My Kid Could Paint That

In keeping with universal saloon practice,

the clock here is set fifteen minutes ahead

of all the clocks in the outside world.

This makes us a rather advanced group,

doing our drinking in the unknown future,

immune from the cares of the present,

safely harbored a quarter of an hour

beyond the woes of the contemporary scene.

No wonder such thoughtless pleasure derives

from tending the small fire of a cigarette,

from observing this glass of whiskey and ice,

and cold rust I am sipping,

or from having an eye on the street outside,

when Ordinary Time slouches past in a topcoat,

rain running off the brim of his hat,

the late edition like a flag in his pocket.

By EMILY DICKINSON 

By ALEXANDER POPE

Happy the man whose wish and care

Francisco Goya, Two Old Men Eating Soup, 1819-1823

"Beautiful Soup"
By LEWIS CARROLL

BEAUTIFUL Soup, so rich and green,
Waiting in a hot tureen!
Who for such dainties would not stoop?
Soup of the evening, beautiful Soup!
Soup of the evening, beautiful Soup!

Beau--ootiful Soo-oop!
Beau--ootiful Soo-oop!
Soo--oop of the e--e--evening,
Beautiful, beautiful Soup!

Beautiful Soup! Who cares for fish,
Game, or any other dish?
Who would not give all else for two
Pennyworth only of Beautiful Soup?
Pennyworth only of beautiful Soup?

Beau--ootiful Soo-oop!
Beau--ootiful Soo-oop!
Soo--oop of the e--e--evening,
Beautiful, beauti--FUL SOUP!

"Since the Majority of Me"  

By PHILIP LARKIN   

Since the majority of me 

Rejects the majority of you, 

Debating ends forthwith, and we

Divide. And sure of what to do 

We disinfect new blocks of days 

For our majorities to rent 

With unshared friends and unwalked ways. 

But silence too is eloquent: 

A silence of minorities 

That, unopposed at least, return 

Each night with cancelled promises 

They want renewed. They never learn.

Editor's Note: Students were asked to pair a painting with a poem with no explanation of the connection between the two. 

"Idea: Sonnet 61"

By MICHAEL DRAYTON

   

Joan Mitchell, Untitled, 1960

"A Supermarket in Caligfornia"  

By ALLEN GINSBERG

    

     What thoughts I have of you tonight, Walt Whitman, for I

walked down the sidestreets under the trees with a headache 

self-conscious looking at the full moon. 

     In my hungry fatigue, and shopping for images, I went into

the neon fruit supermarket, dreaming of your enumerations!

What peaches and what penumbras! Whole families

shopping at night! Aisles full of husbands! Wives in the 

avocados, babies in the tomatoes!—and you, García Lorca, 

what were you doing down by the watermelons? 

     I saw you, Walt Whitman, childless, lonely old grubber, 

poking among the meats in the refrigerator and eyeing the 

grocery boys. 

     I heard you asking questions of each: Who killed the pork

chops? What price bananas? Are you my Angel? 

     I wandered in and out of the brilliant stacks of cans following 

you, and followed in my imagination by the store detective. 

     We strode down the open corridors together in our solitary fancy tasting artichokes, possessing every frozen delicacy, and never passing the cashier. 

     Where are we going, Walt Whitman? The doors close in a hour. 

Which way does your beard point tonight? 

     (I touch your book and dream of our odyssey in the 

supermarket and feel absurd.) 

     Will we walk all night through solitary streets? The trees add 

shade to shade, lights out in the houses, we’ll both be lonely. 

     Will we stroll dreaming of the lost America of love past blue 

automobiles in driveways, home to our silent cottage? 

     Ah, dear father, graybeard, lonely old courage-teacher, what 

America did you have when Charon quit poling his ferry and 

you got out on a smoking bank and stood watching the boat 

disappear on the black waters of Lethe?

Editor's Note: Students were asked to pair a poem and painting with no explanation of the connection. 

"The Death-Bed"

By SIEGFRIED SASSOON

I dedicate this painting to you, my beloved sister. In this letter I shall show how I interpret this painting and how it pertains to you. First, I will begin with the background of this painting. The background is the most tranquil and content part of this painting. It represents a future of hope and optimism for better times. Next, the foreground that leads up to the sky depicts how beautiful life could be with nature and so forth, but the simple fact that it's not, in the moment it is very desolate and somewhat cynical, and that no matter what, it takes lots of persistence and distress with a touch of agony to reach the beautiful sky. Now, we move on to the main subject matter. You, my friend are the head.

Here in this painting the head is the only part of the painting that is not split in half like the rest of the body. You are the head because ironically you a very levelheaded, you keep me from being immoral, and for the most part from spasming out all the time. A head is made up of multiple components such as a brain, eyes, a nose, eyebrows, hair, ears, and others.

I would say you are the eyes, you see the things I don't. The head along with wrapping around the body represent adhesiveness. No matter how much I hate you, inevitably something makes me like you again. The metal we see is broken - I think that represents all the idiots that thought they could come into our lives and help our circumstances without first listening and understanding. It could also represent mom, but I'll leave that up to you to interpret why. The metal is trying to help, but it can't because it too is broken, though it does still serve a purpose. The nude subject is opposite of me and you though, so far we've just kept things inside. Maybe Frida is trying to tell us to open up and rid ourselves of the burdens. Oh well who knows. The nails throughout the body represent not only the things we go through separately, but also together. Our struggles within life including our arguments. 

Sincerely, 

Charnai Anderson

P.S. Peace out homie  - you da real MVP

Editor's Note: Students were asked to give a painting to someone they cared for. These are their moving responses. 

Dear Yossi,

I saw this painting and I was immediately brought back to one of my favorite memories, looking at the stars at night in the Negev Desert. I shouldn’t be surprised that the painting reminds me of Israel, considering that Mordechai Ardon is Israeli. I originally searched through Reuven Rubin’s works, since you taught me about him, but something about Ardon’s paintings drew me in. However, after reading about Ardon, I was convinced this is the painting for you.

At first glance I thought of the stars. Stars can be viewed in many different ways. People say, “Shoot for the moon and if you miss, you’ll land among the stars,” and various other quotes. Personally, I would gladly land among the stars. I’ve been infatuated with the big dipper since my days at sleep away camp in the North woods of Wisconsin. When I get the opportunity to see a clear sky full of stars, my eyes search for that constellation, and when they find it I feel at home. While the mass amount of stars that appear in this painting and in the sky can be overwhelming, I encourage you to find your constellation.

When I first saw this painting, I thought it looked similar to Picasso, especially during his blue period. At that time, Picasso painted his feelings on the canvas, depression evident in his hues. This painting, all different shades of blue, has a rather opposite effect on me. I may be biased because blue is my favorite color, but I see life in this painting. Could it be that my understanding of the color choices of the Israeli artist and connection to Israel, a state developed around the colors blue and white, has changed my perception of this color? While everyone has their own interpretations of art, I hope you choose to see the life in this painting.

Ardon based many of his paintings on teachings from the Kabbalah. After two visits to to Avraham in Tzfat I wouldn’t consider myself an expert in Kabbalah art, but I am intrigued by it. While, my knowledge of Jewish mysticism is limited, you taught me enough to feel the magic in this painting.

Beyond the teachings of the Kabbalah, I just want to thank you for this past summer. I learned more about Israel and Judaism than I could have ever imagined, and I also made a life-long friend. Your passion and devotion to the State of Israel and to your teaching inspires me. I hope that one day I can have a job that brings me the joy you display when you teach.

You are a one of a kind, Yossi. I see it, just as Michael Levin saw it. Please don’t ever feel lonely, because you have thousands of friends in every student you’ve taught. You are the moon and we are the stars.

You are a true hero of Israel, just like Yoni Netanyahu and Eli Cohen. I hope you see this painting as a symbol of Israeli pride and hope, as well as representation of all of the lives you have touched.

Forever Your Student and Friend,

By LIBBY ROHR

Dear dummy who wishes to be refered to as the artist who wishes to be refered to as Doctor,

Welcome to the wonderful, if slightly pretentious, world of Art History. This seems like one of those things you would vehemently deny enjoying sheerly because of your own preconceived notions, however I suggest you give it a chance. If you are still unwilling to give Art History a try, at least open yourself to this painting. I have a feeling you'll enjoy it.

Ian, meet Jaques-Louis David, a French Neoclassicist painter who did work in a time of near global revolution. Here we see Socrates, front and center, choosing to drink hemlock to end his life rather than to stop speaking the truths he believed in. He was convicted, technically, of corrupting youth, and yet in this painting he wears white, symbolizing purity. I take it as the purity and clarity that comes with knowledge and pursuit of truth. In his dark, gray cell, a spotlight seems to come from nowhere and illuminate his form. On all sides of him, his followers are openly weeping, and yet with his last breaths, the great philosopher is still speaking with conviction, as evidenced by that definitive skyward gesture as he reaches for the cup of hemlock. While those closest to this great man are reduced to their worst in this time of trial, Socrates is stronger than ever and positively resolute.

I picked The Death of Socrates because this is how I see you. Living with a life of philosophical pursuits, principle, and conviction, without compromise. You ask all the right questions at the right times. You are ridiculously strong. You have more mental, emotional, and physical endurance than any other human being I know. You say what needs to be said, not what is most appropriate or acceptable. You are painfully stubborn. You are a devil's advocate. You think too much (but then again so do I). You have the temperament of a grumpy old man. In all of these ways, you are like this unyielding and seriously ripped Socrates here. However, the most apt comparison between the two of you is that, of all the people I am close to, you are the one who would be most willing to lay down his life for the things he cares about. This Socrates is a reflection of the values I see in you, and a reflection of your role in my life.

You're strong, loyal, trustworthy, exceptionally intelligent, snarky, and sincere. Thank you for everything. Thank you for our long talks throughout the years. Thank you for always being up for a trip to Penn Station and a car ride. Thank you for the endless showings of our favorite movies. Thank you for being so protective of me. Thank you for the philosophy over brunch. Thank you for helping me to be fearless. Thank you for showing up when I need you and staying at my house later than you should just because you care. I hope you know that it never goes unnoticed. The sheer number of times you've changed my point of view, given me the clarity I needed, and talked me down from a freak out is positively astounding. Your grip of the human mind and logic are phenomenal and the effect of your various advices has been invaluable through the years.

We're crazy people, I get that. But no mater what, I know you're a solid base to come back to, and I appreciate that to no end. Thank you for being my shoulder to cry on, my greatest confidant, my home away from home, my take-out food companion, the Sargent Nicholas Angel to my Danny Butterman, my own real-life Rick Ford, and my brother. Thank you so much for that.

Wherever we go next year, I'm not worried. Let's be real here. We've been through a lot together these past seven-ish years. Too much to lay down here. It's been a veritable roller coaster ride of a friendship, but no matter what, I know you'll always be there for me. You are my family and you, arguably, know me better than anyone else in the world and I'd like to think I know you pretty well too. Through all the good and the bad of it, befriending you and Sam has been one of the better choices I made in my life. I don't know how I got so lucky.

Happy Holidays,

Libbuhtayy

Elizabeth     

By no means is my family extraordinary, much like the works Pancetti, yet to us the dunes mean so much than a combination of tectonic plate movement and wind. For in the dunes we could be just be a family. Not an architect or ski instructor or a disabled little boy or whatever else. Just Rick, Kirsten, Matt, Trevor, Megan, and Tommy. The Gannon Family.

Missing: Mom-behind the camera, Tommy- asleep in his stroller

Beloved Brother Grant,

I thought I saw you staring back at me when I first saw Vertumnus by Giuseppe Arcimboldi. You and this guy share so many similarities. Obviously, you both are obsessed with healthy eating. I know that when you stare in the mirror you wish you saw Vertumnus in the reflection. You two both love vegetables, and since both of you are comprised of a large percentage of fruits, grains, and vegetables, I knew I wanted you to have this paintings.

His cheeks are even as pink and rosy as yours! I was even more surprised when I saw the date of the work: 1590. In over four centuries, health culture hasn’t changed a bit. Vertumnus was as much of a gym rat and health nut as you! That just proves that guys don’t change. Maybe you two could’ve been bros and hit the gym together and swapped muscle milk recipes. I know things have been rough with Katie gone; I think having a bro like Vertumnus around would make you feel better. You don’t need a girl to be happy. Right now I think you need a friend with the same ideals as you. Every morning you can wake up and look at Vertumnus from your bed and be reminded that you’re not alone and that treating your body healthily will make you feel better than any girl.

There have been guys like you for centuries and they lived happy lives and reproduced. Don’t worry, Vertumnus made it and so can you, and you’re definitely ahead of him in terms of appearances. I hope this painting can give you hope. But please don’t break it like you did with the last piece of art I gave you. This paintings is worth a whole lot more than that mosaic I made for you. If you don’t want it, I would rather you sell it, and I know you need the money to pay for your fifth year of college. Live happy and healthy and everything else will work out, brother. 

Editor's Note: Students were asked to give a painting to someone they cared for. These are their moving responses. 

Editor's Note: Students were asked to give a painting to someone they cared for. These are their moving responses. 

Raphael, School of Athens, 1509-1511

By SAI GONDI

To Libby, Ellie, Megan, Reid, Emma, and the newbies,

I am sure we all shared similar sentiments when first entering class. The knowledgable veterans struck fear into our barren minds. There was so much to learn, so much to absorb, and we were behind. Now as veterans, we have successfully applied last year's acquired fundamentals to become even better art historians this year. Though we clearly have much to discover, walking into Art History as a second year sparked opposite emotions. We came in as knowledgable leaders, participators, and most importantly, confident students unafraid of being wrong.

We rolled into class like Aristotle and his colleagues in Raphael's School of Athens, eager for another adventure. So why am I saying all this? Well, I wanted to appreciate those who started their journey with me last year. We have come a long way intellectually and personally in regard to Art History. Thanks for continuing this adventure with me again, and all you challenge me to dig deeper and see things with new perspective each day. To the first year historians, its going to be okay. Blog posts will become routine. And with experience instinctively seeing symbols, patterns. will come easy to you, and one day you will return to class like the immortalized philosophers above. Also, thanks Mr. Luce for being our Plato, teaching us and dealing with my disgraceful Rothko jokes and religious holiday puns. To Art History 2016-2017, you are all greatly appreciated.

By HARPER TRUOG

To Sarah Stack,

I am gifting you this painting because you are my friend and someone I can share my weirdness with. You keep me laughing even in a sleep deprived state.  I remember this painting was in the Doctor Who episode when The Doctor visited Van Gogh.  That episode was one of our favorites.  In the episode, Van Gogh sees an invisible monster in the grass, which scares the birds.  The episode reveals that Van Gogh is the only one who can see this monster because of his unique perspective as an artist.

I've always loved Van Gogh's loose style of painting.  He puts so much movement into the ground and sky, things that we usually see as stationary.  His disregard for straight lines and hasty dabs of color remind me that art can be beautiful without perfection.  Sarah, you are not perfect, but like dabs of color, which I would prefer to flawlessness any day.

Editor's Note: Students were asked to give a painting to someone they cared for. These are their moving responses. 

Pisanello, Apparition of the Virgin to St. Anthony and St. George, 1455

By SAI GONDI

Antonio di Puccio Pisanello's Apparition of the Virgin to St. Anthony and St. George strayed away from uniform religious paintings of the 15th century. He incorporated seemingly modern elements to St. George's (right) sterling armor, making him seem more vibrant and unique in comparison to the somberly hued St. Anthony (left). St. George is shown with the slain dragon at his feet, a reoccurring symbol when depicting him in religious works. St. Anthony wields his common items of the bell and hog. The heavy contrast the two saints staged in front a dark forest and positioned beneath the radiating sun bearing the Virgin and Child makes this work powerful yet not overwhelming.

The representation of these two figures in the forefront of the paintings provides more insight based on their colors. Michael Baxandall states colors in paintings follow a system in which they symbolize various aspects. Brown and black mean humility, which works well with St. Anthony who devoted his life to putting those less fortune ahead of him, assisting the sick and poor. His inner cloths are red, which is charity according to the color code. St. George is dressed in the white/silver, meaning purity, and highlighted in yellow-gold representing dignity. And above, as expected, the Virgin cloaked in white shows her purity, with baby Jesus wrapped in yellow.

The major component that makes this work special is in the positioning of the figures. According to Baxandall, Pisano hailed from northern Italy, where the style of art slightly differed. The layout of the figures were suppose to create a spiral. Pisano does this by slightly offsetting St. Anthony and showing more of St. George's back. The way the two face each other creates a circular movement. Spectators during this period were accustomed to seeing a composition incorporating such technique, but in comparison to religious art stemming from Byzantine, this was ground breaking development.

To Steve, 

Orphism, or Orphic Cubism, developed from the rising intellectual cubism of the period. It focuses on musical elements within color and lyrical abstractions. Guillaume Apollinaire coined the term while observing Frantisek Kupka's painting, noting that it was "the art of painting new totalities with elements that the artist does not take from visual reality, but creates entirely by himself." Robert Delaunay and his wife were of the main contributors to the movement, along with Leger, Kandinsky, and Picabia. 

Robert Delaunay sought to depict how something felt. He prefered the term "simultaneism" to describe his work, wanting his paintings to show the movement of modern life. He based his separation of colors into distinct shapes off of divisionism - an application of pure colors, instead of mixing, which enables the viewer to interact optically with the painting. Delaunay painted the distortion of color through stain glass windows to emphasize these patches of color. He painted Circular Forms off the windows in Saint Severin, a Parisian Gothic church. He thought the use of windows created a metaphor for the transition between internal and external states. 

I chose to gift you this painting as recognition for your courage and strength. I have admired yousince I was little. The painting attempts to display the continuous movement of life and humanity, just like you have continued to move forward since your accident. I thought you would enjoy how Orphism ties music together with art, because of your dedication to Judaism and also the musical and visual arts. I know you believe that art should be displayed in a museum, rather than owned by an individual collector, which is why I will donate this piece to a museum of your choice, in your name. You and Joan are two of my biggest supporters, and I cannot thank you enough for all that you have taught me.

Editor's Note: Students were asked to give a painting to someone they cared for. These are their moving responses.