Cheerleader for the Arts
Have you ever tried to learn to do something new, such as riding a two-wheeler bike? You practice for weeks. Then one day the wheels start turning, the bike stays upright with you on it and off you go whizzing down the street.
Two Brothers Four Hands tells the story of an artist named Alberto Giacometti (born 1901), and his younger brother Diego (1902) and their struggles to become artists. They grow up in a small Swiss village surrounded by mountains. Alberto likes to read or paint in his father's art studio; Diego spends his days roaming the mountains and observing the wildlife.
But despite their differences, the brothers form a deep bond. When they grow up, Diego moves to Paris to help Alberto with his artwork. Alberto labors tirelessly for years trying to express in painting and sculpture the way he sees the world, the way he feels in his heart. He sits at his easel day after day painting a portrait of his younger brother Diego only to destroy it and start again. When he makes sculpture, using plaster to model his brother’s face, he eventually whittles the plaster down to nothing. Patient Diego believes in his brother’s talent but even he gets frustrated.
During World War II, as most of Europe battles the German army, Alberto goes to Switzerland to be near their mother. Diego stays in Paris to guard Alberto’s studio. Diego learns to cast plaster molds into bronze and to paint the surfaces with colors of silver, green and gold. After the war, Alberto returns to Paris. Finally back in his familiar studio, he begins to make tall spindly sculptures that capture the spirit of the survivors of war-torn Europe. At the same time Diego begins to craft furniture adorned with the creatures he observed as a child - deer, foxes, turtles, and more. But he's so busy helping Alberto, who is now in great demand for exhibits in museums and galleries that he has to give up on his own work.. “Alberto is the artist. I am merely a craftsman,” Diego often says.
After his brother dies, Diego starts handcrafting furniture and he, too, becomes a great success. His tables, chairs, and lamps are so magical that people forget their function and think of them as sculpture.
Alberto’s friend the playwright Samuel Beckett once wrote, “Try again. Fail again. Fail better.” Like learning to ride a bike, after trying and failing again, one day you just might get it right.
The inspiring true story of the Giacometti brothers, one an artist, the other a daredevil, both devoted to their craft . . . but even more devoted to each other.
You can read Vicki Cobb's review here.
How many of you have ever taken a selfie with friends and posted it on Instagram? Millions of people carry their cell phones with them all the time just in case they get a call or email. But we also use the camera on our iphones to record our day-to-day lives, sometimes exaggerating for affect.
Did you know that the first selfie was taken in 1839 by Robert Cornelius, an American pioneer in photography? He had to uncover the lens, run to be in the photo and then go back to replace the lens cap. There is a copy of his selfie etched onto his gravestone.
In 1913 the Grand Duchess Anastasia of Russia was only thirteen when she took a picture of herself in the mirror with a Kodak Brownie camera and sent it to a friend.
In the 1970s instant cameras made it easier for amateur photographers to take photos with instant results. And digital cameras thirty years later made it even easier.
When did the word selfie become a common word in the English language? I first heard it from my granddaughter, now thirteen-year-old Clara, who asked me to take a selfie with her on her smart phone. That was only about three years ago but by then “selfies,” especially by teenage girls, had flooded the internet. By 2017, social media, such as Facebook, Instagram and Snapchat, all of which encouraged the practice, reported over 800 million monthly users of their selfie promotion app. Features of this selfie phenomenon include apps that allow users to alter their appearance, sometimes in both hilarious and unflattering ways.
In 2013 the Oxford English Dictionary anointed the selfie word of the year, making it officially worthy of a spot in our vocabulary. Here is their definition.
“A photograph that one has taken of oneself, typically one taken with a smartphone or webcam and shared via social media.”
Cindy Sherman, an artist who uses photographs as her medium, just as others might use paints and brushes, has made a career of using herself as the model, the photographer, the director and the costumer of her artwork. As a child she loved dressing up, disguising herself with make-up and clothes she collected at Goodwill or secondhand shops. When she grew up, she still liked playing dress-up and at art school, started photographing herself posed in various roles. Her first photographs in black and white, grainy images she meant to be faded and imperfect, came out in 1977. She was in her twenties, living in New York, working as a receptionist in an art gallery. As a clown, a teen queen, a society matron, a biker, and many other characters in elaborate costumes, she mainly explored roles of women in America’s cultural landscape. The art world took notice of these sixty-nine black-and-white prints of young women, who each seemed caught in an uncomfortable or scary moment. Sherman’s career has moved forward with fame and fanfare ever since.
Two summers ago she took her private Instagram account public. Tens of thousands of followers signed on to watch Sherman’s self-portraits, wildly distorted headshots of herself. Instead of masquerading with fake noses and lips, thick make-up and wild get-ups, she used Facetune, Perfect365, and YouCamMakeup to change the shape of her face, the color of her eyes, her hair and her complexion. The results were both hilarious and frightening. How did she start on this new quest? She says she was lying around for weeks after an injury and just started playing around with her iphone, taking a look at some apps friends had told her about. The results, she says, are not competing with her serious art. She’s not a perfectionist about these selfies as she is in her studio. But selfies freed her up to experiment. They allowed her to imagine the images of these molded and sculpted, at times grotesque, at other times fetching portraits going out into cyber space. She envisioned them arriving onto thousands of screens and devices, each time making us all wonder yet again, “Who is the real Cindy Sherman?” “Who is the real me?”
Jan Greenberg's latest book (with Sandra Jordan) is Meet Cindy Sherman: Artist-Photographer-Chameleon. They have created an unconventional biography, that much like Cindy Sherman's famous photographs, has something a little more meaningful under the surface. Infusing the narrative with Sherman's photographs, as well as young people's first impressions of the photographs, this is a biography that goes beyond birth, middle age, and later life. It's a look at how we look at art.
In 1888, Vincent moved to Arles in the south of France. He planned to establish an artists’ commune where his friends could live together to create a new direction in painting. Vincent persuaded the artist Paul Gauguin, who was desperate for money, to move to Arles to help him. Vincent also was lonely.
For two months Gauguin lived in the Yellow House Vincent had lovingly filled with paintings hoping to impress his friend. Gauguin bossed Vincent around and criticized his artwork. Eventually, when Gauguin sold a few paintings, he threatened to abandon Vincent.
Finally, on Christmas Eve, after a quarrel at dinner, Gauguin stalked off into the streets. Vincent followed him. What happened next is unclear, but Vincent returned to the Yellow House alone and cut off his earlobe (not the whole ear) with a razor. Vincent couldn’t remember the details of this terrible night. But when he was discharged from the hospital a few weeks later, he went right back to work.
There have been many theories about Vincent’s condition. The theory most generally accepted is that he suffered from epilepsy, a disease that could have caused his seizures and hallucinations and for which there was no medication. In Vincent’s case, another reason for his “attacks” might have been his habit of drinking absinthe, an alcoholic drink popular in 19th century France. It contains a strong nerve poison, now illegal in most countries.
Today many popular performers advertise how dangerous and extreme their lives are by writing shocking lyrics and acted outrageously on stage. They are mimicking the lives of artists such as Van Gogh. But he was not advertising or pretending. He just wanted to be useful—to make art that would last. His glorious paintings are the result of his discipline and dedication, despite the turmoil of his life.
Vincent Van Gogh, The Yellow House, 1888, oil on canvas, Van Gogh Museum, Amsterdam. This is the house at 2 Place Lamartine, Arles, France, where, on May 1, 1888, Vincent van Gogh rented four rooms and where Paul Gauguin lived for nine weeks from late October, 1888. The left wing housed a grocery (French: Comestibles, inscribed on the signboard over the marque). Van Gogh indicated that the restaurant, where he used to have his meals, was in the building painted pink close to the left edge of the painting.
If you are interested in finding out more about Vincent Van Gogh, Jan Greenberg and Sandra Jordan have written an award-winning book on the subject. Click here for more information.
MLA 8 Citation
Greenberg, Jan. "Vincent Van Gogh and the Case of the Missing Ear." Nonfiction Minute, iNK Think Tank, 20 Oct. 2017, www.nonfictionminute.org/the-nonfiction-minute/vincent-van-gogh-and-the-case-of-the-missing-ear.
For Vicki Cobb's BLOG (nonfiction book reviews, info on education, more), click here: Vicki's Blog
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