The lorenzetti's

Ambrogio Lorenzetti

Younger brother of a painter Pietro Lorenzetti who was probably Ambrogio’s first teacher. In 1321 he moved to Florence to study Florentine art (Giotto and Arnolfo di Cambio). He entered ‘Arte dei Medici e Speziali’ in 1327. After the departure of Simone Martini to Avignon in 1336, Ambrogio established a ‘very florentine’ workshop in Siena. He died from a plague in 1348.


(Saint Mary Magdalena
1330-1340
Gold and tempera on panel
Siena, Museo dell’Opera del Duomo)


(Saint Francis
1330-1340
Gold and tempera on panel
Siena, Museo dell’Opera del Duomo)


(Saint Catherine
1330-1340
Gold and tempera on panel
Siena, Museo dell’Opera del Duomo)


(Saint Benedict
1330-1340
Gold and tempera on panel
Siena, Museo dell’Opera del Duomo)

LORENZETTI, Pietro

(b. 1290, Siena, d. 1348, Siena)

Pietro (circa 1280-1348) was the more traditional of the two brothers, showing harmony, refinement, and detail but also dramatic emotion. his work includes the altarpiece Madonna and Child with Saints (1320, Santa Maria Della Pieve, Arezzo), dramatic frescoes in the lower tower of San Francisco in Assisi and the calmer, later masterpiece the Birth of the Virgin(c. 1342, Opera del Duomo, Siena).

(Panoramic view of the frescoes
1320-40
Fresco
Lower Church, San Francesco, Assisi)


(View of the south transept
c. 1320
Fresco
Lower Church, San Francesco, Assisi)

All city part 1 (1983)





part 2

Visit the Official I Am Legend Website

We are Under Attack!
Fall isn't so much a season, as a schizophrenic roller coaster. We usually begin with an extension of summer, bright, hot and dry, and then one wake up to find cool breezes and a panoply of colors, as the trees turn every conceivable shade of yellow, gold, orange and red. Sadly, nature's kaleidoscope doesn't last long, and it's always routed by the same thing: the relentless march of grey, brooding skies and cold rain.

Dress brightly!

I know that you too have felt that cold, wet pall fall across the earth. We must face these hazy days as what they are: a war against good, color-loving people everywhere! Don't give in! With your help, we will face these agents of a monochrome world head-on. Get ready to make our stand against the seasonal-disaffective siege

Dennis Miller is the man

Annie Oakley who believed that women should shoot as
good as a man demonstrates but a fraction of the stunts
that she could perform with a rifle. She was raised in
Ohio dirt poor and used to hunt to help her family pay
their bills. She wound up becoming an International Trick more
Shot. She even became friends with Sitting Bull! Sitting
Bull called her Annie Sure Shot.

Annie toured the world with the Buffalo Bill Show.

Historically speaking, Annie is probably the most
Celebrated Female Riflewoman in the world! Countless
plays and tv shows have featured Annie.













THE TERROR OF TINY TOWN
and HIGH PLAINS DRIFTER

Morality Play-notes Act and Morality

10/3/2007:
The story is about an older man who is a historian and scholar interested in theater and medieval history- who is writing a Morality Play in present time. He is concerned that people have forgotten this style of play writing because most of the plays in this form were lost over the years. He wants to write a great play using the influence of the known Morality plays surviving-Everyman and some historical writings both plays and novels. He wants to use the dialect of the time of the plays and he wants it to be authentic. He is struggling because of he can’t grasp the authentic dialect and the true moral questions of these plays. He becomes obsessed with this time period and is so immersed that his social life is abandoned and he has turned to drinking and opium and delirium sets in. He cannot recognize the dream world from reality. While looking at old manuscripts, and in the influence of narcotic and absinth at his home late at night , he is visited by an illusion that he is in a 15th century market scene by the town hall. He is in a crowd of shoppers buying fish heads and cow tongues and livers. The smell is overpowering and making him dizzy. He hears the the market banter and the servants are busy shopping and bartering.Black cats and chickens are loose and kids are stealing some of the produce.

Amongst the madness, he is struggling to leave this pandemonium. He seems that he is not visible. He is unbalanced in these new surroundings and he is disoriented but fascinated by the environment. Everyone is busy and he may not be noticed. He eventually finds himself in the town square where he vaguely recognizes the architecture and clothing and dialect as those of the 1500s when the morality plays were most popular. He sees a commotion of people gathering. A very tall figure in a black cape with a mask and staff is seen and heard to be speaking loudly over the crowd. He is a barker introducing the traveling troupe of players who want to perform at twilight . “Hear ye, Shall you join us at twilight for Morality-Good versus Evil. Who shall prevail” Can you believe the good fortune. To see an actual morality play after all the research and work he has struggled to put together.

He wakes up to the sound of his phone and hears the answering machine and the voice of frustration that is his agent. This brings him back to reality but he feels that he should record the dream immediately. The agent reminds him of the past deadlines and the last advancement of money that has received. The publishers are losing patience. After recording all he can remember, he is again stuck with the problem of how to write the morality play. He dwells on the barker and in despair returns to the bottle. After passing out on the desk by the typewriter, he is again transported to the same town hall square. It is now twilight. People are starting to gather. There is a cleared stage area with torch lights , curtains and a barn. He hadn’t noticed the staging area previously. The barn had one side open and bales of hay were scattered. The crowd is getting restless. Babies are crying, dogs are loose and fighting.

Julia, is this where you run is it my fault am i the reason you're gone expect one thing from you, and you fail time flies, when you're having fun but my clock stopped when my hand dropped from yours and you were gone expect one thing from you, the time you stole

From your lips darts loveliness, flowers from your face,
love fires from both your eyes, your hands shoot music's grace.
With your looks you rob my sight, my ears you stop with song.
The hunt will not last long and we shall be together forever long.

Artist of the month of September (O.M.O project)

This Month's Featured Artist:

Walter Sickert

Walter Richard Sickert (May 30th, 1860 in Munich, Germany– January 22, 1942 in Bath,England) was an English impressionist patiner. Sickert was a cosmopolitan and eccentric who favoured ordinary people and urban scenes as his subjects.

Life and work:

His father Oswald was Danish-German and his mother Eleanor was the illegitimate daughter of astronomer Richard Sheepshanks. The young Walter was sent to King's College school, where he studied until the age of eighteen. Though he was the son and grandson of painters, he at first sought a career as an actor; he appeared in small parts in Sir Henry irving's company, before taking up the study of art as assistant to James McNeill Whistler. He later went to Paris and met Edgar Degas, whose innovative use of pictorial space and emphasis on drawing would have a powerful effect on Sickert's own work.

He developed a personal version of Impressionism, favouring somber colouration that is sometimes strikingly unnatural in effect. Following Degas' advice, Sickert painted in the studio, working from drawings and memory as an escape from "the tyranny of nature". Sickert's earliest major works were portrayals of scenes in London music halls, often depicted from complex and ambiguous points of view, so that the spatial relationship between the audience, performer and orchestra becomes confused, as figures gesture into space and others are reflected in mirrors. The isolated rhetorical gestures of singers and actors seem to reach out to no-one in particular, and audience members are portrayed stretching and peering to see things that lie beyond the visible space. This theme of confused or failed communication between people appears frequently in his art.

By emphasising the patterns of wallpaper and architectural decorations, Sickert created abstract decorative arabesques and flattened the three-dimensional space. His music hall pictures, like Degas' paintings of dancers and café-concert entertainers, connect the artificiality of art itself to the conventions of theatrical performance and painted backdrops. Many of these works were exhibited at the New English art club, a group of French-influenced realist artists with which Sickert was associated. At this period Sickert spent much of his time in France, especially in Dieppe where his mistress, and possibly his illegitimate son, lived.

Just before World War 1, he championed the avant-garde artists Lucien pissaro, Jacob Epstein, Augustus John and Wyndham lewis. At the same time he founded, with other artists, the Camden Town Group of British painters, named from the district of London in which he lived. This group had been meeting informally since 1905, but was officially established in 1911. It was influenced by Post-Impressionism and Expressionism, but concentrated on scenes of often drab suburban life; Sickert himself said he preferred the kitchen to the drawing room as a scene for paintings. Sickert regularly portrayed figures placed ambiguously on the borderland between respectability and poverty. From 1908-1912 and again from 1915-1918 Sickert was an influential teacher at Westminster school of art.


The Old Bedford Music Hall, circa 1885

In 1907 Sickert became interested in the "Camden town murder", the killing of a local prostitute. He painted several versions of a scene in which a heavy-set man sits in a despairing pose by a bed, while a plump naked woman lies on it. Sometimes he exhibited it with the title What shall we do for the rent? (implying that the man is sitting up worrying about debt while his wife sleeps), sometimes as The Camden Town murder (implying that the man has just killed the woman beside him). This play on multiple interpretations of the same scene was a development of the Victorian genre of the . These and other works were painted in heavy impasto and narrow tonal range. Many other obese nudes were painted at this time, in which the fleshiness of the figures is connected to the thickness of the paint, devices that were later adapted by Lucian Freud.

Walter Sickert, The Camden Town Murder, 1908

Sickert's interest in Victorian narrative genres also influenced his best known work Ennui, in which a couple in a dingy interior gaze abstractedly into empty space, as though they can no longer communicate with each other. In his later work Sickert adapted illustrations by Victorian artists such as Georgie Bowers and John Gilbert, taking the scenes out of context and painting them in poster-like colours so that the narrative and spatial intelligibility partly dissolved. He called these paintings his "Echoes". Sickert also executed a number of works in the 1930s based on news photographs, squared up for enlargement, with their pencil grids plainly visible in the finished paintings. Seen by many of his contemporaries as evidence of the artist's decline, these works are also the artist's most forward-looking, seeming to prefigure the practices of Chuck close and Gerhard Richard.

Hey, meet me in St. Louis!