Tribute to Jackson Pollock

            Jackson Pollock was the leader of the Abstract Expressionist movement that came to be during the mid 1940s in New York City. He was born January 28, 1912 in Cody, Wyoming; however, he grew up primarily in Arizona and California. He attended Manual Arts High School in Los Angeles, and then went on to study with Thomas Hart Benson at the Art Students League in New York with his brother Charles in 1930. There he was influenced greatly by experimental styles and large scale painting. Here he was also exposed to (and therefore greatly influenced by) painters José Clemente Orozco and David Alfaro Siqueiros (Shatz pp. 1-2).

            In 1945 Pollock married artist Lee Krasner. A few days after their wedding the couple moved away from the hustle and hype of New York City to a converted farmhouse in The Springs. The Springs is a village that is part of East Hampton at the tip of Long Island, and it is there they found a very different lifestyle, that of simplicity. They had no electricity and no running water within their home, and their toilet was in the yard. Repairs were definitely on their list of things to do after moving in, however, that this atmosphere is why they moved away from the big city. It was here that Pollock’s working methods began to shift. In the summer of 1946 he would paint his first piece on the floor (The Key from his Accabonac Creek series). His studio was their renovated barn and his main source of light was from a top light he had cut into the roof. He wanted no other windows put into the building so that he would not be distracted, and in turn his inspiration would no longer be from the outside world. One can visit this studio today and see the remnants of his famous method, which consisted of dripping, pouring, and throwing paint on a large canvas placed on the floor. He often would explain that this way of painting allowed him to be in the painting, to be a part of it (Kuster pp. 12-13).





            Pollock’s work was very influential. His “drip” technique as discussed above introduced the idea of Action Painting, in which the canvas was no longer just something to place paint on, but a place in which the artist could actively engage (Kuster pp.13-14). He further enhanced this modern sense of portraying personality in your work, for his pieces were very self-expressive. Pollock opened one of the many doors in regards to what can be termed art, and how said art is to be made. Of course, because of the nature of what he did there were many critics. Many see his work and believe that a child could do the same. Even those that do see the aesthetic qualities of it argue about the true meaning/feeling behind his work. This is, however, to be expected for any piece of abstract art. He was also a proponent of the idea of “formless” painting, but many argued that even that which is “formless” has a “form” of some sort. There are also those that say that while his way of doing things is liberating, it does has limitations due to the means available to the artist, and is therefore still bound.

            There were many reasons I chose to do a tribute to Jackson Pollock. One reason is because he is so self-expressive. I read this quote where he states that, “Painting is a state of being...Painting is a self-discovery. Every good artist paints what he is,” and I wanted to be a part of this phenomenon. I love drawing and sculpture, but I haven’t had much experience with painting, and to be honest it sounded fun, so I thought I’d give it a try. After making my pieces (I ended up doing two because my first kind of ended up a soupy mess), I had a greater appreciate for Pollock. For one, there is definitely skill involved. I tried to imitate some of the shapes I saw in his piece, Autumn Rhythm, while creating a sense of unity of my own, and doing so was very difficult. There is a technique in placing the paint on the canvas that requires skill and practice. It is also kind of exciting because while there is definitely skill there is also an element of luck (or at least there was for me). I watched a video about him (http://www.youtube.com/watch?v=CrVE-WQBcYQ&list=QL&playnext=1), and in it he explains how his paintings have a life of their own, and after attempting it myself, I have a better grasp of what he means. There is something about this process that allows you to go beyond yourself and get in this state that is partially out of your control, if that makes sense. I love Pollock’s work, and I am excited to experiment more with his style, and maybe even, on a smaller scale, create my own.

Works Cited

Pollock, J., & Fondation Beyeler. (2008). Action painting. Ostfildern: Hatje Cantz.  

Schatz, Jean Ershler. “Jackson Pollock.” Ask Art Academic. <http://www.askart.com/AskART/artists/biography.aspx?searchtype=BIO&artist=3009>

Little Richard

            

http://www.youtube.com/watch?v=QFq5O2kabQo

Whenever we have studied music in this class I have been enthralled, but none caught my attention more so than our study of rock and roll. One of the founders (some say he single handedly laid the foundation for this form) of this movement is Little Richard. Who hasn’t heard songs by Little Richard? Songs like “Tutti Frutti,” “Good Golly Miss Molly,” “Ready Teddy,” and “Rip It Up” are classics that can be heard in many settings throughout the media today. While many of us have heard his music, not everyone knows his story. I know I never realized how influential he has been in regards to the history of the music.

 Little Richard, who’s legal name is Richard Wayne Penniman, grew up in the home of a preacher, along with his 11 siblings. His family was one that was very heavily involved in music. He was always singing, even as a kid. His first experience in front of an audience was with a gospel group called, “the Tiny Tots,” which consisted of him, his brother Marquette (tenor), his brother Walter (baritone), and a friend named Bobby Moore (bass). They would travel to different churches all around Georgia, where Richard was born and raised, and people would shower them with treats. These were not Gospel situations similar to what is seen in Mormon culture. They technically sang a capella, but their voices were always accompanied by the stomping of their audience’s feet. People would worship, praying to God during their performances, but they were loud. I can’t imagine the energy that would accompany these shows. I can almost picture the faces of the enthralled church goers (White 13).

Because of the time and place in which Richard lived, racial issues were very prevalent in his career. As we discussed in class his record label gave his song, “Tutti Frutti” to Pat Boone, simply because he was a more acceptable to their audience, in other words, he was white and sang the song in a more reserved manner. While this would have been a blow at first to Little Richard’s career, in the long run it brought him more exposure then he could have ever dreamed. As I did more research I found a lot of sources saying that Little Richard, “brought the races together in a common admiration for his music” (White xi). Because a white man sang his song, many white listeners soon came to know who the artist Little Richard was, and in doing so, essentially, the blacks and whites found a bond. That is something that I find so amazing about the arts: it leads to understanding one and other. It allows us to find these connections that are deeply rooted between each of us as human beings. It allows us to really see one another, and in turn leads to tolerance. One of my favorite quotes is, “You can’t hate someone whose story you know,” and it is the arts that help us get to know one another’s stories. While the rest of Little Richard’s career had its ups and downs, he will always been a participant in bringing people together with his gift of music.

Work Cited
White, Charles. “The Life and Times of Little Richard.” New York: DA Capo Press, 1994.                                                                                                          

Selections from NPR Top 100

"I Wanna be Sedated"

http://www.youtube.com/watch?v=wMD7Ezp3gWc

As a kid (elementary school age), I would often sing the Ramones. Songs like "I Wanna Be Sedated," "Sheena Is a Punk Rocker," "Gimme Gimme Shock Treatment" ”I Wanna Be Your Boyfriend," "Surfin Bird," "Rock 'n' Roll High School," etc. were some of my favorites. I never knew that they were from the 70s. I didn't even know what punk rock was, my mom just played them, and so I listened. I thought they were so fun. I love the sounds they made, like "the mae mae mae papa papa, " and "ba ba bamp ba ba ba ba bamp ba ba." I danced to my little heart's content whenever I heard them, but, obviously, I didn't understand half the stuff they were saying. I continued listening to them growing up, and the Ramones are still one of my favorite bands so when I saw "I Wanna Be Sedated" I automatically clicked on their link.

Listening to the MPR clip was really interesting. Like I mentioned, I didn't know anything about the band, just that I liked their stuff. Come to find out, they were pretty revolutionary. Boilin is very adamant in his opinion that they rescued rock 'n roll. He contrasts the Ramones with Kansas, Emerson, Lake, and Palmer, and Yes. This was more my dad's style of music, so I kind of grew up listening to these as well. I am not sure I agree with the light he places them in, yes they may have gotten a little too showy, but they still have some good stuff (in my opinion), and the Ramones don't really seem to even be in the same category of music as they do. However, I do feel that we would be at a loss if the spirit of the Ramones was not revived like it was. Their style of "fast, loud, fun, no solos, keeping it short, and playing to the audience" brings music that makes life more enjoyable.

Boilin also mentioned that they have a "post modern humor" which caught my ear since that is a concept we've been discussing in class. I went back and looked at the lyrics of "I Wanna Be Sedated" and the way they treat the subject matter is very postmodern. They are making very light of a serious situation. It's super fun, upbeat music about wanting to be put under because of pain. It is kind of ironic that I danced around to this as a child, singing that I wanted to be sedated too. Overall I do not think that rock bands like Kansas, Emerson, Lake, Palmer, and Yes are bad musicians, but as I look at what I listen to now, the Ramones, and others that follow their style (The Sex Pistols, The Clash, etc.), are much more prominent. Maybe there really is something to their music that sets them apart. Perhaps it's their upbeat tempo, the feeling of living that they bring, their postmodern irony, or their overall style, but whatever it is, it's working. s

"Smells like Teen Spirit"

http://www.youtube.com/watch?v=hTWKbfoikeg

Nirvana was another band that I was heavily exposed to in my childhood and has continued to be one of my favorites today. This one was a little different from my exposure to the Ramones because this is a band that I heard a lot on the radio--well some of their stuff anyway. The rest my mom had on CD, which we played often. I found it amusing that the clip talked about how this was a band that parents wouldn’t like because you couldn’t understand the lyrics and the chorus (of this song) sounded like screaming. That was not my experience. I imagine that was very true for the majority though. This is a very well known song, but it is definitely one that reminds me of my generation. It came out a year after I was born, so perhaps it was barely my generation, but nonetheless, I hear it and I think of being driven around as a kid screaming my interpretation of what was being said. It’s funny that until now I hadn’t looked up the lyrics. I never realized that was what they were saying. I don’t know what it is exactly about Nirvana that I love. I know part of it is his slightly husky voice. Maybe the other is the contrast of the tone in their songs. In “Smells like Teen Spirit” it really does go in and out between this very beautiful chordal sound, and one that is loud, and almost harsh.

Listening to the clip definitely changed my perspective. I had never fully understood the message of the song, the fact that I couldn’t comprehend the words probably contributed to this. Of course there is definitely a general tone to the song that can be understood without knowing the actual lyrics. It calls for a change, or perhaps it is more of a wake up call, and something is obviously wrong (screaming is usually an indicator of that). After listening to the clip, I now see this criticizing of the “slacker generation” that the broadcaster explains. Maybe the popularity of this song has continued because this said “slacker” generation can still be seen today. The idea of just expecting to be entertained, the automatic sense of “OK, I’m ready to be happy without any sort of work on my part,” is definitely not dead. The “anti-rock star” idea of Nirvana was also touched upon.  I agree that Nirvana was inline with this, but the proposal is just so ironic. How can one who is a rock star be an anti-rock star? Yes, I see that they could be against the elitist sense that comes with the term, but Nirvana was seen as better than the rest (an elitist ideal) whether they wanted it that way or not. I could agree that they are proponents of this, but I am positive they weren’t against making mass amounts of money from their work (something the “rock star” was after). Then again, I guess there’s nothing wrong at any attempt to get away from Hollywood label producing work, and I love Nirvana so no harm done in my opinion.

“Singin’ in the Rain”

http://www.youtube.com/watch?v=D1ZYhVpdXbQ

“Singin’ in the Rain” was probably my favorite movie in High School and is still one of my top ten today. I would sing those songs all the time and I have to admit I had a little bit of a crush on Gene Kelly (and still do). I love the dance numbers, the upbeat feeling of the whole movie, and I love the outfits of Debbie Reynolds. The scene with Jean Kelly singing “Singin’ in the Rain” is particularly memorable. That pure giddiness that comes with new love is perfectly portrayed in the lyrics, acting, and dancing seen in the scene. I love it, and watching it just makes me smile. So this clip from NPR was an obvious choice.

This excerpt was definitely not what I expected—they didn’t even mention the movie/musical “Singin’ in the Rain” until the end of the second half! This was a shock for me because I always thought that the song “Singin’ in the Rain” was written for the movie “Singin’ in the Rain.” That, however, is not the case at all. I could not believe that the song was written in 1928/29 (the movie didn’t come out until 1952), and has appeared in 7 MGM movies. It was really interesting to hear the few clips they had from some of the different versions. It kind of opened my eyes to how much music is really up to the interpretation of the player/user of said music. Each one had a different use of the song, and the overall tune and general feel, while similar, was quite different, for instance, Cliff Edward’s version, with his Ukulele and dancers compared with Judy Garland’s more jazzy version. I looked up a few of the different versions and some were so different that at first, I thought I had the wrong song but in the end, they were all very enjoyable.

I do wish that they would have gone at this broadcast a little differently, or at the very least, had made it a little longer. They spent so much time talking about how the date of creation and purpose of this song was kind of ambiguous that there was not much time left to discuss all the different ways and settings in which the song was used. It was interesting to hear Doris Eaton Travis’ explanation of her experience with the song, but I would have liked to hear some different views. For instance, it mentioned (as I have mentioned above) that this song has been used in 7 MGM movies, but I could only pick out two that were mentioned in the excerpt. They did go into the movie “Singin’ in the Rain” a little towards the end and it gave some really interesting incite. Hearing that the song had been used in so many other movies kind of delegitimized the use of it in the movie “Singin’ in the Rain” for me, but their discussion removed that feeling. They explained how the song was really made into a classic through Jean Kelly’s version of it, and for some reason this idea changed the song from being overused to being honored. But after this clarification they ended the broadcast. I wish they would have expounded on this idea a bit more, but overall my view of “Singin’ in the Rain” was enriched and in turn, my appreciation of this beloved song and musical was increased.

To view the rest of NPR's top 100 visit:

http://www.npr.org/programs/specials/vote/list100.html

SECRETARIAT

Historical Context
  http://www.youtube.com/watch?v=BPToFOWngco (to view trailer)
“Secretariat,” starring Diane Lane, John Malkovich, Scott Glenn, and James Cromwell and directed by Randall Wallace, is a film based off the novel, “Secretariat: The Making of a Champion” written by William Nack. Set in the 1970s, it portrays the story of Penny Tweety, who steps in to save her sick father’s horse farm. In doing so she engages in the pursuit to train a horse, Secretariat, that ends up winning the first Triple Crown (A series of three races, and winning all three is considered the highest feat in thoroughbred racing) in 25 years and is still said to be the best race horse ever seen. The time this film is set in is one of revival and change in America. The rights and recognition of woman as strong, able, equal beings is beginning to come forth. Their political and economic roles are starting to become solidified, which can be seen in different aspects of the film. It is also the time of the Vietnam War, and therefore there are a lot of anti-war, world peace efforts. Many during this time, who went along with these efforts, were what we would call “hippies,” and Penny’s daughters are categorized as such in this film.

                                                
 Critical Analysis  

This film definitely had positive and negative aspects regarding its existence as a film. There was an uplifting overall message, which was very enabling of woman and promotive of taking chances for your dreams. There were also some very good uses of camera angles. One scene in particular, in which a low camera angel was used to show the horse down a tunnel, was very successful. It was successful in putting this magnificent horse on a pedestal in a dramatic and yet not completely corny way. There was also a scene in which the horse and his rider were shown running on the track in a very dramatized slow motion, and doing so in this manner really showed the beauty of the animal. Every muscle contraction in this giant creature could be seen as he slowly ran down the path. The use of varying textures was also very prevalent, which sounds like a strange aspect to be discussed in film, for there are obviously going to be a lot of textures seen in any single frame. However, this film is different in that it almost seems as though you can feel the textures you are seeing. From the grittiness of the dirt flying on the racetrack to the coarseness of Secretariat’s mane, to the smoothness of Secretariat’s coat, all these textures are almost made palpable through the sounds, lighting, and camera angles employed. There was also some humorous dialogue, that was able to make you chuckle without being offensive, which is a rarity in today’s society. However, there were times when the film took on an overly-sentimental tone. This was done in different aspects of the dialogue and also overly dramatic film shots (close up on eyes, or overly exaggerated expressions).

Personal Response  

I found this film very enjoyable. It was interesting to see the different aspects of America that were being portrayed, especially the view that America had on women at the time. It reminded me of the “Gibson Girl” and progression of the ideal woman in late 19^th century, early 20^th. Specifically the character of Penny reminds me of John Singer Sergeant’s portrait, “Mr. and Mrs. Isaac Newton Phelps Stokes.” In this painting Mrs. Stokes is seen as strong and a bit sassy. If one was to have a question for the family, it seems as if the Mrs. would be more able to help you than the Mr., and I think the case would be the same in the Tweety family. It would be really interesting to spend time researching how woman have been viewed throughout time, and the major issues that they struggle with. It is obvious that in American culture woman have been struggling to make a stand, to find their voice and announce their role in society. I really enjoyed seeing men kind of tremble in the wake of this woman who would not back down. However I can see how certain scenes in which this theme was very prevalent could have been seen as slightly cheesy, but I have to admit, I tend to enjoy cheesy. Which is also why I enjoyed the overall message of the underdog triumphing. I do wish they would have had more explanation about how long everything took. There were many scenes where I knew time had passed but if someone asked me how much I would not be able to answer. It also would have added to the overall dynamics of the film if there was more description and emphasis on the struggle Penny faced with being away from home. A little less struggle with the horse and a little more struggle with the home would had added to the realistic aspects of this woman’s life. I also could have done without the scenes where they were trying to show how human Secretariat was. There were times that I was reminded of films like “Beverly Hills Chiwawa” and half expected horses to start talking. I do understand that this film is an adaptation of a book, and perhaps the director struggled with portraying aspects like this that are best done in the written word. I ended up leaving the film feeling uplifted and inspired to make a difference in the endeavors that I partake in and according to my own individual standards, I would deem this film as a success.



Maynard Dixon’s “No Place to Go”

            In 1932 the Great Depression hit the U.S. This drastic economic catastrophe affected many people, changing their way of life and their outlook on said life. It was a time of much loss, confusion, and despair. Many people lost everything due to the failing economy. It was sudden and drastic. It changed the way America itself was run, and from this experience we as a country have (hopefully) learned from the mistakes that were made that led to this tragedy (“Great Depression” 1). The effects of the Depression were documented by many, including artists such as Maynard Dixon. In fact, in his case, this event led to an increased awareness of his role in American society. He took the part of making others aware of those things he believed to be wrong. In response to the Depression, Dixon painted some of his most emotion provoking pieces collectively called “The Forgotten Man” series. In these paintings, many faceless men are portrayed searching, unsuccessfully, for a way out of this state of loss they are in. One in particular, entitled “No Where to Go,” impacted me. This piece, while fairly simplistic in style, was aesthetically pleasing and powerful, was an effective portrayal of what many were facing during the Depression, and was a form of challenge to the ideals of America.



Maynard Dixon, No Where to Go (1930s)

 


Maynard Dixon, Cloud World (1925)

 



Dixon was born in January of 1875 in Fresno, California. He was raised in a home of aristocratic Virginia Confederates who were well-educated proponents of the arts and therefore, very supportive of his career. For a short time Dixon studied under tonalist painter Arthur Mathews. He later traveled with Edward Borein through many Western states, where he became fascinated with Western land and people. As time went on he married Dorothea Lange, a famous photographer known for her work reflecting the Depression. He was highly influenced by her subject choices and started to stray from his former style.  He left behind the impressionist style (seen in his “Adobe Town”) he had adopted working under Mathews and the romanticized style he had adopted to appease the masses, to a simpler, more modern style, for example his piece “Cloud World.” Both color and simplified forms were used to create a very bold effect. This air of mystery and power seen in his work was often created in the vast, low horizons and cloud formations (“Maynard Dixon” 2). This sense of power in nature is also seen in his piece “No Where to Go.” The background consists of a very simple low horizon, a small piece of the Pacific Ocean, rolling hills, with very dramatic lines, and very gold, almost glowing grasses. It portrays the beauty of nature, even in that which can sometimes be seen as plain. He seems to capture the majesty of the land that so many see as America; but placed in this land is a very lonely, hopeless man. It is a man without a distinguished face, a man that could be anyone.

This symbol of the struggling American man is a very successful expression of what many were facing during this time. The story being portrayed here is that of a man’s suffering due to The Great Depression. He looks very strong. He is solid, like he would be a good worker. He looks as if he would be someone you could rely on. All of this makes his stance and countenance even more heart breaking. The loneliness and hopelessness is almost palpable. Who knows what this man has left behind? Where is his family? Who is going hungry, besides himself, because he is unable to provide an income? The failure and despair that would accompany this situation is almost incomprehensible. It is not as if he has not put forth an effort but rather, he has been the victim of a hopeless situation. It makes one ask the question why? Who is to blame? Why does this have to be? I am sure many could relate to this seemingly forsaken man; for his situation was one that was sweeping the country.

While this painting was one that many could relate to, it was not one that many were ready to face. It completely contradicted what so many viewed as being American. America is the land of the free, the home of the brave—not the land of the forgotten, the home of the beaten down. We are the land of milk and honey, not this desolate, yet still powerful land that does not offer a way for this one man to survive. America is meant to be the land of opportunity. This work calls for a change in society. It calls for whoever is to blame to stand up and take accountability. It is, in essence, an attack on the government and Wall Street, for they were primarily responsible for this economic downturn (Edwards 1). This sort of attack is something that was not completely in line with the norm of society. As human beings we do not automatically fight back, in most cases, for sitting back is generally easier. This painting is definitely not simply sitting back. Something this emotionally provoking is not one that comes to be through a non-challenging subject matter. Dixon wanted to bring to light the travesty of the Depression, but, of course, there is always going to be different interpretations. I am sure there were some who chose to ignore the idea that this man was a victim, and rather that his loss was his own fault, as many see the less fortunate today. There is no doubt, however, that this was not the intended purpose. Dixon wanted to highlight the suffering of the hard working caused by The Great Depression.

Maynard Dixon’s piece “No where to Go” is one that portrays the power and beauty of the land, one that expresses the plight of those who suffered during the Great Depression, and one that challenges the image of America. It shows the beauty of the natural American land, the suffering that America was facing at the time, and the fight that this created in the American people. Accomplishing all of that would make this work extremely successful in and of itself but this painting is able to do more. It is able to create a portrayal of something that is universally human, for the feeling of being at the end of the rode is one we have all felt. Dixon was able to take this American moment in history, and through the medium of painting, create an image that not only documented the time, but allowed different generations to recognize a connection we all share as human beings. In doing so Dixon was also able to find his place in society. He took upon himself that role of social activist, and in turn was able to make an impact on the world he lived in. Art has this power. It can create change not only in others but in ourselves as well. It is a way to reach out by reaching in.

                                                                        Works Cited

Edwards, Chris. "Great Depression - Credo Reference Topic." Credo Reference Home. Sept. 2005. Web. 26 Oct. 2010. <http://www.credoreference.com/topic/great_depression>.

"Escape to Reality: The Western World of Maynard Dixon; Article by Charlene Winters Titled "Escape to Reality"" Traditional Fine Arts Organization. 17 Nov. 2000. Web. 26 Oct. 2010. http://www.tfaoi.com/aa/2aa/2aa319.htm.

"Maynard Dixon." Wikipedia, the Free Encyclopedia. 6 Oct. 2010. Web. 26 Oct. 2010. <http://en.wikipedia.org/wiki/Maynard_Dixon>.

"Great Depression." The Columbia Encyclopedia. New York: Columbia University Press, 2008. Credo Reference. Web. 26 October 2010.

George Innes

As I was doing my reading this past while I came upon a painting by George Innes, and being the Art History major that I am, I became enthralled. The painting was entitled, “Sunset in the Woods,” and the light, the color, the resonating sense of spirituality all just fascinated me. I’ve been asked many times who my favorite artist is, and I usually have such a difficult time answering, but something about Innes’s work made me automatically ponder about putting him on my favorite list. Perhaps one reason I was so in awe was the fact that I was getting such a strong sense of spiritualism from a landscape painting. I am not saying that landscapes can be inspiring, for they most definitely can, but this instance was different. It is just a scene in the woods, there’s no physically portrayal beyond trees, grass, leaves, etc. but it feels like there’s something more. There’s something alive, very alive, about this painting. I almost get the sense that something is coming, something very good to say the least, something that would be life changing. Something is coming that could perhaps be an external event, but at the same time, and more likely, could be completely internal as well. In other words Innes is able to portray an imminent change of mindset through a landscape painting.  How this is done I cannot put words to.

            I then went on to read more about Innes, which I hoped would help me understand this new phenomenon I had discovered. Doing so also made this artist more real to me, which is one thing I love about history. Realizing that these people you are reading about are  just like you in so many ways, for to be human creates so many similarities, changes how you view their work. It makes it more applicable to daily life. Anyway, here are some interesting things I discovered about Innes: He was born in New York, and was one of 13 children. His father had hoped to bring him into the family line of work (the grocer scene) but Innes took his own path, that of an artist (I cannot imagine that to be an easy point to sell to ones parents, for my own study of art was not an easy sell to my own parents). He studied as both an engraver and a painter. He was first influenced by the 17^th century Dutch landscape painters, and the Hudson River School, and then later in life he became attracted to the philosophies of Emanuel Swedenborg. Swedenborg’s influence is what primarily led to this spirituality that Innes tried to get across in his work.

Since this is what most fascinated me about Innes’s paintings (their almost tangible sense of spirituality), I looked into what exactly these philosophies of Swedenborg were. In doing this I found a couple quotes from him (Swedenborg) that, in my opinion, really help describe different aspects of Innes’s work: “But by all this I am not deterred, for I have seen, I have heard, I have felt,” and “First of all it must be known who the God of heaven is, since upon that all the other things depend.” This first quote, well for one really made a big impact on me (reminded me to put things into perspective), really resonates in Innes’s Sunset in the Woods. There is this sense really looking at what you are seeing, what is all around you, and then turning that around and doing the same thing with yourself (looking at who you are, what you are doing, and what you have done). This second quote is also very apparent because Innes is taking a sincere step towards seeing the divine in his subject matter. He really seems to be looking first for the spiritual and then for the actual, and at the same time finding the harmony between the two. Overall this was a good experience for me, for I now feel I have a slightly better understanding of a very talented painter, and at the same time feel as if I have been enlightened spiritually. I am excited to continue my study of Innes and enjoy the incite all his work has to offer.

Maisy

It was the beginning of Win’s second semester of high school in Happy Ville, Utah. It started out as a normal day, except for one thing, there was a lot of talk about a new student. “Have you seen that Maisy girl?” was a line Win had heard so many times that he started losing track of who’s mouth it was coming from.  Now in a different city, a new girl at school might not be that big a deal, but that was not the case in HV. You see, all the students here had known almost everyone in their school (and their families) since kindergarten. So let’s just say that the residents of Happy Ville were part of a very close knit community, and when Win caught wind of this new Maisy character, he was curious. It was not until his last class that he saw this mysterious maiden. It was English, and she had just been called to be his new partner for a series of projects that would last all semester long.

She was a tall, lean girl, with a mane of thick, black, wavy hair, and electric blue eyes. She wore an outfit of tattered looking jeans, a loose but fitted peasant blouse, and carried with her a worn, tattered, tan jacket. She looked out of place here, like she had been taken out of a movie and thrown into this small town setting. This was someone he’d be happy to know. Beautiful, to say the least, but she also looked like someone who could provide a little variation in this sea of monotony that he had lived in so long. He was fairly good looking, enough so that he’d never had a problem getting dates with girls. He had always been a pretty confident guy. Right as she sat down he jumped into an introduction, which worked well since they were supposed to be getting to know their new partners, “Hi, I’m Win. And you’re Maisy right?”

 She smirked in reply, “Wow, word sure travels fast around here.”

He could hardly take his eyes off of her. “Yep, welcome to good ol’ Happy Ville,” he joked, “Where ya from?” he said with a smile that just barely reached his eyes.

“I’m from Chico, California. I’m surprised you don’t already know that though, not much happens here does it?”

“Well, we uh…no, things get pretty routine around here. So anything new, especially when those new things are as pretty as you, gets everyone pretty hyped up.” He hadn’t intended to declare his admiration of her so readily, but it just slipped out. All sense of reservation was then thrown out the window. She did not, however, seem to have been affected by anything he said.

“Huh, well I’m just happy to be away from my last boyfriend. He was always high. He drove me crazy, but you can’t always help who you love right? Anyway, it’s good to be with a new set of people. I love meeting different types. Though, there doesn’t seem to be all that much difference between a lot of you guys. I mean, almost all of you are white. Which is fine, seeing as holding something against all white people is racist too, but it just blows my mind. Not to mention you’re all clean cut, not something I’m that used to. You all seem to be very into excelling at EVERYTHING. I mean I have never seen so many dedicated people in my life. You all rush to class to be on time. You all take notes. You all seem to be involved in some sort of after school activity. Let’s take you for instance. Come on, let’s here it. What do you do to fulfill the perfect quota?”

“Wow, you’ve got us all pinned down already huh? What do you think my out of class expertise is?”

“Hmm, definitely into something athletic, you’ve got a nice body and that doesn’t just happen. But you’ve also got that leadership air about you, like you know how things are done and you’re gonna tell us all what’s up.”

“Yes and yes I guess. I’m on the football team, quarter back to be exact. I am also the senior class president.”

“Oh boy, so I’m sitting by the cream of the crop then, eh?”

“I don’t know about that, I seem to be the lucky one in the room.” That got a smile out of her, which he took as a good sign.

“So what are you doing tonight? Because I really have nothing to do, and want to see what’s around here. My dad’s off on a work trip, surprise, surprise. And my mom is so lost in this novel she’s writing that there’s no help getting any sort of response out of her. Plus we just moved in so the amount of food in our house is critically low.”

He was aghast; girls around here were not that bold. He loved it. “Apparently, I am taking you around town. We can go when we get out of class.”

So that night was the beginning of their quick forming relationship. They laughed. She told him about her dreams of being an artist, of having her work displayed. She did not care where; it could be set in a window or out on a wall in a park somewhere, just as long as it was seen. She went on about her parents, her dad’s exploitations as an archeologist, her mom’s obsession with writing. She told him of her little brother, how he was a pain in the butt, but she still missed him. He had gone away to boarding school, which was to be her fate as well, but through such a tantrum she got out of it. This was a girl that got what she wanted. She told him things no one else knew. Win talked a bit about himself as well, but for the most part he just soaked in what he could from her. Partly because she was so gosh darn pretty; but also because he was hungry to hear about places outside of his very sheltered bubble of a life.

Throughout the rest of the semester Win continued to become even more smitten with Maisy, in which Maisy seemed content, Win’s parents, however, were not so sure. You see, Maisy was not a member of the LDS church, and while they were completely open to Win befriending those not of their faith, which was a slightly hypothetical occurrence seeing as 95% of HV was Mormon, having him dating one was another situation entirely. “But mom, she is a good girl, and our relationship hasn’t really been defined anyway,” he explained.

“Winifred, she does not have the same standards as you. She comes from a completely different lifestyle. She may be good, but that does not mean she is temple worthy.  You date who you marry honey, and she could not give you a temple marriage. I am not saying you cannot be her friend. In fact I think that you should be, and in doing so try to practice being a missionary. If she is as mad about you as you are with her, I am afraid she will be tempted to join the church simply because she wants you, and she needs to gain a testimony of her own. I do not believe that the two of you will be a wise match. Can you see this one as a wife? Could you see her tending children? She is an artist I have heard, would she take the time from her work to take care of my grandchildren? You must also remember that you will be leaving soon honey. You should get your call sometime in April.”

“I know mom, I know. It’ll work out. I know you have some reservations, but Maisy…there’s just something about her. She’s so fun, and alive. ”

“Just be careful son. I am sure she is fun, but is she responsible? There is more to life than simply enjoying yourself.”

Careful was not exactly what Win did, for the more he got to know Maisy the more he couldn’t stop thinking about her. They went on a few dates. As the semester came to a close he asked her to the Senior prom, at the displeasure of his parents, but they had a great time. Throughout this entire time Win had attempted to bring Maisy into the Gospel, or at least introduce her to it. She was not necessarily against it, she believed in God, but had no desire to commit herself to one specific church. She often used the argument that she could see God all around her, and had no need to go to meetings to worship Him, especially ones that took three hours. There were also things about the church that she didn’t quite understand, like what was wrong with casual drinking, or having a cup of coffee on a day that is just dragging on and on. He tried to explain, but sometimes the explaining brought contention, and since he had so little time left before he would be gone, he just didn’t want to deal with it.

Graduation came and went. While that was a normal change that Maisy was expecting, there was another that she did not. Win was leaving for two years to tell people about their church. He had received his mission call to Santiago, Chile but she had put it in the back of her mind. It was now the end of May and he’d be leaving at the beginning of June. As the day grew closer she began to try to persuade him to stay. “Win,” she begged, “Please just stay and go to school with me. Come on, there are so many missionaries out there right? They could get along with one less. I mean wouldn’t you rather stay with me? Think of how much fun we’d have!”

These conversations killed Win. He really did have strong feelings for Maisy, as she explained she had for him, but he also knew that he needed to go on his mission. He replied, “You know I want to be with you Mais, but this is what I need to do.”

 She did not like this answer. Because of this she retorted in a way that she knew would push Win’s buttons, “Well, if that’s how you want it fine. You better look me up when you get back, though, who knows if I’ll still be around. I don’t like being lonely, and that’s usually not a problem.” This idea did worry Win, but he knew Maisy was just speaking off of her emotions and he thought what they had was real, and therefore would last. She would eventually accept the church, she had to.

Win left for Chile and Maisy went to art school. Win tried hard, and the experience was difficult, but good for him. After two years, which seemed to fly by in his mind, he returned to Happy Ville. It was the beginning of summer and Maisy happened to be home from school, and while a lot had changed with Win, he still hoped there would be something between them. What he found was a shock to his system.

He decided to walk over to Maisy’s place a few days after he returned. He was going to call, but thought it better to see her in person. She came to the door as he knocked. “Oh my, looky who it is!” she declared. She was covered in paint; in fact, he couldn’t even tell what the color of her shirt was originally. They both stood there, staring for a while.

“Hey Mais, how ya been?”

“Good, just living life. How was the mission Winny boy?
            “It was hard, but good. It’s crazy being back.”

“Yeah, I’m sure it is.”

“So,” He didn’t know where to take the conversation from here, “We need to catch up. We can get together another time if now is bad?”

“Yeah, I’m kind of a mess. But I’m having a party later, you can come by then.”

“Alright, I’ll definitely swing by.” There was an awkwardness in the air that was almost tangible. Something was different, but he still felt a longing for this paint obsessed girl.

The party that night was not what he anticipated. He walked in expecting to see a few friends, but there were at least thirty people packed into this medium sized house, none of whom he recognized. There was alcohol. There was a movie playing, that Win knew wasn’t one he, or anyone for that matter, should be watching. There were people that looked less then admirable to say the least. He looked for Maisy, and after some searching, he found her encircled by a group of guys. When she saw Win she waved him over.

“Hey man! Glad you came.”

“Hey. This is quite the party you’re throwing.”

“Yeah it was a lot bigger then I expected, and a lot more stuff is going on…” she explained as she motions to the variety of activities, “…then I had planned.”

“Mais, these people seem nice, but do you really want a bunch of drunk people in your house? They could do a lot of damage.”

“Oh I know, but it is so fun. I don’t want to ruin anyone’s good time. Come on Win, live a little. There’s so much out there, you can just shut out so many different people.”

“The people may be good, but come on; you don’t want to be in this situation.”

“I’ll be where I want to be! But you should stay, Ben here is a hoot,” she points to the guy who was sitting next to her, who looked a little tipsy, “We’ve been seeing each other actually.”

“Maisy, you know you could do better.”

“Oh really? Like who?”

“Well,” He sighs, “like me.”

“Wow, if only that were true. It seems if someone was interested in someone else, they wouldn’t just take off for two years.” she says as she walks back to her group. Win simply walks home. He tells his mom what happened. She explains how Maisy came out of art school without a penny to her name and no job prospects. She’s been seen with so many guys around town, no one knows what to think any more. His mom advices him to go over there and make sure the party ends okay, but he decides against it.

“Maybe Maisy isn’t for me,” he mumbles to himself. Everything seemed so black and white now. Maisy had changed, and it hurt too much thinking of her with other guys.

The next day he sees Maisy as he’s meandering through the halls at the grocery store. “Hey you,” she says.

“Hey, how was the rest of the party last night?” he asks.

“It really wasn’t as bad as you thought it was, a few people were a bit out of it, but they left fairly well. I would have rather it been without the liquor, but overall it was a good time. I don’t see what’s wrong with it.” This only erupts emotions that Win had been holding back.

“I just don’t understand what you’re doing with your life,” he declares in frustration, “You need to step up and take responsibility Maisy, I don’t want to see you throw everything away. You need to be a little more practical. Stop being such a kid.” She just stared at him and walked away.

Time went by without any contact.  Part of Win wanted to help Maisy, but another part, a bigger one, just didn’t think he could do anything. She seemed so set in her ways to him.

A month later, he caught wind of an elopement, one between Maisy and a Blake Jefferson, a recently wealthy software owner who had been in town to recruit people for his new company. Win was past feeling by that time, if only he had stepped up before and really explained to her more in depth his feelings for both her and the church. Now it was too late. He decided to move away for a while. As he was packing the boxes in his car, he felt a tap on his shoulder. He turned to see Maisy’s bedazzled wedding finger. He looked up into her eyes a question burning on his lips, “Do you love him?”

“What does it matter?  He is practical. I’ll be set. Sometimes sacrifices have to be made.”

The fire he had once seen in those bright blue eyes had died. She handed him a note. He read it as she walked away, it explained how she had never stopped loving him. She had started taking the discussions, for she wanted to better understand where he was coming from, but was too heart broken over him to finish. She had hoped Win would fight for her; prove that he still had feelings for her when he returned. When he simply withdrew, she felt lost. Win moved away, Maisy and her new husband did the same. The two friends never saw each other away.