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A traveler asked three bricklayers: "What are you doing?"
"Laying bricks," said the first.
"Building a wall," said the second.
"I'm building a cathedral!" beamed the third.
Same job, three perspectives.
Each day, see yourself as building your own cathedral - whatever that may be.
Mary Cassatt
Sleepy Nicolle, c. 1895–1905
Pastel on blue-gray wove paper (faded to tan), mounted on board
71 × 58.5 cm (28 × 23 1/16 in.)
Art Institute of Chicago, Chicago
@artinstitutechi
A mother holds a drowsy child close against her, the child’s head resting near her face. Cassatt signed the pastel lower right. By the late 1890s and early 1900s she had long lived and worked in France, and mother-and-child subjects had become the center of her work. She often worked in pastel for these intimate scenes, using the soft, blended strokes of the medium to catch the weight of a tired body and the quiet closeness of the two figures. The title names the child Nicolle. The sheet entered the Art Institute of Chicago in 1968 as the bequest of Dr. John J. Ireland. It belongs to the large group of maternal pastels Cassatt made in those years, when she was painting the everyday moments of care rather than public or fashionable life.
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❤️
Each of the eight magnificent mosaics inside Berlin Cathedral's dome contains more than half a million tiny pieces of colored glass.
Designed by German artist Anton von Werner, the mosaics depict the Eight Beatitudes from the Sermon on the Mount. Each covers approximately 420 square feet (39 square meters), surrounded by elaborate gilded ornamentation and sculptural details.
At the center of the dome, a circular stained-glass window depicts a dove symbolizing the Holy Spirit.
The cathedral, designed by architect Julius Carl Raschdorff, was inaugurated in 1905. But much of its extraordinary interior decoration was lost or severely damaged during World War II, particularly after an air raid in 1944 devastated the dome.
Using von Werner's surviving original designs, specialists painstakingly recreated the mosaics over several years. The final mosaic was unveiled in 2002, nearly six decades after the destruction.
Today, the restored dome stands as both an architectural masterpiece and a remarkable achievement in historic preservation.
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How do I feel about Palestinian suffering?
These people launched a war that they couldn't win.
They intentionally targeted civilians in the most diabolical ways imaginable.
They are still sworn to the destruction of Israel and the killing of Jews.
They have agency.
There are consequences.
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Claude Monet
Frost at Giverny (also known as Le Givre à Giverny), 1885
Oil on canvas
54 × 71 cm (21¼ × 28 in.)
Museum Barberini, Potsdam, Germany
Two small figures walk along a snow-covered path while a dense thicket of trees and bushes, thick with hoarfrost, fills the right half of the canvas. Monet signed the picture lower left. He had moved with his family to the village of Giverny in Normandy in April 1883, and by early 1885 a hard frost had whitened the countryside around the house. This canvas is one of a small group of winter views he painted outdoors that season before the ice melted. The loose, broken brushwork keeps the ground, the frosted branches, and the pale sky almost continuous, with only the two figures giving a clear sense of depth. The figures have been identified as Monet’s young son Michel and his stepson Jean-Pierre Hoschedé. The picture later passed through the London dealers Arthur Tooth & Sons and the collection of Montague Shearman before belonging for decades to the Earls of Jersey; it appeared at Sotheby’s, London, in 2013 and entered the Hasso Plattner Collection. It is catalogued as Wildenstein 963.
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🇺🇸Seems appropriate for Veterans Day🇺🇸
Norman Rockwell
Americans at War, 1942
Oil on canvas
Dimensions not published in available sources
Current location of the original is not documented in museum catalogues, auction records, or the Norman Rockwell Museum’s public holdings
In 1942, with the United States newly in World War II, Norman Rockwell painted a sequence of American soldiers from earlier conflicts, each marked by the year of his war: 1812, 1846, 1861, 1898, and 1918. They stand in profile, rifles and bayonets in hand, against the stripes of the American flag. Rockwell was then living in Arlington, Vermont, and turning out cover after cover for The Saturday Evening Post while also taking government commissions meant to support the war effort. This painting places the present conflict in a longer line of American service. The figures are rendered with the same clear, observational detail Rockwell brought to his homefront scenes, so the viewer reads a continuous national story rather than a single battle. The original oil’s exact measurements and present owner remain unpublished.
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The Jam
All Mod Cons
1978
Paul Weller – vocals, guitars, piano, harmonica
Bruce Foxton – vocals, bass
Rick Buckler – drums, percussion
All Mod Cons is the third studio album by The Jam, released on 3 November 1978 on Polydor. It marks a creative leap from their previous work, blending sharp mod-revival energy with more mature songwriting on tracks such as “Down in the Tube Station at Midnight,” “To Be Someone (Didn’t We Have a Nice Time),” “English Rose,” “In the Crowd,” and a cover of the Kinks’ “David Watts.” The title is a British pun on “all modern conveniences” and the band’s mod associations. After a difficult US tour supporting Blue Öyster Cult and a bout of writer’s block for Paul Weller, the first batch of material was rejected; the band regrouped and recorded a stronger set that became a critical and commercial success, reaching the UK Top 10. One notable detail is that “Down in the Tube Station at Midnight,” one of their strongest singles, was nearly discarded until producer Vic Coppersmith-Heaven rescued it from the studio.
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Incredible album.
Amazing bass.
Bruce Thomas has got to be a grossly underrated bass player.
Have a listen.
Wonderful.
Elvis Costello & the Attractions
This Year’s Model
1978
Elvis Costello – guitar, vocals
Steve Nieve – keyboards
Bruce Thomas – bass
Pete Thomas – drums
This Year’s Model is the second studio album by Elvis Costello and the first featuring his permanent backing band the Attractions, released in the UK on 17 March 1978 on Radar Records (with a US release on Columbia). It delivers a sharper, more aggressive new wave and power-pop sound than his debut, driven by Steve Nieve’s organ, the Thomas rhythm section, and Costello’s terse, bitter songwriting on tracks such as “Pump It Up,” “(I Don’t Want to Go to) Chelsea,” “Lipstick Vogue,” “This Year’s Girl,” and “No Action.” Most of the songs had already been road-tested, and the album was recorded in roughly eleven days at Eden Studios with Nick Lowe returning as producer. It reached the UK Top 5 and established the classic Attractions lineup. One notable detail is that the US edition replaced two tracks with the standalone single “Radio, Radio”; Costello famously interrupted a scheduled Saturday Night Live performance of another song to play it live instead.
@ElvisCostello
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Gustav Klimt
The Park, 1910 or earlier
Oil on canvas
43½ × 43½ in. (110.4 × 110.4 cm)
Museum of Modern Art, New York
@MuseumModernArt
Dense foliage fills the square canvas in short strokes of green, yellow, and blue, with a few pale tree trunks rising from the lower edge and a narrow band of grass beneath. Klimt painted the picture outdoors during a summer stay, using a cardboard viewfinder with a square opening to frame the view. He left the canvas undated; it can be placed between the summer of 1909 and its first exhibition in April 1910. After Klimt’s death the painting remained in his studio and passed to Emilie Flöge. The Neue Galerie in Vienna acquired it in 1928. It later entered the stock of Galerie St. Etienne and was purchased by the Museum of Modern Art in 1957, becoming one of the first significant works by Klimt to enter an American public collection. It remains on view at MoMA.
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Elvis Costello & the Attractions
This Year’s Model
1978
Elvis Costello – guitar, vocals
Steve Nieve – keyboards
Bruce Thomas – bass
Pete Thomas – drums
This Year’s Model is the second studio album by Elvis Costello and the first featuring his permanent backing band the Attractions, released in the UK on 17 March 1978 on Radar Records (with a US release on Columbia). It delivers a sharper, more aggressive new wave and power-pop sound than his debut, driven by Steve Nieve’s organ, the Thomas rhythm section, and Costello’s terse, bitter songwriting on tracks such as “Pump It Up,” “(I Don’t Want to Go to) Chelsea,” “Lipstick Vogue,” “This Year’s Girl,” and “No Action.” Most of the songs had already been road-tested, and the album was recorded in roughly eleven days at Eden Studios with Nick Lowe returning as producer. It reached the UK Top 5 and established the classic Attractions lineup. One notable detail is that the US edition replaced two tracks with the standalone single “Radio, Radio”; Costello famously interrupted a scheduled Saturday Night Live performance of another song to play it live instead.
@ElvisCostello
My favorite thing about Palestinian "Days Of Rage" is when people accidentally self-immolate while throwing Molotov cocktails.
More "Days of Rage" scheduled.
Makes me think of this:
My favorite thing about Palestinian "Days Of Rage" is when people accidentally self-immolate while throwing Molotov cocktails.
#Jerusalem
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