Category Archives: Portraits

Nothing Lasts Forever

I received an email in May alerting me that Pocket, the free save-for-later app I’ve been using for years to store all sorts of reading content, is going away. This change is a bit like mandatory closet-cleaning, forcing me to make my way through the virtual piles I’ve amassed, deciding what to keep and what to toss before it all disappears into the ether.

It’s been a handy app to have but, if I’m honest, I’ve used it like a virtual attic, forgetting most of what I’ve stowed there once it was safely saved. Rediscovering what is still relevant and getting rid of the rest is long overdue.

Here are 5 links I’ve unearthed that are worth saving & sharing:

Jerry Saltz’s 33 Rules for Being an Artist
“Making Your Life as an Artist” by Andrew Simonet
“10 Creative Audiobooks to Artistically Inspire Your Mind Through Your Ears”, compiled by Sara Barnes
“Drawing is the Best Way to Learn, Even if You’re No Leonardo da Vinci”, by Anne Quito
Get lost amidst The Louvre’s collection, no matter where you are

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On the more creative side of things, you may remember that in March I began experimenting with knotless netting as another way to add textural interest to my paintings. Those explorations have continued behind the scenes while I’ve been pulling “Full Bloom” together and getting it launched.

Here are a handful of the pieces I’ve been working on. I’ll have more to show next time.

Great Blue © 2025 Elizabeth Fram, Watercolor & knotless netting on paper, 6 x 8 inches. The heron silhouette was painted with gold pigment watercolor that I bought from Daniel Smith when we lived near Seattle, decades ago. It’s a powdered pigment that comes to life once you add water – and the fact that it remains dry until you choose to use it is probably why it has lasted so well across the years. It’s lovely on paper but hard to capture in a photo.

Fleeting Recollections ©2025 Elizabeth Fram, Watercolor & knotless netting on paper, 6 x 8 inches What is it with the birds? I’m not absolutely sure, but “memory” has remained in the back of my mind as I’ve worked on these pieces. Somehow birds feel like a suitable metaphor for carrying that idea forward.

Memory Vessel ©2025 Elizabeth Fram, Watercolor & knotless netting on paper, 6 x 8 inches Moving on to objects… This pitcher is an old family item that doesn’t belong to me and probably isn’t worth much monetarily. Still, it holds within it a sense of place, and that in itself is priceless.

Tapestries, Portraits and Gardens – Oh My! (Part 1)

I’m half joking, but Warning! This post is long. Even still, there is so much to cover that I’m going to split it in half and will be back with Part 2 next time. Meanwhile, I’ve tried my best stay heavy on images, light on words. I’ve sprinkled in lots of links so you can explore further.

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My head is spinning on the heels of our recent trip to Scotland – there was inspiration everywhere! So many of my favorite things: textiles, portraits, gardens and more! I always come home from being away feeling like my brain got a good airing out. The best souvenir is plenty of fresh things to think and read about, setting the stage for, if not a reset, at least additional perspectives to bring back to the studio.
Here we go…

Tapestries:
The Great Tapestry of Scotland
Dovecot Studios
The Hunt for the Unicorn at Stirling Castle

The Great Tapestry of Scotland is housed in its own museum, about an hour south of Edinburgh in the Scottish Borders textile town of Galashiels. Created by 1000 stitchers, it’s no exaggeration to say it is a 160-panel masterpiece that covers the broad scope of Scottish history, along with everyday stories of the Scottish people.

We went directly to Galashiels to see the Tapestry after our red-eye landed, albeit a bit bleary-eyed. However, no need for an energy boost once in the presence of all the amazing stitch-work. This is Panel #1.

First impressions: each panel is HUGE (about a meter square), most are brilliantly colorful and all are quite ingenious in their depiction of chosen subject. The panels were designed by Andrew Crummy, but the masterfully stitched intricacy, diversity and expertise are all a credit to the individual stitchers.

This detail of Panel 1 (seen in full above) is a mere taste of what is to follow.

Before we left Vermont, knowing how overwhelming it would be to try to take in such a massive display during one brief visit, I purchased Alistair Moffat’s The Great Tapestry of Scotland book which shows and describes each panel in detail. Pouring over and reading the particulars ahead of time gave me a chance to become better acquainted with the history and meaning behind the panels, including improvisations which were allowed stitchers in order to underline their personal connection with the event portrayed on the panel they stitched.

Panel 126 – “Fair Isle” As a knitter, I loved this panel. Fair Isle is known for a traditional style of knitting made popular when the Prince of Wales, later to reign briefly as Edward VIII, took to wearing Fair Isle knitted sleeveless jumpers to play golf in the early 1920s. Very colorful with finely worked horizontal geometric patterns, these designs were trending then, and still are.

Having a bit of a leg up allowed me to concentrate more fully on the stitchwork; the remarkable way in which various details were depicted was captivating.

Detail of Panel 64 – “The First School for Deaf and Dumb Children” Just look at the way the curls of this teacher’s wig, as well as his shirt sleeves and waistcoat, are realized!

Detail of Panel 74 – “James Hutton’s Theory of the Earth” That hair!

Detail of Panel 87 – “The Growth of Glasgow” So many details in this small section of panel. If you too are curious about the fish with the ring in its mouth, read on.

Beyond the artistry, the finished tapestry is a remarkable community accomplishment that includes the work of 1000 participants from the whole of Scotland. I could have written several posts on the Tapestry alone, but there’s more to see.

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Moving on…

Dovecot Studios in Edinburgh is a working tapestry studio and gallery. When I asked how their weavers were selected, I think the woman thought I was looking for a job. Ha! She told me that it had been 10 years since they last hired someone – only master weavers. The Studios support an apprenticeship program and I believe their weavers tend to come directly from that pool.

Looking down on a tapestry in progress from the viewing balcony, which also doubles as a gallery space. The monumental weavings on the far wall were created by Ptolemy Mann. The studio was silent, the weavers were in their own worlds, with headphones on.

As if seeing the working weavers wasn’t enough, we were also able to take in the current exhibition “The Scottish Colourists: Radical Perspectives” in the Dovecot Studios expansive lower gallery space. If you read Art & Object, perhaps you caught the accompanying review? My education never even touched upon Scottish art history, so this was a treat.

Jessica Dismorr, Landscape with Figures, 1911-12, Oil on Panel. So many wonderful works – this was the one I would have brought home, if allowed.

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The Hunt for the Unicorn is a set of 7 tapestries in the Queen’s Inner Hall of Stirling Castle. They are a recreation and reinterpretation of tapestries that appear in castle inventories from the 16th century. The recreation was a monumental 14-year endeavor which enlisted a team of 18 weavers from across the world.

This photo taken from the web shows the grandeur of the recreated tapestries. The colors and details are spectacular, giving one an idea of how awe-inspiring the originals would have been, especially to 16th century visitors. For more photos, follow this link.

Stirling Castle was the childhood home of Mary Queen of Scots and, with extensive research, the palace interiors have been recreated as they may have looked in the 1540s during the reign of Mary’s father, James V.

One can visit the on-site tapestry workshop where the modern version of The Hunt for the Unicorn was made. One can read extensive information there about the details of the tapestries’ creation, and see samples that were created in preparation. If you’re interested in going further into the weeds of this extensive project, read this.

And now…
Portraits:
The Scottish National Portrait Gallery
Stirling Heads at Stirling Castle

I am a huge fan of Sky Arts Portrait Artist of the Year, which can be streamed on Amazon. If you’ve watched it, then you will be aware that the grand prize is to paint a portrait of a figure of national importance for one of several UK Portrait Museums. After viewing it on the show, I was dying to see the Scottish National Portrait Gallery’s Great Hall. It is even more breath-taking in the flesh.

The Great Hall of the Scottish National Portrait Gallery in Edinburgh

Even the ceiling is magnificent!

Currently on view within the Gallery is “The Modern Portrait”. Considering the development of portraiture since the early 20th century, this exhibit shows evolving portraiture styles over the past 125 years. It was also a fascinating opportunity to learn about the paintings’ subjects – figures who have contributed significantly to Scottish life in numerous spheres.

The Unknown Man, detail, 2019, Ken Currie, 6.5’x9 feet, Oil on Canvas. This powerful and massive portrait (hence the detail) is of Dame Sue Black, forensic anthropologist.

Alexander Douglas-Home by Avigdor Arikha

Alexander Frederick Douglas-Home, 1988, Avigdor Arikha, Oil on canvas. What drew me to this one was the composition. As I’ve noted before, I am a fan images that hug the edge.

Tom Leonard, About 2004, Alex Main, Bronze I took this photo so I could paint it in my sketchbook later – I find the sense of form quite moving and a great opportunity for practice.

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The Stirling Heads, made of Polish oak, were a ceiling adornment in James V’s Inner Hall meant to display his status as monarch through reference to his royal bloodline, powerful connections and fashionable court. After having been dispersed in the late 18th century, some of the originals are reunited in a darkened gallery in the castle, while modern reproductions recreate their splendor, once again decorating the ceiling of the King’s Inner Hall.

The workmanship of the originals is spectacular.

Painted reproductions as they would have appeared originally are also a testament to the skills of modern artisans..

OK, time to stretch your legs – that is more than enough for now! Perhaps (I hope) you’ll have seen something that will send you down your own rabbit hole of discovery. I know there is a lot of reading I’m looking forward to.

Next time, Gardens and a touch of “oh my!” Till then.

Comfort in Discomfort

I don’t know about you, but I feel a lot more at ease delving into new projects once my slate has been cleaned of older ones. December and January are usually so consumed with juggling year-end evaluations and formulating plans for the months ahead, never mind all the holiday hoo-ha, that it takes a lot effort to keep my eye on the ball and to finish up whatever was already in the works.

If Only ©2024 Elizabeth Fram and It Was a Dream ©2025, side by side. Reeling from November’s election, these two pieces were my way to address the concept of dreams that ultimately don’t pan out, and the hope that bolsters us in the face of such setbacks. Light vs dark, day vs night — reality is a full circle that necessarily encompasses both. BTW, I’m currently reading Judi Dench’s Shakespeare The Man Who Pays the Rent. So with my head in that space, I had to look to see what the Bard had to say on this subject. He never fails us: “The web of our life is of a mingled yarn, good and ill together” (All’s Well That Ends Well).

In early November I began a couple of “companion” pieces. I shared the first, If Only, in my post Something to Lean On. Today I’m showing its counterpart, It Was A Dream. The two were conceived together but are meant to work either in tandem or independently – viewer’s choice.

Now that they’re both finished, I can turn my attention to whatever may be next. I’ve decided I want to carve out time in 2025 to push some of my trusty processes and techniques in ways that will hopefully open the door to different outcomes. But that said, it’s a lot easier to come up with nebulous goals than it is to succinctly outline the specific steps to getting there, so I have some serious experimenting in front of me.

And while there’s no way to know at this point what the results might look like, I guess that’s exactly the point. If I knew where I was going I doubt there would be much growth, and I feel like I’m ready for a stretch. Meanwhile, I’m keeping in mind what my favorite fitness coach says: “find comfort in discomfort”.

First Things First

Happy Thanksgiving!

But first things first…
I can barely believe that this post marks 10 years and 393 uninterrupted entries here at Eye of the Needle! I went back through my archives to reread what I had written in my very first post on November 29, 2014 and I’m happy to say that this project has been, and continues to be, exactly what I had hoped for and outlined all those years ago.

In the spirit of today’s holiday, thank you — to the many of you who have been here since Day 1, returning faithfully ever since, and just as sincerely to those of you who have joined me along the way.

With that in mind, I have an announcement:
To celebrate this anniversary, I am going to take the month of December off.
I’m looking forward to a break, as well as a chance to re-evaluate how I want to proceed going forward. There may or may not be some tweaks — we’ll see. However, this project comes down to two things:

One of the hidden truths of writing regularly about my practice is that it has helped me to better understand my artwork immeasurably, so I do not expect to stop, and
Judging from the comments you have shared with me, both here and privately, writing about my discoveries and explorations has opened the door for you to in turn fill me in on the things you have found or are doing. That sense of connection and community is exactly what I was seeking when I began and has made this endeavor so much richer.
So again, thank you.

One last thought: In episode #503 of her “Happier” podcast, Gretchen Rubin addresses an unexpected way to spark creativity which, once she mentioned it, rang very true to me. Creating a demand that has to be met, (e.g. the deadline of publishing a regular post online) fosters creativity. Maintaining this self-imposed commitment has taught me that, while admittedly some weeks may be harder than others, if one sets to work, the ideas never fail to come.

Now on to today’s post...

We celebrated the holiday early this year, in Chicago with our daughter. As is often the case, our trip included a visit to the Art Institute. This time we caught 2 exciting exhibits and had the chance to see a universal icon. Here is a quick recap.

First, the spectacular baskets of Passamaquoddy maker Jeremy Frey, were on display in the show “Woven”. His work is almost beyond belief in its complexity and innovation. We missed this exhibit at the Portland Museum of Art when we were in Maine last summer, so I’m grateful to have had a second chance to catch it.

Every step of every process in his baskets is accomplished by Frey. He thoughtfully selects and fells the trees (mostly ash), then pounds the logs with the back of an ax to separate the growth rings, splitting them into thinner sheets that he then cuts into narrow strips. He uses dyes to incorporate vibrant colors and he further embellishes basket covers by embroidering natural imagery with porcupine quills. His mastery and imagination are breathtaking.

This short video follows Frey throughout much of his process.

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Self-Portrait, Looking Left with Hand on Chin, Paula Modersohn-Becker, 1906, Oil tempera on paper mounted on cardboard

I hadn’t heard of Paula Modersohn-Becker before checking the Art Institute’s website to see what would be on display during our visit. Seeing her work in “I am Me”, I was moved by the sensitivity of her painted and, especially, her drawn portraits – mainly of herself or of other women. Considering she was only 31 when she died of a postpartum embolism, one can’t help but be awestruck by the intensity of her work, despite her relative youth. What a loss for the art world.

Farmer’s Wife, Seated, Paula Modersohn-Becker, 1899, Charcoal on paper

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Finally, Hokusai’s iconic The Great Wave is back on display for a limited period (through January 6). It was a thrill to see an original print in the flesh for the first time. Due to the gallery’s subdued, protective lighting, I didn’t even bother to take a picture, choosing instead to just stand and savor.

Under the Wave off Kanazawa, also known as The Great Wave, from the series “Thirty-Six Views of Mount Fuji”, Katsushika Hokusai, 1826-1836, Color woodblock print, 10 x 14-3/4 inches, image from Art Institute of Chicago website

For some fun facts, you might enjoy reading 10+ Things to Know About The Great Wave. Particularly fascinating: the impact of the work would have been entirely different for Japanese viewers who read from right to left, so likely would have viewed the print that way, as opposed to Western eyes which would have experienced the wave from left to right. Take a look with that in mind and judge for yourself.

Where else but a museum can you pack so much into a couple of hours?
That’s all for now.
Enjoy your Thanksgiving and holidays to follow; I’ll see you in January!

You Just Never Know

As I’m sure is true for you, a lot of email newsletters fill up my inbox. I can’t read them all “cover to cover”, but I do try to skim most because I never know when the next unexpected gem will turn up.

For example, Fibre Arts Take Two is a mixed-media/fiber arts learning platform. Admittedly, I’ve never taken any of their courses, but I do regularly check out their “Friday Featured Artist” emails which have introduced me to countless creators I might never have known about otherwise. Every now and then they interview someone whose work absolutely blows me away.

Séverine Gallardo

With that thought in mind, you HAVE to check out the French artist Séverine Gallardo’s felted, knitted, crocheted & embroidered sculptural headpieces. How do I describe such richly imaginative amalgamations of history, place, culture and textiles? It’s best to just go to the source to see for yourself.

First, enjoy a taste on Gallardo’s Instagram and Tumblr pages. And then, click below to learn more from Gallardo herself in her interview with Tara. You will be enchanted.
FYI there are plenty of other artist interviews on the Fibre Arts Take Two YouTube channel.

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Meanwhile, I just finished my latest “Full Bloom” piece – and like much of Séverine’s work, it carries with it a touch of wanderlust. Thoughts of curiosity, restlessness, daring, and transformation led me to call this one “The Adventurer”.

And a detail…

So…what will you discover today?

A Thick Slice of Cake

If you’ve subscribed to my periodic newsletters, then you will already know that my latest Full Bloom portrait is finished.

This one was a challenge for several reasons: the glasses, the full-face angle and the need to subdue any competition between the model’s subtle skin tones and silver-ish hair vs her colorful clothes. That said, I’m very happy with the results — especially the way the subject and the stitched background ended up working, both independently and together.

Measured Response in process

After roughly drafting in the head, I sat with it for several days. There was a quality about it that, although incomplete, seemed to have a lot to say in a ghostly, disembodied sort of way. This is a great example of a point in the process when ideas start to flow for possibilities in future work.

Measured Response Watercolor Embroidery Stitching

Measured Response, detail

What was it about this particular image that made me hesitate in moving forward? Was it the straight-on stare speaking volumes on its own? Or perhaps simply that I tend to be drawn to art where elements of the underpainting/drawing remain visible? I find a sense of poetry in work where the hand and thought processes of the artist are laid bare.

Plus, backgrounds are a bit of – I wouldn’t exactly say nemesis, but definitely a puzzle for me, requiring another level of consideration because of the stitching. I want to create more than a mere backdrop, yet avoid having the piece appear overworked.

Measured Response Angle Watercolor Embroidery

There’s nothing like an angle shot for bringing out the texture of the stitching

In the end, I placed her head firmly on her shoulders, integrating her within space – although admittedly somewhat nebulous space. By pushing the color and pattern of the stitching while keeping it relatively sparse, I was able to hold onto the qualities that had stopped me in the middle, yet reach a satisfactory and full resolution. And, trite though it is to say, ultimately finding a way to have my cake and eat it too.

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While some of you live where your gardens are already coming back to life, those of us in Northern New England have a while yet to wait. But we can dream and plan. Here are a couple of ideas if you too are ready to get back to your plot of earth, but it’s not quite ready for you.

First, a shout-out to my mother-in-law who recently recommended Monty Don’s 3 episode series Adriatic Gardens on Amazon Prime or Acorn TV…it’s wonderful, so check it out.

Alice Fox Wild Textiles Book

And secondly, during the Surface Design Association conference in late January, UK artist Alice Fox spoke inspiringly about her practice using natural processes with found, gathered and grown materials. She made me long to collect the spent daffodil, iris and garlic leaves from my own garden to start creating with them. Granted, it will be a while before that can happen, but in the meantime I purchased a copy of her book Wild Textiles to learn more and to start the creative juices flowing while there’s still snow on the ground.

The Art of Noticing

This doesn’t happen all that often, but I’ve been wracking my brain trying to figure out what to write this week. And then it occurred to me, perhaps that conundrum in itself is worth a few paragraphs.

The first pass of color literally sets the tone for what is to come

The challenge of finding something to share with you every other week, beyond just “I made this and then I made that” is a big part of what has sustained me in posting regularly for – can it really be? – nine years. Invariably, if I keep an eye open, something unexpected will spark an idea and from there it’s a matter of connecting the dots. My goal, of course, is that whatever that particular something is will be of interest to you as well.

Inspired by my sitter, drawing from my button stash was a no-brainer

So as I was driving to the grocery store several days ago, mulling over what I’ve seen, read, talked about with folks, and yes, been working on in the studio over the past couple of weeks, I was still coming up dry. But then it dawned on me: having nothing to write about is something to write about. In other words, running into walls is a given and finding a way around them is just as much a part of my (or any) practice as threading a needle and putting brush to paper.

The embroidery on this piece is relatively minimal. Not only does it encourage a viewer to slow down in her looking, but also to more closely considering the unique qualities of watercolor as the stitches and the washes work together. The hard and fluid edges throughout the work are another nod to the medium.

There’s no gliding through this game; every single detail is worthy of consideration. As Lorene Edwards Forkner of A Handmade Garden has written: “Noticing reveals the invisible”. So if I had to distill into a single element what it is that most feeds every part of my practice, both in and out of the studio, it comes down to two words: pay attention.

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While sewing the buttons on The Alchemist yesterday, I listened to a recording of Jeannet Leendertse talking about her work on Zoom. Leendertse forages seaweed (specifically Rockweed), that she sews into remarkable vessels and sculptural forms. As a native Mainer, I am intrigued by her use of this material that, as I grew up, was as common to me as grass.

Noting that she is highly aware of the materials she uses and the lasting impact of her creative process, Leendertse shared a link to Future Materials Bank, a resource that highlights sustainable materials gleaned from the waste stream and artists who incorporate them into their work. Check it out – you will be amazed and inspired.

Leap of Faith

Mind Palace 1

I might have called this finished.

Mind Palace 2

But instead, I held my breath and lifted as much paint as I could outside a house shape that I had superimposed over the subject’s central features.

Mind Palace 3

It was my intention that by embroidering outside the house shape, the painted and stitched areas would stand apart from each other, yet still work together.

Mind Palace 4

The embroidery blurs details, such that texture becomes the overarching descriptor. It’s a quality I quite like – especially when paired with the untouched watercolor.

Despite the variation, the finished product still reads as a whole and I’m very pleased with the added dimension the stitching contributes. That’s not to say there aren’t a number of kinks still to work out. Taking this shot in artificial light emphasized the house shape to a degree that isn’t as easy to see in natural light. But that’s a puzzle for the next time around.
Regardless, the leap of faith was worth it.

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It’s a new world out there – but check out the following and chalk one up for the little guy: artists fight back against AI.

Filling the Well

Before I get to the point of this post, here’s a quick peek at what I’ve been working on lately. I have a way to go with the stitching in the tree, but I’m getting there. Gaining a bit of distance by being out of the studio has helped to resolve a couple of lingering questions while simultaneously stirring up some new ideas.

With that in mind, how do I encapsulate all the rich visual inspiration gleaned from a week in Lisbon? As I revisit my photos and sketch journal, it’s hard to miss the synchronicity between the many varied elements that caught my eye.

Here’s a small taste of what I saw.

Light

Targus Looking East

Color

Pink Street

Light & Color

Sunset

Patterns

Mosaic Path

Black and White

Passageways

Red Wall

Tiles…
ancient

Azulejos with textile motives, Cuerda Seca technique c.1500-1525

and contemporary

Textures

The Burel Factory is “a Portuguese brand, born in Serra da Estrela, dedicated to the preservation and regeneration of the industrial heritage, the deep knowledge of the wool industry that crosses generations, and the unique culture and traditions, its people and its history, that punctuate that same place”. It is a space where history, design and innovation come together, sustainably creating wool fabrics, garments, wall art and items for house & home. Words can’t express the beauty to be found there.

Murals

Fado

Spray Can

History

A distaff, needles and a pair of scissors on display in the museum of the Castelo de São Jorge. These archeological items were unearthed in the area surrounding the castle, a sign of the women who lived there.

Sculpture

And so many
Details

Keyhole

Finally, Innovation

I have never seen such an innovative way of making art accessible to the sight-impaired. This and the following photos interpret the above tile painting, “The Dancing Lesson”.

Textures interpreting the figures within 3-D space

And describing the dancers’ elaborate costumes

It never fails, being immersed in a new environment tends to shake out of the brain. Given time and distance, the creative well always refills.

Revisiting Philly

There’s nothing quite like a wedding to put a shine on the world. We’re just back from Philadelphia where family togetherness, perfect weather and a healthy dose of art made for a very special long weekend.

Blick Art Haul

First stop: Blick.
In my world, a trip to Blick is a major highlight during any city visit. With my very patient husband and daughter in tow, I made a beeline there to stock up. There’s no match for wandering the aisles and fingering the goods in person, and it was nice to have a few new things to try out in the hotel room between planned activities.

Nevermind the Phillies, Eagles, 76ers, & Flyers, IMHO one of Philly’s best claims to fame is that it’s home to one of the largest public art collections in the country. When we lived in Bucks County, 30 miles north of the city, life was too busy with raising kids to dive into the Philadelphia art scene as deeply as we might have – but what a pleasure to have a chance to enjoy it now.

Contrafuerte ©Miguel Antonio Horn Read more about this sculpture, seen in the Cuthbert Street alley as we left Reading Terminal Market.

The city’s 63 year old Percent for Art Ordinance mandates that any new City construction or major renovation project must include site-specific public art worth one percent of the total budget. So if you don’t have time to visit one of Philadelphia’s numerous stellar museums on your next trip, rest assured you’ll get an eyeful merely walking or driving from place to place.

Gratefully, this visit there was also time to check out a couple of museums.
The Philadelphia Museum of Art is currently showing The Artist’s Mother: Whistler & Philadelphia, a fortuitous discovery considering my current direction.

In addition to Whistler’s cornerstone painting, “Arrangement in Grey and Black No. 1” (don’t miss this fun NPR piece about it), it was a treat to see other masters’ approach to portraying elder women. The emotional element between artist and sitter adds a bonus layer to each work.
If you’ve never seen Whistler’s painting in person, you should. She has the loveliest rosy cheeks and, much like the Mona Lisa, appears so much warmer than any reproduction seems able to convey.

And to cap it all off, my sister-in-law arranged for a fantastic docent-led tour for interested wedding guests at The Barnes Foundation the day of the big event. Founder Albert C. Barnes was a bit of an odd duck, as is evidenced by the way he insisted his collection be displayed into perpetuity. But there is no denying that the collection is spectacular, and it’s interesting to take into consideration his aims and perspective as you wander through the galleries. There were plenty of stunning portraits to absorb among the many other treasures.

And on a slightly different note, I was grateful for the chance to revisit this small watercolor by Charles Demuth – a painting that has remained a favorite in memory from my last visit to The Foundation over a decade ago.

And now, home again and back to work putting those new supplies to use!

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So many wonderful things to read – it’s hard to keep up.
Two of my latest favorites on Substack speak to two things that take up a lot of real estate in my mind and schedule most days: art and recipes. If you’re of like mind, take a look at Amy Allen’s Palate & Palette: Stories about people who make great art and food and Vicki Smith’s Easel to Table: Turning food into still life first and dinner second