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Review- Hope Springs Eternal: “Manet and Modern Beauty at the Getty Center”

Many more florals

Édouard Manet French, 1832 – 1883 Flowers in a Crystal Vase, about 1882 Oil on canvas Unframed: 32.7 × 24.5 cm (12 7/8 × 9 5/8 in.) National Gallery of Art, Washington, Ailsa Mellon Bruce Collection,1970.17.37 Image courtesy National Gallery of Art, Washington EX.2019.3.100

 Hope Springs Eternal: 

 Manet and Modern Beauty

at the Getty Center

 by

   Leticia Marie Sanchez

                                                                                                                         

October 8, 2019 to January 12, 2020

Manet and Modern Beauty at the Getty Center is a MUST-SEE exhibit, not only due to the abundant works on view and the insight into the later style of groundbreaking artist Édouard Manet, but also due to the overwhelmingly inspiring perspective into the life of an artist who never gave up hope, painting some of his most exquisite works during his final days.

Curated by Getty curators Scott Allen and Emily Beeny and Gloria Groom, chair of European Painting and Sculpture at the Art Institute of Chicago, this is the first major museum exhibition to focus on Manet’s late work. Co-organized by the J. Paul Getty Museum and the Art Institute of Chicago,  the large-scale exhibition features more than ninety paintings and drawings.

According to Timothy Potts, director of the J. Paul Getty Museum, “Manet is a titan of modern art, but most art historical narratives about his achievement focus on his early and mid-career work, Many of his later paintings are of extraordinary beauty, executed at the height of his artistic prowess- despite the fact that he was already afflicted with the illness that would lead to his early death.”

Here are some highlights to give you new insights into this seminal artist:

  1. Manet as Dandy:  Henri Fantin-Latour’s portrait of Édouard ManetDandy

Although Manet has been hailed by many as the Father of Modernism and his earlier avant-garde works including Olympia and  Le Déjeuner Sur L’Herbe sent shockwaves through the French art establishment, this portrait is a reminder that Manet did not view himself as a marginalized iconoclast. This depiction of him as a dandy and social creature illustrates the fact that Manet wanted to be accepted by prominent society and, in fact, craved the approval of the French Salon, which had rejected him for so many years. Fantin-Latour’s portrait depicts Manet as an sophisticated figure of fashion. In fact, Manet never exhibited his works with the rebellious Impressionists. The eventual acceptance of his artistic merits by the Salon in his later years was a personal coup for him.

Henri Fantin-Latour French, 1836 – 1904 Portrait of Édouard Manet, 1867 Oil on canvas Unframed: 117.5 × 90 cm (46 1/4 × 35 7/16 in.) The Art Institute of Chicago, Stickney Fund, 1905.207 EX.2019.3.58

 

2. Portrait of Antonin Proust

Monsieur Proust

Antonin Proust was a politically influential figure who helped Manet to garner acceptance by the art establishment of his time.  He and Manet met in art school and became friends. Proust, however, took a different career path, becoming a politician and eventually holding the position of Minister of Fine Arts. Because of Proust’s advocacy, Manet was made a member of the  prestigious Legion of Honor in 1881. Proust also wrote Manet’s memoirs so it is only fitting that Manet painted this portrait of one of his artistic champions.

Édouard Manet 2. French, 1832 – 1883 Portrait of Antonin Proust, 1880

Oil on canvas Unframed: 129.5 × 95.9 cm (51 × 37 3/4 in.) Toledo Museum of Art, Gift of Edward Drummond Libbey, 1925.108 Photo: Richard Goodbody Inc., New York EX.2019.3.98

 

 

3. Mr. Eugène Pertuiset, the Lion Hunter

Manet hunter

This painting is a Must-See for humorous purposes. Manet had been denied a medal by the Salon for so many years. It was completely ironic that it was this shocking, somewhat unpalatable image that first garnered him the respect which had eluded him for so many years.

Édouard Manet, French, 1832 – 1883 Mr. Eugène Pertuiset, the Lion Hunter, 1881 Oil on canvas Unframed: 150.5 × 171.5 cm (59 1/4 × 67 1/2 in.) Collection Museu de Arte de São Paulo Assis Chateaubriand, Gift Gastão Vidigal and Geremia Lunardelli, 1950 MASP.00079 Photo: João Musa EX.2019.3.6

 

 

 

 

Manet Woman Reading

4. Woman Reading

This beautiful work is a highlight of the exhibit for many reasons. Firstly, upon close observation, can see can see what curator Emily Beeny aptly described as the “peripatetic brushstrokes.” But secondly, this work appears, on first glance, to take place at an outdoor café; yet, the inexplicable winter coat in the summery outdoor garden setting is the first clue that there is artifice involved and that this scene was actually staged in Manet’s studio. Why? In his later years, Manet had difficult walking and eventually had his leg amputated, which led to his demise. This painting underscores his tenacity to continue his art, despite significant physical challenges. Édouard Manet French, 1832 – 1883 Woman Reading, about 1880-1881 Oil on canvas Unframed: 61.2 × 50.7 cm (24 1/8 × 19 15/16 in.) The Art Institute of Chicago, Mr. and Mrs. Lewis Larned Coburn Memorial Collection, 1933.435 EX.2019.3.55

 

 

5. Jeanne (Spring) and Autumn

Jeanne at Getty

These two companion works are a cornerstones of the exhibit. According to Scott Allan, Associate Curator of Paintings at the Getty Museum, “Jeanne was an unalloyed critical success for Manet, making it a rare exception in a career dogged by scandal, controversy, and disappointment.” This image of youthful springtime, which appears effortless was actually worked on painstakingly by Manet. The female subject has the perfect upturned nose that was idealized in fashionable French society at the time. Step closer to the painting at the exhibit, and you will see a patch of pale green in the background of the subject’s profile. This green patch illustrates that Manet meticulously worked and re-worked her profile until it attained the level of perfection that he desired.

Autumn Getty

Jeanne and Autumn ( the latter of which hails from Musée des Beaux-Arts, Nancy ) have not been viewed together in forty years. The subject of Autumn, Méry Laurent, was a fashion maven of her era and her robe was furnished by Proust himself. Unfortunately, Manet passed away before he was able to complete all four of the seasons.

Édouard Manet French, 1832 – 1883 Jeanne (Spring), 1881  Oil on canvas Unframed: 74X 51.5 cm (29 1/8 x 20 1/4 in) Framed: (8.7 X 75.9 X 9.2 cm (38 7/8 X 29 7/8 X 3 5/8 in). The J. Paul Getty Museum, Los Angeles. Accession No. 2014.62

Édouard Manet French, 1832 – 1883 Autumn (Méry Laurent), 1881 or 1882. Oil on canvas Unframed: 72 × 51.5 cm (28 3/8 × 20 1/4 in.). Musée des beaux-arts, Nancy Photo: P. Mignot EX.2019.3.18

6. Hope Springs Eternal: Bouquets painted in Manet’s last days

These effulgent bouquets were painted in the last year of Manet’s life and evince his tenacity to paint exuberant beauty despite physical suffering.  According to Emily Beeny, associate curator of drawings at the Getty Museum, these flowers were “the last fireworks of his dying days”

Moss Rose

Édouard Manet French, 1832 – 1883

Moss Roses in a Vase, about 1882

Oil on canvas Unframed: 55.9 × 34.6 cm (22 × 13 5/8 in.) Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA EX.2019.3.102

Walking through the exhibit, I was struck by Manet’s determination in the face of intense medical challenges. When he could no longer physically walk to the café, he brought the café to his studio, staging lively works there. When he was dying, he painted the most breathtaking florals of his career. Even more than his formidable talent, I was inspired by Manet’s spirit of resilience.  We are all the better for it and fortunate to gaze upon works by an artist who never gave up.

 

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Review: By Day and by Night: Paris in the Belle Époque- A MUST SEE Exhibit at the Norton Simon

Review

The darkness and light of LA Belle Époque at the Norton Simon Museum

October 4, 2019-March 2, 2020

by

Leticia Marie Sanchez

La Belle Époque, which means the “beautiful age,” evokes thoughts of frothy, light-hearted spectacle: can can dancers, entertainment posters, cabarets, bistros, and electrifying nights at the theater during France’s Gilded Age. However, the Norton Simon Museum’s exhibit By Day & by Night: Paris in the Belle Époque reveals the deeper psychological dimensions beneath the glittering surface: the dichotomy between dynamic crowds and a sense of isolation, between affluent patrons and an often despairing working class, and between a frenzied pace and moments of pause. This vast exhibit includes works by Henri de Toulouse-Lautrec, Édouard Vuillard, Pierre Bonnard, Edgar Degas, and Pablo Picasso.

The exhibit was expertly curated by Norton Simon Acting Chief Curator Emily Talbot whose curation revealed a nuanced and profound portrait of La Belle Époque while also depicting the stylistic developments of the period. Talbot organized the exhibit into three compelling suites: the street scenes of Pierre Bonnard which alternated between the melancholy and the dynamic, the entertainment culture of Henri de Toulouse-Lautrec, and Édouard Vuillard’s serene domestic interiors.

Here are a few highlights of this MUST-SEE exhibit:

  1. Pierre Bonnard’s House in the CourtyardPierre Bonnard

In this work, Bonnard aligned the window with the margins of paper, creating a sense of loneliness and voyeurism. The window evokes isolation, reminding us that that not everyone partook of the festivities of La Belle Époque.

Pierre Bonnard (French, 1867-1947) 

House in the Courtyard from the portfolio Some Aspects of Life in Paris, 1895-96, published in 1899. Lithograph. 21 X 16 in. Norton Simon Art Foundation

 

 

 

Circus

2. Henri de Toulouse-Lautrec At the Cirque, Fernando, Rider on a White Horse

In this piece, I was struck by how Toulouse-Lautrec conveyed the velocity and motion of a circus rider. The focal point, the three-dimensional female rider, is captured in a vortex of pause, while the world swirls around her, the horse’s galloping speed evoked by the intense effect of Toulouse-Lautrec’s brushstrokes. Even more astounding is the fact that Toulouse- Lautrec painted this incredible work on cardboard! 

Henri de Toulouse-Lautrec (French, 1864-1901), At the Cirque, Fernando, Rider on a White Horse, 1887-1888, Pastel and drained oil on board; 23 5/8 X 31 1/4 in. Norton Simon Art Foundation

 

Picasso Moulin Rouge

3. The Moulin Rouge by Pablo Picasso 

Pablo Picasso’s The Moulin Rouge is a rarely seen work with a mysterious figure in a whimsical hat. She boldly looks out at the viewer. Who is she? A courtesan? A prostitute? Is a mirror separating her from the other couple? Is she literally and figuratively divided from the fashionably dressed couple due to her potential role of moral impropriety? Picasso’s work embodies the playful spirit of the age. It illustrates fact that a disparate group of insiders and outsiders comprised the complex society of the Belle Époque era.The Moulin Rouge” Pablo Picasso (Spanish, 1881-1973) 1901, China ink on paper, 12 3/4 X 19 1/2 in. Norton Simon Art Foundation

 

Degas Women Ironing

4. Edgar Degas’ Women Ironing

Not everyone during La Belle Époque was indulging in cafe society or evenings at the opera. The painting depicts the suffocating plight of female laundresses whose employers plied with bottles of wine in an attempt to make them endure their 12-hour shifts. The exhausted female figure on the left has a look of despair, her facial expression calling to mind the desperation in Edvard Munch’s The Scream. Stylistically, these figures have moved away from representational art, in the sense that painting during this era used to evoke rather than to depict. For instance, Degas skillfully rendered the image of steam to give us a sense for the daily life of the laundresses. Edgar Degas (French, 1834-1917) Women Ironing, c. 1875-76; reworked c. 1882-86 Oil on canvas; 32 1/4 X 29 3/4 in. Norton Simon Art Foundati

5. Louis Anquetin’s Portrait of a Woman Versus Henri de Toulouse-Lautrec’s The Streetwalker  Comparing and contrasting two disparate renditions of prostitutes underscores the humanity with which Toulouse- Lautrec imbued his work. The works by Anquetin and Toulouse-Lautrec are displayed side by side in the exhibit, allowing one to see the immense differences in the two depictions, one rendered coarsely and the other sensitively.

Anquetin

Louis Anquetin renders the prostitute as nothing more than a caricature. She leers at the viewer, her body offered in a vulgar fashion. Her face is depicted as graceless, and her intrinsic worth is reduced to her impossibly gargantuan breasts. Louis Anquetin (French, 1861-1932) Portait of a Woman, 1891 Pastel on Paper 24 3/4 X 20 in. Norton Simon Art Foundation

TL Streetwalker

On the other hand, Toulouse-Lautrec’s The Streetwalker is a compassionate portrait of a woman in a brothel. Despite having been born an aristocrat, Toulouse-Lautrec showed great empathy for those living at the margins of society. Perhaps his own physical impairment caused him to view those those often thought of as outcasts with compassion. This portrait of a prostitute is intimate; Toulouse-Lautrec depicts her in a moment of pause. This reflective moment is Toulouse-Lautrec’s way of telling his viewer that his subject is someone worth our gaze. Henri de Toulouse-Lautrec (French, 1864-1901) The Streetwalker, 1892-1894 Oil on cardboard. 29 3/4 X 19 1/8 in. Norton Simon Art Foundation

Every time I step into an exhibition at the Norton Simon Museum, I am astonished by the collecting foresight of Norton Simon, who amassed a treasure trove. With the exception of six loans from LACMA, the abundant works filling the three galleries of By Day & by Night: Paris in the Belle Époque- from Pablo Picasso’s bronze Head of a Jester to George-Pierre Seurat’s Stone Breakers to Edgar Degas’ Women Ironing- the paintings, drawings, prints, lithographs, and photographs all pertained to the massive collection of Norton Simon. Thanks to his collecting tenacity, I was able to travel back in time to the Belle Époque delving into the lightness and darkness of the era.

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Shakespeare’s observation on Summer…


“Summer’s lease

 hath all too short a date”

- William Shakespeare-

Photos Taken in Montauk, New York

(Well Hello there Montauk, where have you been all my life?) 

All photography ©2019 Leticia Marie Sanchez

sunset at gossmans

Montauk Sunset 3

 

 

 

 

 

 

Montauk Sunset 2

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Color Factory in NYC’s Soho: “Kid-tested mother approved!”

 

Color Factory 2

The Color Factory in NYC’s Soho-

a treat for the senses!

by

Leticia Marie Sanchez

Visting the Color Factory in NYC’s Soho was like stepping into the whimsical novel Charlie and the Chocolate Factory.

Color Factory 12

Even before entering the galleries we were greeted with savory Mochi and once inside treats galore: macaroons, vanilla blueberry gelato, and candies!

Left: One of many sweet treats on our visit:

Macaroons!

 

 

But the sweetest part of the day was the stimulating visual lesson on color!

Color Factory 1

 

At the entrance of the exhibit

was 100 colors by

Artist Emanuelle Moureax.

 

 

 

Color Factory 3

 

One of my son’s favorite rooms was “Balloon Wishes” with a welcoming placard,

When you wish upon a balloon/You find yourself in this Ombre Room.” Each balloon had a delightful wish bestowed by a student from 826 NYC.

 

 

 

 

A room that was especially memorable and enriching to me was From Absinthe to Zephyr:  An Alternative Alphabet of Unusual Colors written by Kassia St. Clair.

(Photo Below)

colors

Color Factory 6I learned that the color “Terra Cotta” comes from the Italian for “Baked Earth” and that ”Nymphea” was a pink favored by Claude Monet.

Color Factory 7

 

 

 

 

 

 

 

 

 

Color Factory 5

Nymphea Color

 

 

 

 

 

 

 

 

 

 

 

 

Having a ball

 

 

And of course, the ball pit at the end was a blast!

Tips: Buy tickets ahead of time online as when we went no tickets are sold at the door

https://www.colorfactory.co/tickets

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Snapshot of Manhattan, August 2019 with the words of Walt Whitman 1867

Manhattan PhotoGive me faces and streets — give me these phantoms incessant and endless along the trottoirs!

Give me interminable eyes…

Give me such shows —

give me the streets of Manhattan!

Walt Whitman, 1867

 

All photography ©2019 Leticia Marie Sanchez

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The Sherry-Netherland: A welcome dose of Beauty and Civility

 Review: The Sherry-Netherland

A welcome dose of Beauty and Civility in Manhattan

by

 Leticia Marie Sanchez

Sherry Netherland Clock

Amidst the hustle and bustle of New York City is a place that embodies civility at its finest: The Sherry-Netherland. If you find yourself lost, a sidewalk clock on Fifth Avenue bearing the hotel’s name lets you that you have arrived.

The resplendent lobby ceiling harkens back to the Vatican. In fact, the artist who created the ceiling, Joseph Aruta found inspiration for his glorious mural in Raphael’s frescoes in the Vatican Palace.

More ceiling sherry

 

ceiling sherry netherland

Many of the details of this gilded building, including the walls, mosaic floors, and panels inside the elevator were originally part of the Vanderbilt mansion. White-gloved attendants lead you to the elevator, squiring you to your room where fresh flowers await. The joyful white flowers are accompanied by handwritten welcome note from the hotel management and a box of Louis Sherry Chocolates. This confectionary detail evokes the hotel’s history, as the hotel was named for Louis Sherry, a Gilded Age businessman and candy maker, whose company acquired the hotel. The Netherland component of the hotel’s name harkens back to its original name, the New Netherland. (The Dutch Republic had named a portion of the East Coast “The New Netherland,” and its capital was New Amsterdam, located at the southern tip of Manhattan.)The detail of the flowers and chocolates underscores perhaps the most memorable detail of the Sherry-Netherland: the graciousness of its first rate staff.

I was intrigued to discover that the Sherry-Netherland is also home to private residences. The hotel staff is equally attentive to its residents and hotel guests.

Lenny Sherry Netherland Julian

On my first stay at the Sherry, when my son was 2 years-old, Lenny, one of the bell captains, greeted him with an adorable toy giraffe and book, which Julian Giraffe Sherry Netherlandmade his day.

 

 

 

 

 

 

 

 

Rabbit Sheery

 

Then, on this visit two years later, when my son was 4 years-old, Pedro, one of the elevator attendants, kindly entertained my son in the splendid Vanderbilt elevator by making rabbit ears on the shadows of the elevator wall. He, then showed my son the figure of a rabbit etched into the wall of the lobby. The staff at the hotel’s world class restaurant, Harry Cipriani, is also superb.  Moreover, one of the drivers at the Sherry-Netherland, George, drove us to JFK on what proved to be my smoothest drive to the airport ever.

The elegance and refinement of the Sherry-Netherland building make it exceptional and the warm, gracious staff make it unforgettable.

golden ceiling sherry

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Painting à la Pollock, East Hampton

 

pollock frame

 

mom and Julian Jackson Pollock

Painting à la Pollock:

Child’s Painting Class and Tour

at Jackson Pollock’s Home

East Hampton

by

Leticia Marie Sanchez

Photography and text © 2019 Leticia Marie Sanchez

Cultural Cocktail Hour® is a registered trademark

Jackson Pollock Trees

Painting with my 4-year-old son underneath the sun dappled trees at Jackson Pollock’s home as we overlooked the abundant natural beauty of the Accabonac Creek proved one of the most treasured moments on my artistic foray to the Hamptons.

My son and I participated in the wonderful Imagine That! Tour and art class led by engaging art educator Joyce Raimondo.

The class commenced with a tour of Jackson Pollock’s studio, where the children searched for traces of the artist’s footprints in the vibrant floor covered by vestiges of his drip painting.

Jackson Pollock Footprints

Pollock art Tour

The children then peered through a book showcasing Pollock masterpieces that currently hang at world famous museums in order to match the color palette of these paintings with the spot on the floor on which they were created.

Tour Pollock

In addition to the art detective work by the children, old paint cans and images of Jackson Pollock made the studio experience vivid and compelling.

From the studio, Joyce led us up the stairs to Jackson Pollock’s home where he lived with his wife, artist Lee Krasner.  We stepped back in time, as my son discovered old fashioned telephones and viewed Pollock’s collection of hi-fi phonographs.

Old telephonespollock records

 

.

 

 

 

After we toured the home, Joyce led us outdoors where the children created their own drip painting à la Pollock.

 

Jackson Pollock Mat

Jackson Pollock 2

 

 

 

We sat in a blissfully serene spot under the trees. I was struck by the enveloping beauty of East Hampton with its arboreal splendor and vistas of sky blue water on the horizon.

 

 

 

 

Jackson Pollock 1

Jackson Pollock 2

 

 

 

 

 

 

 

 

 

Pollock Creek

Photo Left: Accabonac Creek at Jackson Pollock’s Home.

No wonder Jackson Pollock felt inspired!

Drip Painting Class at Jackson Pollock’s Home:

http://www.joyceraimondo.com/newsletter.htm

 

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Review: Ugo Rondinone’s Buoyant “Sunny Days” at Guild Hall East Hampton

Ugo Rondinone’s “Sunny Days” at Guild Hall, East Hampton

August 10-October 14. 2019

by

Leticia Marie Sanchez

Cultural Cocktail Hour® is a registered trademark

Guild Hall Gala

Photo Left: Cultural Cocktail Hour Editor-In-Chief Leticia Marie Sanchez at the Guild Hall Summer GalaSunny Days

 

 

 

 

 

 

 

Guild Hall entrance

Photo Above: Tree-lined Main Street

in East Hampton

site of the Guild Hall Summer Gala

On summer nights in August, the Hamptons social season is in full swing, and the vibrant Summer Gala on August 9th at Guild Hall was no exception. The festivities marked the opening night of Ugo Rondinone’s “Sunny Days,” an exhibit which proved a balm for the soul.

Rondinone is a Swiss born, New York-based contemporary mixed-media artist who works with sculpture, painting, video, sound, and photography. ”Sunny Days” is comprised of three parts: paintings, sculptures, and a poignant, heartwarming gallery showcasing art made by children. The narrative thread linking all three components is the buoyant symbol of the sun.

 

Guild Gala 2

Firstly, Guild Hall’s Woodhouse Gallery contains a series of sun paintings. In these works artist Ugo Rondinone cleverly conveyed the dizzying effect of attempting to view the solar form with the naked eye. Rondinone spray painted canvases with soft concentric yellow rings. Inside the Woodhouse Gallery, I spoke with Guild Hall Executive Director Andrea Grover about the effective, disorienting nature of looking upon Rondinone’s creative work which mimics the act of gazing upon the sun itself.  Grover observed that these paintings by Rondinone are “Mesmerizing. The paintings convey the impossibility of looking directly into the sun.”

 

Guild Gala

Secondly, in Guild Hall’s Moran Gallery, one can view a series of sun sculptures created by Rondonine who cast vine branches in aluminum and then gilded them. The slim golden orbs symbolize the life cycle.  This metaphor in the gallery is two-fold: vines bear fruit each year on a rhythmic cycle which evokes the overarching theme of the exhibit: the sun which makes its own cyclical trek through the universe.

 

 

The third component of “Sunny Days” proved emotionally uplifting. I cannot recall an exhibit of late in which an artist generously shared his space with school children, which is precisely what Rondonine did here. He invited children to fashion their own representations of the sun in an exhibit entitled “Your Age and my Age and the Age of the Sun.” On the bright, colorful wall one can view Smiling Suns, Setting Suns, Rising Suns, Red Suns, Seaside Suns, Suns Wearing Shades, a seemingly infinite panorama of buoyant suns. These works on watercolor and paper were made by children from Leuven, Oaxaca, and Long Island. I found myself magnetically drawn back to this room again and again, revisiting it many times during the course of the evening, for an infusion of spirit healing warmth. The exhibit at Guild Hall bestows us with Sunny Days for the mind, heart, and soul.

 

Guild Gala WallGala Wall

 

 

 

gala gold

 

 

 

 

 

 

 

 

 

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Review: The 2019 Hampton Designer Showcase House in Southampton

eti showcase house

Cultural Cocktail Hour® is a registered trademark

Review:

An artistic oasis in Southampton

by Leticia Marie Sanchez

Photo Left: Cultural Cocktail Hour Editor-In-Chief Leticia Marie Sanchez at the 2019 Hampton Designer Showhouse presented by Traditional Home to benefit Stonybrook Southampton Hospital.

What struck me about the design of this Southampton retreat on Rosko Lane was that it was simultaneously a calm, light-filled seaside escape as well as a dynamic, cosmopolitan space for entertaining guests. This moveable feast of textures and colors made both the indoors and outdoors an artistic oasis.

Showhouse designer

 

Many design firms were involved in creating the distinct features of the house, and I will highlight a few that caught my eye:

Alessandra Branca designed the living room that balanced tranquility with modern touches like these on the left.

 

 

Hamptons window

In the Master Bedroom by Morgan Harrison Home, a dreamy peach palette framed the verdant nature of the Hamptons outdoors; it was a very painterly, landscape portrait effect. (Photo Left)

 

One of my favorites was the whimsical lounge and bar designed by Betsy Wentz of design firm Studio B. The colorful, indoor bar featured sofa covered in Christian Lacroix velvet stripe and Designers Guild velvet. 

(Photos Below)

 

Bar Showhouse

 Christian Lacroix. Designer Showhosue

 

 

 

 

 

 

 

 

 

 

The Pool Surround designed by Brittany Bromley Interiors and Bromley Landscape Design.

The elegant soigné coiffeur of the figures on the right (looking a bit like Marie Antoinette!) were designed from seashells. Very befitting of a seaside home!

Plus showcase house Showhouse moreShowhouse 5Showhouse 3

Showhouse 8

Photo Left: Artistic Inspiration in the Salon designed by Megan Gorelick Interiors

A lovely afternoon of creative inspiration in Southampton!

All photography and text ©2019 Leticia Marie Sanchez

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Throwback Thursday to Paris Haute Couture Fashion Week!

 by

Leticia Marie Sanchez

Throwback Thursday to last year at Paris Haute Couture Fashion Week! A highlight for me was hearing one of the most moving pieces of classical music, “Lark Ascending” during the show, in the video clip below!

Editor’s Note: This article first appeared in Cultural Cocktail Hour in 2018

Greetings from Paris!

At Paris Haute Couture Fashion Week Fall Winter 2018, the uplifting strains of Ralph Vaughan Williams’sLark Ascending” played during the presentation of the ethereal designs by Azulant Akora.


 

 The stirring music was befitting of a collection that proved inspirational, ethereal, and exquisite.

Akron’s presentation was filled with showstoppers including a intricate floral-imbued gown and a royal green dress that was regal and perfectly showcased in the golden, classically gilded room at La Maison Champs Elysées.

info@imaxtree.com

info@imaxtree.comWhat was even more impressive about Akora’s collection was that her creations managed to be both dreamy and functional at the same time. Her collection was seamless, yet each silhouette was unique: with shapes alluding to Art Deco or even the resplendent ladies of Gustav Klimt.

Akora emerged onto the Australian fashion scene in 2013 where she was awarded the Australian Wool Fashion Award. She entitled her latest collection AVATAR after the film. Akora stated that her collection’s main theme is that: “ All energy is only borrowed, and one day you have to give it back. In life, everything is about balance; giving back as much as we take and respecting the Earth.”

 Cultural Cocktail Hour  Editor-in-Chief Leticia Marie Sanchez had the opportunity to interview designer Azulant Akora after the show.

When asked about the inspiration behind her collection, the young designer directly addressed her generation, encouraging “Millennial to be more aware of what we do.” Akora revealed, “Fashion has a global voice. Fashion is also conscious and connects people all over the world.” Akora successfully executed her idea of connection and conscious. Her collection resonated with her audience, inspiring each of us to an elevated self.

PHOTO CREDITS: info@imaxtree.com

VIDEO CREDIT: Leticia Marie Sanchez, Cultural Cocktail Hour, © 2018

Photo Below: Cultural Cocktail Hour Editor-in-Chief Leticia Marie Sanchez at Paris Haute Couture Fashion Week, La Maison Champs Elysées.

at Paris Haute Couture Fashion week

 

 

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