: Carmen MacIntosh's North American tour, "The Phantom of the Opera"

When:  Now through August 20, 2016 at 7 p.m., weekend matinees at 1 p.m., and a Wednesday matinee, August 17 at 1 p.m.

Where:   John F. Kennedy Center for the Performing Arts, 2700 F. Street, NW, Washington, D.C. 20566

Tickets:  $25 - $209 

Duration:  About 2.5 hours with one intermission 

patricialesli@gmail.com 

Middle East photo show ends at Women's Museum

This is a brother and sister, photographed by Gohar Dashti (b. 1980, Ahvaz, Iran), Untitled #4 from the series, "Today's Life and War," 2008, courtesy of the artist

If you missed the stark exhibition which ended today at the National Museum of Women in the Arts, She Who Tells A Story by 12 women photographers from Iran and the Arab world, you may still buy the 176-paged catalogue for $40.

The entrance to the show/Photo by Patricia Leslie

For the show's opening, museum director Susan Fisher Sterling wrote: "These groundbreaking artists challenge us to rethink our preconceived notions about Arab and Iranian women and their art." It "challenges stereotypes" about the Middle East region "and "provides insight into political and social issues."

This one and the three photographs below are part of different series by Boushra Almutawakel (b. 1969, Sana'a, Yemen), "Mother, Daughter, Doll," 2010, Museum of Fine Arts, Boston.  The series progresses into darkness, and the subjects gradually change expression and apparel until they are... no more.

Part of different series by Boushra Almutawakel (b. 1969, Sana'a, Yemen), "Mother, Daughter, Doll," 2010, Museum of Fine Arts, Boston. Above are the ending photographs in the series pictured below on the wall.  The first photograph begin with a smiling mother and daughter (and doll) who are progressively covered up until there is only darkness left (above; photograph on right).

Part of different series by Boushra Almutawakel (b. 1969, Sana'a, Yemen), "Mother, Daughter, Doll," 2010, 

Museum of Fine Arts, Boston

Part of different series by Boushra Almutawakel (b. 1969, Sana'a, Yemen), "Mother, Daughter, Doll," 2010, Museum of Fine Arts, Boston

The artists' creativeness came unbound in the presentation, clashing with restrictive and cloaked apparel so often associated with women from the area and frequently seen on Washington's streets. Indeed, some artists focused their cameras on the hijab and the burqa. (The Middle East is not the only conservative region when it comes to vestments: In a report issued this year by the Pew Research Center, 40 percent of European countries regulate women's religious dress in one way or another.) 

Shadi Ghadirian (b. 1974, Tehran, Iran), Untitled, from the series "Qajar," 1998, courtesy of the artist

 Shadi Ghadirian (b. 1974, Tehran, Iran), Untitled, from the series "Qajar," 1998, courtesy of the artist

Not everything is dark and humorless.  Try an outing in a boat. Tanya Habjouqa (b. 1975, Amman, Jordan) Untitled from the series "Women of Gaza," 2009, courtesy of the artist and East Wing Contemporary Gallery

Ruth Halawani (b. 1964, Jerusalem) Untitled XIX, from the series "Negative Incursions," 2002, courtesy of the artist and Selma Feriani Gallery, London

 Ruth Halawani (b. 1964, Jerusalem) Untitled VI, from the series "Negative Incursions," 2002, courtesy of the artist and Selma Feriani Gallery, London

The exhibition included more than 80 photographs and a video installation which filled galleries with contemporary color, and black and white images of life (sometimes staged) in the Middle East.

NMWA Curator Kathryn Wat noted on a tour that the show contained different subjects (including gender roles, military objects, and ways women are oppressed), displayed with "an element of grit, a lot of humor, and irony." Nine of the dozen artists still live in the Middle East. 

The exhibition was organized by the Museum of Fine Arts in Boston where it opened and next traveled to Stanford University and then, the Carnegie Museum of Art in Pittsburgh before arriving in Washington.
 
Buy the catalogue here or at the National Museum of Women in the Arts, 1250 New York Avenue, N.W., Washington, D.C. 20005 which has other exhibitions to see.

Admission: Free on the first Sunday of the month (August 7) or $10, adults; $8, seniors and students; and always free for members and children, 18 and under.

For more information: 202-783-5000

Metro station: Metro Center. Exit at 13th Street and walk two blocks north.

patricialesli@gmail.com