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Posts Tagged ‘beauty’

virgin & child by charles connick, 1916

Emmanuel Church in the City of Boston is an Episcopal parish located on Newbury Street. Consecrated in 1861 it is a masterpiece among the many architectural treasures to be found in Boston’s Back Bay.  Its history as a place of worship and advocate for social justice for over 150 years are well documented on the church’s website. On the day that I and a friend visited to view the interior, an arts program for the homeless was concluding. Based on brief interactions with some of the participants it is clearly an empowering project, and just one of many offered in service to those in need.  I hope to learn more in the future but on that day my focus was the stained glass windows. From the literature shared by one of the clergy, the stained glass artists whose work can be found in the church include John Ninian Comper, Charles Connick, Frederic Crowninshield, Harry Eldredge Goodhue, Heaton Butler & Bayne, Charles Eamer Kempe, Tiffany, Samuel West and Henry Wynd Young.

incredulity of st. thomas by tiffany glass & decorating, 1890

incredulity of st. thomas by tiffany glass & decorating, 1890

With expansion and construction into the 1920s, there are many different styles represented in the windows of Emmanuel Church.

st. michael killing the dragon by charles eamer kempe, 1901

st. michael killing the dragon by charles eamer kempe, 1901

by harry eldredge goodhue, 1905

adoration of the magi by henry wynd young, after 1918

adoration of the magi by henry wynd young, after 1918

Windows have been lost over time.

Others have been beautifully restored including the church’s signature window, Emmanuel’s Land, comprised of 15 panels of leaded glass with 17 smaller sections of tracery above, and done in the opalescent style made famous by John La Farge, Louis C. Tiffany and Frederic Crowninshield.  Emmanuel’s Land is one of Crowninshield’s largest works.

emmanuel's land by frederic crowninshield

emmanuel’s land by frederic crowninshield, 1899

The window is especially notable because it does not depict a religious scene but instead a scene from John Bunyan’s book, The Pilgrims Progress.

Piety, Discretion, Prudence and Charity show Pilgrim Emmanuel’s Land. The window was designed in memory of Mrs. Howard Payson Arnold, Crowninshield’s mother.

The windows are housed in a structure that has evolved quite a bit over its history from its original construction in 1861.  As the parish grew, adjacent plots of land were purchased and new adjoining structures were built including a parish house, west transept, and two chapels. The Lindsey Chapel was the last to be built between 1920-1924. A poignant tale is at the heart of its construction but I shall save that story and those images for another post.

In this post I’ve shared just a brief glimpse of the windows inside this lovely church. I hope you have the chance to see firsthand. Learn more about the church via the following link:

Emmanuel Church in the City of Boston

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late afternoon views through the rippled glass

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That’s the translation of the little slip of paper on the back of the butterfly, Plique a jour. An enameling technique similar to cloisonne but with no backing so that the light can shine through. It’s meant to be worn as a pin but I might turn it into an occasional suncatcher. A wonderful find in an old shop. A dainty little thing, bits of damage, an antennae missing. Still beautiful. And as much as the design, I like that idea of letting in daylight at any time of day.

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Rocks left on a church table. The little boy handed them to me. Looking at my camera, he asked, “Would you like to photograph these?” “Of course,” I said.

 

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… and it fell apart so beautifully. A mammoth bouquet of white flowers with leaves of frosted green whose name I do not even know. I saw it sitting in a black bucket across the store and knew I had to have it. Back on the shelves went a sundry of things because I decided I needed that bouquet more than dark chocolate and such.  It lasted a long time, that bouquet, and during chaotic times I could stare into its midst, with coffee in hand, and just breathe deep.  And it was the breathing deep that got me in the end because after a while, darn allergies, the bouquet’s pleasant scent wasn’t so pleasant after all and so into the hallway it went. With hand over nose, I’d occasionally glance out at its soothing beauty until I needed to be soothed no longer.  As it dried, it fell apart so beautifully.

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detail from untitled photo by joseph a. horne, 1940s

This photo was taken by Joseph Anthony Horne during the 1940s as he worked for the Farm Security Administration – Office of War Information.  As highlighted in a previous chapter of Interludes, he like many other photographers had been sent out across the country, under the direction of Roy Stryker, to capture the American experience. One of the areas that Horne captured on film was southeast Washington, D.C.,  an area not far from where his family lived and an area that was predominantly African American. The photos he took in that community were notable, for me, in part because there was no characterization or stereotyping. He simply photographed in a straightforward manner people living their daily lives. He, like many of the FSA photographers, was very good at that.  Otherwise in commercial media, unless it was an African-American specific publication, there was either no representation of “colored” people or it was often a mimicry.  Out of all the photos that Horne took in this community, I was especially struck by the series of photos of this little girl who had been positioned in front of the camera by a person who appeared to be her mother. No doubt she’d been placed in a best dress for the occasion. And its that dress that caught my attention.

There are people far more eloquent and scholarly than I who have written and who continue to write about how we as humans form our sense of self, our sense of self-worth, our sense of what is beautiful and our sense of how we individually fit within that definition of beauty.  This little girl is lovely and thoughtful. Her face clearly reads, who are you and what are you doing? The little face affixed to her dress is also lovely. Two different expressions of beauty.

This photograph was taken in 1905 and is located in the NYPL Digital Collection. I don’t know the context in which this photograph was taken though there is that accompanying caption suggesting to me that it was in a magazine and meant as a positive image highlighting how far African Americans had come in the 40-years since slavery and that a new generation would have even more success.  Too true as evidenced by the strength in that little girl’s face, and yet I am struck by the doll wrapped in her arm.  Growing up in the 1970s, I too had a lovely doll around which to wrap my arms and I enjoyed combing her blonde hair and wondering why it was so hard, in fact impossible, to braid her hair the way my mother braided mine. I grew up in a far different time than these two young girls but Toni Morrison’s The Bluest Eye, published the year I was born, certainly resonated in my teenage years. I don’t remember ever wanting blue eyes but I think I wanted blonde hair (or maybe a lion’s mane).

These musings come to the fore because of a convergence of recent events, including having the opportunity to explore the imagery being made available through digital collections, seeing images of the past that had not been made widely available before, images that today have the potential to spark positive conversations about the past, present and future.

I recently pulled together research to tell two stories of one place.  One story focused on two sisters of great wealth whose lives are well-documented and whose enduring influences are often remarked upon.  The second story took great effort to pull together, of a gentleman whose image and good works I could only find because of the old texts and photographs being digitized and made available online.  The two sisters were white and the gentleman was black. They lived during the same time period and interacted in the same place.  When I printed my drafts and shared the stories with an elder (whose age I shall not share), she listened politely to the story of the two women but she took the story of the gentleman. We had a conversation and she said, “Cynthia, all my life I have heard about these women and the people like them. I never heard about this man. You keep doing your research. Why is it important? I want people to know that we were here. To know that we were a part of this place.”

Sources

https://www.loc.gov/item/owi2001000491/PP/

Schomburg Center for Research in Black Culture, Jean Blackwell Hutson Research and Reference Division, The New York Public Library. “A little child shall lead them.” The New York Public Library Digital Collections. 1906. http://digitalcollections.nypl.org/items/510d47df-9e16-a3d9-e040-e00a18064a99

 

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Exvoto Family by Adriana Prat, image courtesy of the artist

Ex-voto Family by Adriana Prat, image courtesy of the artist

After an extremely successful opening reception in February, the Riverside Gallery will be extending the Words in Our Work Exhibit into early April with a closing reception scheduled for Sunday, April 10th, from 3:00-5:00 PM.  The distinctly different works of 9 fine artists are on display, all of whom weave words into their visual arts.  In February, it was my pleasure to share a conversation with one of the featured artists, Cedric Harper.  Images in this post are provided by another featured artist, Adriana Prat. Originally from Argentina and now living in Cambridge, I first met Adriana through the Riverside Gallery at the Cambridge Community Center where she is the gallery co-director as well as co-curator of this exhibit.

Exvoto Saint N by Adriana Prat, image courtesy of the artist

Ex-voto Saint N by Adriana Prat, image courtesy of the artist

Over the course of several previous exhibits, I’d come to admire the beauty of Adriana’s bright-hued paintings often in oil and acrylic. So when I walked into the Words in Our Work Exhibit I was immediately struck by the difference of these works, the ephemeral nature of layered and textured papers, floating in their frames, and throughout Adriana’s beautiful handwritten script. When I asked her about the inspiration for these works, this is what she shared:

image courtesy of the artist

Ex-Voto Cosmos by Adriana Prat, image courtesy of the artist

The pieces installed at the WiOW show were inspired by nostalgia and gratitude.  Nostalgia because they are pieces specifically composed of “treasures” found in my studio: past paintings, materials, forgotten “souls” at some point considered inadequate, neglected or that were simply waiting for their opportunity to belong in a more introspective collection which comes up from meditations about time passing.  Things that were lost that brought much needed found to my life.”

Ex-Voto Cosmos by Adriana Prat, image courtesy of the artist

Ex-Voto House of My Dreams by Adriana Prat, image courtesy of the artist

“Why gratitude? Inspired by my attraction to ex-votos which are votive offerings made to a saint or to a divinity, in fulfillment of a vow or miracle.  I first discovered them in my beloved Mexico. My small collection of abstract “ex-votos” stretches the boundaries of the traditional narrative images telling a personal story of a miracle or favor received, and therefore rendering my own vision to express my appreciation to the world that surrounds, nurtures and inspires me.

It is a delight to interact with Adriana, to talk about art and her unique perspectives of the world. Learn more about her at www.agprat.com.  Meet her and several other fine artists in person at the closing reception for Words in Our Work, Sunday, April 10th, 3:00-5:00 PM at the Riverside Gallery.

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In the hallway there’s a small wooden box tucked under a table. A spider made a web. The spider moved on but the web remained. Leaves drifted down from the plants up above. Nasturtium and parsley. Two leaves. They dried in the sun, unnoticed, until I began my spring cleaning. I decided to let them float for just a while longer.

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I’d grown them from a few seeds earlier in the winter. When the seedlings grew thick I separated them into two pots and stationed them at two different windows.  Many small leaves with long stems as the plants reached for the sun. I’ve not been the best caretaker and so I mostly watched the green leaves turn beautiful shades of gold as they dried on the vine.  But then just as I was contemplating emptying the pots in preparation for some new spring thing, I noticed a bud. Just one. It finally opened today. And again, like last year, I was taught patience. 😉

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