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This weekend in LA: CCH Highlight- Zubin Mehta, Yefim Bronfman, and Brahms

 

This weekend’s Cultural Cocktail recipe includes  a splash of Zubin Mehta, a dash of Yefim Bronfman , and 2 Oz. of Brahms Enjoy!

Former LA Phil director Zubin Mehta returns to conduct the music that started his tenure with the Los Angeles Philharmonic at the age of 24: Brahms!

Thurs. Dec 13th 8:00 P.M Brahms Symphony No. 1

Friday Dec 14th 8:00 P.M Brahms Symphony No. 1

Saturday Dec 15th 8:00 P.M Brahms Symphony No. 2

Sun Dec 16th 2:oo P.M Brahms Symphony No. 2

Walt Disney Concert Hall. 111 S. Grand Ave. LA, CA USA 90012 (323) 850-2000 http://www.laphil.com/

ZM

Zubin Mehta Toast at Dorothy Chandler Pavilion Opening Night on December 6, 1964.

Photo Credit: LA Philharmonic Archives

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Review: Family Day at the Norton Simon “Artful Weaving”

Review:

Family Day at the Norton Simon

“Artful Weaving”

by

Leticia Marie Sanchez

Norton Simon Family Day 3

Family Days at the Norton Simon are always a treat for parents and children, due to a wonderfully engaging formula that packs a two-fold punch: 1) A kid-friendly tour of the latest exhibition 2) A children’s craft project  inspired by the latest exhibition

Norton Simon Family Day 5

Educator Gorman Bentley is a natural with children, with an ebullient personality and insights about art history. He patiently explained the concept of a loom and taught my four year-old to complete his own tapestry. With his friendly spirit, Mr. Bentley welcomed all the children sitting at the tables, making each of them feel included and welcome.

Norton Simon Family Day 6

 

Following the craft project, Educator Fabrizio Flores took us on a child-friendly the visually arresting new exhibit, “Once Upon a Tapestry: Woven Tales of Helen and Dido.” Flores embodied a perfect balance between playful and informative, showing my son the difference between the cartoon and the tapestries, which happened to be highly informative for me as well!

Kudos to the Norton Simon for creating a space for children to reflect and create!

 

Photography  © 2018 Leticia Marie Sanchez

Norton Simon Family Day 2

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This weekend in LA: Holiday Open House at the Pasadena Museum of History

Pasadena Museum of History

Holiday Open House 

Sunday 12/9

1:00 – 4:00 pm. 

The perfect Cultural Cocktail of Music, Visual Treats, and a Family Craft in a Beaux-Arts style Pasadena Cultural Heritage landmark.

Pasadena Museum of HistoryPasadena Museum History 4

Performances by the Ad Hoc Consort throughout the afternoon. The costumed musicians will perform on a variety period instruments including the Viola da braccio and the Oud, an early form of what became the Lute; and a 16th century German Serpent horn.

In addition to the music the event will include:

refreshments, a family craft, and a visit to the exhibition

Something Revealed; California Women Artists Emerge, 1860-1960.

470 W. Walnut Street
Pasadena, CA 91103

626.577.1660 

All Photography from a prior Holiday Open House

© 2018 Leticia Marie Sanchez

 

Pasadena Museum History 5Pasadena Museum History 3

 

 

 

 

 

 

 

 

Photo Below:

Children’s Craft Station at the Pasadena Museum of History’s Holiday Open House

Pasadena Museum History

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The Christmas fruitcake fiasco: Puccini versus Toscanini

In her revealing book, Secret Lives of the Great Composers, Elizabeth Lundy described a fruity fiasco between two rivals: opera composers, Giacomo Puccini and conductor Arturo Toscanini:

“During the years of Puccini and Toscanini’s feud, they had very little contact- except for one Christmastime incident. That year Puccini forgot to remove the conductor’s name from the list of friends to whom he sent the traditional Italian holiday gift, a pannetone cake.

When Puccini realized his error, he sent Toscanini a telegram reading:

“PANNETONE SENT BY MISTAKE. PUCCINI.”

Toscanini replied, “PANNETONE EATEN BY MISTAKE. TOSCANINI.”

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Autumnal Splendor in Southern California

 

“Autumn is a second spring when every leaf is a flower.” 

- Albert Camus

(at the Garden of Flowing Fragrance, Huntington)

All Photography  © 2018 Leticia Marie Sanchez

Autumn Gold

 

 

 

 

 

 

 

 

Huntington Stroll

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Rossini’s Risky Business

“Please don’t throw me out the window!! I’m a MAESTRO!”

Does Procrastination lead to Defenestration?

Professor Robert Greenberg, in a wonderful lecture for the Teaching Company, read a letter in which opera composer Gioachino Rossini (nicknamed “The Italian Mozart”) confessed his last minute habits.

According to Rossini:

Wait until the evening before opening night- nothing primes inspiration more than necessity!

Whether it be the presence of a copyist waiting for your work or the prodding of an impresario tearing at his hair (In my time, all the impresarios of Italy were bald by 30).

I wrote the overture to La Gazza Ladra the day of its opening-

in the theater itself-

where I was imprisoned by the director

and under the direct surveillance of the stage hands who were instructed to throw my original text through the window, page by page, to the copyists waiting down below.

If I did not compose quickly enough-

the stage hands were instructed to throw ME out the window, instead.”

Lucklly, Rossini finished the overture to La Gazza Ladra in the nick of time.

Thus, avoiding the fate of the gentleman in pantaloons above.

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“Maria By Callas”- A MUST SEE FILM

 “Maria By Callas: In Her Own Words”-

A MUST SEE FILM

by

Leticia Marie Sanchez

Directed by Tom Volf, “Maria by Callas,” offers a sublime, moving portrait of a legendary opera singer using never-before-seen footage. The film dispels the notion that Callas reigned as a diva, revealing instead the grace, poise, and self-restraint she showed while perpetually facing intrusive harassment by the media. Through the film, one gains insight into the cruelty of the headlines towards the opera singer, who was called tempestuous, for instance, simply for having bronchitis. The world expected her to be beyond human, but the film revels in her humanity.

 As Callas herself noted, those around her, including her ex-husband seemed drunk on the glory of being in her orbit; meanwhile the star, no matter how successful, continued to focus obsessively on her vocal craft. Even in middle age, she nervously consulted with her teenage vocal coach prior to her performances, yearning always to perform each note to a flawless standard. What also came across in the film was the sensitivity that Callas felt towards her audience. The more energy and love she felt, the more of herself she poured into each performance, driving herself to the point of exhaustion.

 This film is a MUST SEE not only for the personal insights into Callas’ life, but for the many glorious footages of her performances, breathtaking and untouchable.

 Laemmle’s Royal Theatre

 Laemmle’s Playhouse 7 

 Laemmle’s Town Center 5

 https://sonyclassics.com/mariabycallas/

https://www.youtube.com/watch?v=3xmsGzhhDGE#action=share

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The Key of D Minor? Vitamin D deficiency may have contributed to Mozart’s death

According to an article in Live Science, the lack of sunlight-induced Vitamin D may have contributed to Mozart’s young demise. The authors of the study surmise that the Vitamin D deficiency could have made the composer more susceptible to a plethora of infections during the winter.

According to the authors of the study,

Mozart did much of his composing at night, so would have slept during much of the day. At the latitude of Vienna, 48 degrees N, it is impossible to make vitamin D from solar ultraviolet-B irradiance for about 6 months of the year. Mozart died on December 5, 1791, two to three months into the vitamin D winter.”

The researchers include: D. William Grant, of the Sunlight, Nutrition and Health Research Center in San Francisco, and Stefan Pilz of the Medical University of Graz in Austria

For the full Live Science article, “Mozart’s Death was written in the Key of (Vitamin) D,”

please see:

http://www.livescience.com/14925-mozart-death-vitamin.html

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Review: In the Raw: A fresh take on the Renaissance at the Getty Center- A Must See Exhibit

In the Raw: A Fresh take on the Renaissance at the Getty Center

by

Leticia Marie Sanchez

The Renaissance Nude

Oct 30, 2018- Jan 27, 2019

The exhibit on the Renaissance nude at the Getty does not pull any punches- it is authentic, raw, and illuminating. What makes it stand out is that idealization is not the name of the game. Instead, the exhibit gets to the heart of the matter. There are books on anatomy, studies from morgues, saints being tortured, bodies that are emaciated and infirm contrasting with ripe, seductive, athletic, forms. The lushness of a painting like Titian’s Venus Rising From the Sea is viewed within the context of the nude form in all its facets.

Unlike other Renaissance exhibits which focus on iconography alone, the Getty exhibit explores what proves more fascinating, the intriguing world behind the scenes: the courtly intrigue, royal mistresses, preparatory drawings, studies from the morgue, humanistic philosophy, and religious loopholes.

In addition to keeping the theme innovative, the exhibit allows one to see paintings that have never left their home countries and institutions and may never do so again. Getty director Timothy Potts revealed that “this is a major event for the Getty and a major event for art history.” The exhibition was curated by Thomas Kren, with Jill Burke and Stephen J. Campbell and with the assistance of Andrea Herrera and Thomas de Pasquale. Following its presentation at the Getty, the exhibition will travel to the Royal Academy of Art in London

While at the exhibit, do not miss these highlights:

1. Compare and Contrast Giambono’s “Man of Sorrows” with Antonello da Messina’s “Saint Sebastian”

Sorrows

Saint Sebastian

The stylistic evolution of the nude during the Renaissance can be understood when contrasting Giambono’s “Man of Sorrows” (1430) with da Messina’s “Saint Sebastian” (1476-1477).  Although only four decades apart, the progression in style is immense. The Man of Sorrows is emaciated, bloody, and realistic, contrasting sharply with the athletic, heroic form of Saint Sebastian who stands in a graceful contrapposto. The later work emphasizes the beauty of the body; even though his body is pierced with arrows, the idealized Saint Sebastian happens not to shed a drop of blood. The image of St. Sebastian pervaded the Renaissance, as it served as a way for artists to showcase their chops.

Man of Sorrows, about 1430

Michele Giambono, Italian, active 1420-1462

Tempera and gold on panel

Painted Surface: 47 X 31.1 cm (18 ½ X 12 ¼ in.)

Lent by the Metropolitan Museum of Art, Rogers Fund, 1906

(06.180)

Image: www.metmuseum.org

Ex.2018.1.120

Saint Sebastian,

Antonello de Messina

Italian, about 1430-1479

Saint Sebastian, 1476-1477

Oil on Canvas

Unframed: 171 X 86 cm (67 5/16 X 33 7/8 in)

Photo credit: bpk Bildagentur/Gemaeldegalerie Alte Meister/Elke Estel/Hans-Peter Klut/Art Resource, NY

EX.2018.1.6

Titian Venus rising from the sea 2. Titian’s Venus Rising from the Sea is a Showstopper!

The lush texture of Venus‘ hair, coiled in a braid, mesmerizes us as she emerges from the sea. The skin in Titian‘s painting appears soft to the touch; all the elements conspire to seduce the viewer. Venus, the Roman goddess of Love, had become a ubiquitous image by the 1520′s, when major artists throughout Europe, were representing her in different media. The image of Venus also proved to be an intellectual and artistic exercise: artists used this figure to illustrate their mastery of the nude and to compete with the artists of antiquity. For instance, the depiction of “Venus Rising from the Sea” was a competition among Venetian artists. The Getty exhibit also showcases the work of Jan Gossaert, whose very flesh and blood-like Venus appears on a platform, suggesting that she might step off pedestal and join the viewer at any moment.

Venus Rising from the Sea, 1520 Titian (Tiziano Vecellio); Italian, about 1487-1576 Oil on Canvas; Unframed: 75.8 X 57.6 cm (29 13/16 X 22 11/16 in.); Framed: 103 X 84.7 cm (40 9/16 X 33 3/8 in)

National Galleries of Scotland, Edinburgh Accepted in lieu of Inheritance Tax by HM Government (hybrid arrangement) and allocated to the Scottish National Gallery, with additional funding from the Heritage Lottery Fund; the Art Fund (with a contribution from the Wolfson Foundation), and the Scottish Executive. 2003. Ex. 2018.1.88

3. Religious Voyeurism and Bathsheba Bathing

Bathsheba

In the Bible, King David is a voyeur; he secretly watches the married young woman Bathsheba as she bathes and becomes so besotted with her that he has her husband Uriah sent to the front lines of battle where he is killed.

It is surprising to see such an unabashedly nude image in a prayer book. Thomas Kren explained that at the time, Bathsheba was used as a cautionary figure against wantonness for young women.

But there is a second reason, one that links back to the notion of voyeur. According to Thomas Kren, these prayer books were also collected by wealthy male patrons as objects of prestige. The religious narrative gave them the veneer of propriety for collecting this erotic image. Interestingly enough, Queen Anne eschewed the image of the nude Bathsheba for her Book of Hours, preferring instead the images of several unclothed male saints. Even during courtly life during the Renaissance what was good for the goose was good for the gander.
Leaf from the Hours of Louis XII; Jean Bourdichon (French, 1457 – 1521) Bathsheba Bathing 1498–1499; Tempera and gold on parchment; Leaf: 24.3 × 17 cm (9 9/16 × 6 11/16 in.) The J. Paul Getty Museum, Los Angeles, MS 79 recto 2003.105.recto

 

Flogging Barbara4.  The Flogging of St. Barbara- the nude through a religious lens

This visually arresting piece depicts the torture of Christian martyr Saint Barbara. This work has never before been seen outside of Finland and comprises the bottom portion of a wood and oak panel. What is also significant about this piece is its contextual parallel to the image of Bathsheba in the book of prayers: the depiction of a beautiful topless female was allowed because of the Christian narrative.

Konrad von Vechta; German, about 1380-about 1440 The Flogging of St. Barbara; 1420; Tempera on wood and oak relief; Unframed: 193 X 56cm (76X22 1/16 in.) National Museum of Finland; Photo: The Picture Collections/The Finnish Heritage Agency; EX.2018.1.43.2

 

5. Jean Fouquet- Another Showstopper- The King’s Mistress as Virgin

Jean_Fouquet_-_Virgin_and_Child_Surrounded_by_Angels_-_WGA8039In a bold, risqué move, King Charles VII of France, asked that his mistress, Agnès Sorel, famed for her beauty, be depicted as the Virgin Mary. What is even more unusual, is that the Virgin’s bare breast was not used in context of nursing an infant, as the child is not cradled to her breast. Instead, Agnès Sorel’s body is proudly displayed for its beauty alone. Jean Fouquet- or Charles VII- may have been inspired by the legendary tale of the ancient painter Apelles who represented Campasque, the mistress of Alexander the Great, nude. What is different between Fouquet’s painting and that of Appeles is the mistress being depicted as a religious icon. Thomas Kren revealed that Foquet’s painting was one of the only times he could recall a mistress being painted unclothed as the Virgin. Kren, also revealed that this iconoclastic style was so shocking for the era, that it was not repeated or emulated after King Charles VII’s time.

Jean Fouquet

French, born about 1415-1420, died before 1481

Madonna and Child Surrounded by Angels, 1454-1456

Oil on panel

Unframed: 92 X 83.5cm (36 ¼ X 32 7/8 in.)

Courtesy of Koninlijk Museum voor Schone Kunsten Antwerpen.

Image © www.lukasweb.be-Art in Flanders vzw, photo Dominique Provost

EX.2018.1.17

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Making a Splash at Christie’s Beverly Hills- October 23-27 (Post War Contemporary Sale-Los Angeles Tour)

 

by

Leticia Marie Sanchez

Art-loving Angelenos will have a chance to check out iconic Post-War paintings at Christie’s Beverly Hills this week!

The works on view include David Hockney’s Portrait of an Artist (Pool with Two Figures) and Edward Hopper’s Chop Suey- which is no chopped liver,- it’s estimated to be worth about$ 70 million!

According to Christie’s the Hockney’s painting is “poised to become the most valuable work of art by a living artist ever sold at auction.”

Post War Contemporary Sale – Los Angeles Tour:

David Hockney David Hockney (b. 1937), Portrait of an Artist (Pool with Two Figures), 1972. Acrylic on canvas. 84 x 120 in (213.5 x 305 cm). Estimate on request. Offered in the Post-War and Contemporary Art Evening Sale on 15 November 2018 at Christie’s in New York © David Hockney

 

 

 

Edward HopperEdward Hopper, Chop Suey (1929).

Oil on Canvas.

32X 38 inches

This painting is  from the collection of Barney A. Ebsworth, Courtesy of Christie’s New York.

 

 

 

 

In addition to the Edward Hopper painting, other works on view from the THE BARNEY A. EBSWORTH COLLECTION include”

JASPER JOHNS (B. 1930) Gray Rectangles encaustic on canvas with objects 60 x 60 in. Painted in 1957

JACKSON POLLOCK (1912-1956) Composition with Red Strokes oil, enamel and aluminum paint on canvas 36 5/8 x 25 5/8 in.

GEORGIA O’KEEFFE (1887-1986) Horn and Feather oil on canvas 9 x 14 in. Painted in 1937

STUART DAVIS (1892-1964) Still Life in the Street oil on canvas 10 1/8 x 12 1/8 in. Painted in 1941

GEORGIA O’KEEFFE (1887-1986) Beauford Delaney charcoal on paper 24 1/2 x 18 5/8 in. Executed in 1943

Los Angeles October 23-27

10am-6pm, Sunday 12pm – 4pm

Christie’s Beverly Hills

336 North Camden Drive Beverly Hills, CA

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