The true measure of a graticule

A firm molecule
is a myth to ridicule
pixels minuscule.

So relax, treasure,
seizing that old light pleasure.
Both work and leisure.

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A Gravettian thrilling two-step

A cold forest steppe
places our heroine yet
that shows not Colette
or how she was so upset
on the day Arête
when they catch the deer and fête.
She was the one set
carver of tusk fetishette
and please don’t forget
how important that can get
as the Arête fret
figures large with war lead Bret.
Colette loved this Bret,
he was the best she had met
in the hunt quartet.
She’d made a crazy maquette,
a girl heavyset,
to his unreal spec beset
but he’d said that stet.
Seemed to care more for big net
and her statuette
with large butt and the tetette
impossibly set
so she had every regret
for her body met
a standard much more coquette.
With a sigh couchette
down the hill went our Colette.
Through trees she did sweat
with six of her fetishette
’til, just there, beset
the v of the great picquet.
A great buck, prongs jet,
was on her then, legs quickset
it reared high, curvet,
then Bret squashed her silhouette
like and hoof beset
’til it jumped over duet.
Breathless and dew wet
they were pulled in the picquet.
‘Oh Bret, I’m in debt
to you saving me. Forget
that? I wouldn’t bet!’
Stood up and laughed did our Bret.
‘T’was nothing. No threat
to you or your statuette
is allowed Colette!’
She laughed and passed fetishette
after fetishette
until all six ringed his net.
The deer came thickset
on that day of great Arête
and the weights Colette
went down as the best used yet.
Such a hunt Gravette!

The art of Peter Cross

Remember album covers for LP’s? Those were the days when you’d get a sizeable piece of art along with your music. Peter Cross did some of my favourite album covers of all time. His art is intricate, funny and often filled with little Easter eggs. I’m especially a fan of the covers he did for the solo work of Anthony Phillips, an underrated original member of the group Genesis.
Check out the link above and you’ll see what I mean.
 

AGO Trip – Part 3

<– Part 2

So after the Martin/Harris exhibit we planned to go down to the first floor. Karen wanted to check out the the Idea Lab exhibit called ‘Investigating the Art of Benjamin Cheverton’. Best laid plans of–you know the rest. We got a little waylaid in some African masks and other carvings and then the Henry Moore sculpture centre. And then we found the beautiful Galleria Italia with its Espresso Bar and had to eat. Looking at beautiful art is hard work! Then to get downstairs we had to go through some of the Thomson Collection of Canadian Art. Luckily some arrowheads showed us the way to the stairs or we’d still be there.
So I used the map to navigate the way to the Idea Lab but we only made it to the first room of the Thomson Collection of European Art on the way before we were struck with that spectre of religious shock and awe I mentioned yesterday.
Wow!
While billed as:

both sacred and secular objects including a renowned group of medieval and Baroque ivories, as well as fine examples of silver, Limoges enamel, boxwood carving, medieval manuscripts, carved portrait medallions and nearly 100 portrait miniatures from the 16th to the 19th centuries

the ivories were enough. Simply beautiful. A distressing beauty yes in that I can’t help but think of all the elephants that had to be harvested and/or killed to make produce the raw material but still tiny pieces of art. You’d need free access to the objects and a magnifying glass to get the full effect but still, these are worth seeing. Some of the objects at the AGO are so intricate that they’ve required high tech to unravel as you can see in these two links: fine resolution and inside a prayer bead.
There was room after room of these treasures up to and including the brilliant Peter Paul Rubens’ ‘The Massacre of the Innocents’. When we finally made it to the Cheverton thing in the Idea Lab I was a little let down but only for moments as then we found the Tanenbaum Collection. If you follow that link you’ll see a Gian Lorenzo Bernini’s bust of Pope Gregory XV as the first image. I’ve never seen marble express so much. You can see veins on the forehead and those eyes! Incredible.
There was far more to see and we did attempt some of it but it was clear to Karen and I when we were being forced to leave as the museum was closing that the AGO is a treasure trove of amazing art. And we’ve only scratched the surface.