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Picturing a World

Marie Bracquemond and touch

As I said in my previous post, Marie Bracquemond’s husband, Félix, hurt as well as helped her artistically. Although they both exhibited at one or more of the eight Impressionist shows, she was, in fact, more receptive to the new esthetic than he was; and his criticisms could be choleric. He also  Read More 

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Movement in color

We can detect movement most easily through sight: we see something change position in relation to other objects. We hear movement: rustling, whooshing, gurgling; Doppler changes in volume and pitch. We feel it as changes in pressure against our skin or bodies: mothwing zephyrs, vibrating tuning forks that buzz in our fingers, the ripple  Read More 

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After reading David Abram’s deeply thought-provoking book, Becoming Animal, I have been thinking about what it means to open oneself to the world through all of the bodily senses and more particularly how to incorporate such awareness into fiction. Can an artistic medium effectively communicate what is perceived through seemingly unrelated senses? Read More 

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Jérémy Soheylian

It’s always a thrill to encounter a picture that opens into a world you are reading about or imagining. This morning, when I checked Charley Parker’s blog, Lines and Colors, I was rewarded with glimpses of French landscapes and architectural details by artist Jérémy Soheylian which helped me visualize the setting for a current story of mine. Read More 

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Walk on the Wyld side

On my living room wall, I have a framed poster of the 1879 John Singer Sargent painting that inspired me to send Jeanette and Edward to the Luxembourg Garden. Earlier this week , a friend who worked in the movie business for years came over. When I explained what the poster meant to me, she said, “I knew that designers for historical movies went to museums to study how things looked, but I’d never thought about fiction writers doing the same thing.”

Then this morning I came across this painting of Saint Mark’s Square by William Wyld at Charley Parker’s Lines and Colors. Parker writes: Read More 

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