I’m so glad my mother put sunblock on this painting of me.
This post is kind of about person, place, thing, pet, and art.
So is this painting.
Lacy Amelia Adams and Rosie on kilim footstool.
Lately, I am really trying to simplify and understand in (my) life, what really matters with all this “stuff”, changing context, people that converge & separate, and how the constant of art all fits into the picture.
So here goes…
First, a little bit about the “THING” in this image, which is the footstool covered with a kilim rug. It is one of the 9 pieces of furniture that I have purchased in my adulthood, not counting flea market finds. My house is mostly made up of furniture of my mother’s and Grandmother’s. There was little that I could, needed, or wanted to buy in southwest Kansas in general. Not to add, nor to buy almost anyplace that was better constructed or of more interesting design than anything I’d have by way of these two women of impeccable taste.
Plus, of course, I’m sentimental, and taking these objects from other “PLACES” in Kansas where my mother, Grandmother, and before that her mother had lived are one of the big things that made the ranch “PLACE” home before I knew it intimately.
I bought this kilim stool in the “PLACE” which was Santa Fe in my 20s on a trip with Gina and my mom. It was from a man, Stephen Miller, who also helped me to purchase a dhurrie to match a (Rainbow Decorator) Smith & Co. loveseat I’d spotted the summer before I was married. This also had received “stamp of approval” from Bobbi Smith who worked for Jack Rees Interiors, a prominent KC decorator with ‘a clientele who collected.’ I’d interned with her at Jack Rees, the summer of 1980. She was a close friend of my Grandmother Millie.
Coincidentally, she had also picked out some upholstery for John Adams Grandmother Jessie. So, she also knew the rancher’s wife budget & priorities :), at least in the department of home interiors. Do not take this as disparaging. It’s often far more expensive to upholster quality items that will never be made “like they used to” than it is to buy new. I live by the same in much of my philosophy on domestic interiors. Do less, do it well, less often. It’s kind of an environmental thing akin to “if it ain’t broke, don’t fix it.” It also might be called being a bit “Scotch” at times, while “French” and “German” at others.
Stephen Miller’s Oriental Rugs was located catty corner from Pasqual’s and across from Doodlets, depending upon what you consume when you’re in SF. I discovered in a recent conversation with a salesperson in a rug store on Canyon Road, that this store’s (Santa Kilim) owner had been associated with Stephen, moved to Guadalupe (where I bought a kilim kabul rug chair), and is now on Canyon Road. The owner even remember acquiring the rugs and his series of upholstered chairs using them.
I had this kilim stool in my living room at both the East and West Ranch Headquarters on the Cimarron River, my two “home” ‘s for the last 28 years. It is now in my home in Kansas City in Hyde Park, looks “smash” as Bobbi Smith would say.
But, back to the idea of what I was thinking about when I came across this picture I’d taken of Lacy touching her face within the painting… “what is real?” That is, in a material world, what is it that connects us to place, person, things, even pets? And in seeing this, it inspired the post because it somehow was also connected to my personal ventures in “art” to find meaning, often un-consciously and under wrap.
I’m not going to talk about the person(s) because that’s person(all). We all have these persons and I’d imagine we all have similar feelings when we feel gratitude for having shared time and place with them.
Same goes for pets, it seems there are many out there these days who are having no issues in experiencing their feelings about their dogs 🙂 or expressing them. But, I will put in this picture of Rosie. It is a fake. That is, her Black Pug Ancestress pictured in the oil is the late Mei Rose, whose death preceded this photo by about 18 years when a speeding UPS truck brought about her early demise*. Anyway, Rosie cooperated in this photo setup. And I guess this means this second photo of the post is the realization of a new series of ‘family portrait photo genre’ entitled “what is real?”
note re UPS: [In his defense, I’m sure they lose quite a bit of money on their rural customers. He later asked me, “what happened to that little black pug of yours?” but I said nothing]
“Portrait of Rosie Adams questioning ‘what is real’ in sniffing ‘Lacy Adams pictured with black pug’ Portrait.”
So, here brings in art. I had this portrait of Lacy sitting by my (father’s former) drafting table which has now moved from its location in the bay window at the XIT Ranch to the bay window of The Illinois, 1 North. It is an oil that I had done, after I’d mastered dogs and artichokes.
As an art history major and also having grown up in the Education Wing at the Nelson, I had always been fascinated with the Early American and English Portraiture. The subject matter I’m referencing is that of children or a child, often dressed as a small adult, placed and painted in the context of “the house on the hill” or within a domestic interior. I also admired the later painter, John Singer Sargent, and his ability to incorporate person in place. But, BTW, Sargent was one whose work totally intimidated and blocked from painting.
So, the “primitive itinerant painter” version of the painting type pictured below was a little more approachable relative to my skillset. You’ll recognize the genre from Balis’s painting below that hangs at the Nelson of George and Emma Eastman at the ol’ homeplace. I realize this does not exactly represent the simple folk nor the humblest paintings which I was emulating, but I wanted you to get the “type” at the high end. That is, I think these are the Kodak kids in their “best available painter for the Kodak $$” moment. But you can see what I mean about the naïf nature of the painting with their big doll heads and stick-like bodies. It was do’able.
George and Emma Eastman by Calvin Balis. 1850
It’s really a mixed bag of feelings I have when I look at these paintings, because I often think, “Poor little Mr. Master with this noose of a plantation already around his starched collar… and the little mistress, well adorned with her bracelet, lacy pants, and festooned sunhat.” Isn’t that jaded, with both sentiments sweet and savory? But, I also see that these children are growing up in this beautiful place, and they are often with a pet or something in their hands that you know gave them pleasure. And, the pride and love that the parents felt in having this executed, commemorating their children’s presence in a special place of meaning at a given age.
In all honesty, when I did this painting of Lacy, I don’t think I thought much about the fact that it is the parents that dress up their toy, arrange it in the portrait setup, and then document it for their own memory and point in time. As so many parents did before me and as we will forever do with the children we raise, I just did it.
I was pretty insecure about my ability to master features, though I actually think I did a pretty good job with Lacy’s face. I had sketched her before. So, I decided that since I lived in the country that I was the Itinerant Painter. I pretty much have to pretend when I launch into any creative endeavor.
Itinerant painter was the term for the artist-by-trade who traveled around, outside of the city, to landowners and others in the country who would perhaps not otherwise have traveled to the city to have their children painted. This was, of course, before the common existence of cameras to capture family “snapshots” at given key points along the timeline of their lives.
So, I don’t know how I exactly composed the room interior in the painting, except that the Guy Chaddock loveseat mentioned above was upholstered in a this cerulean blue color. I am sure that the checkerboard came from…
- floorgrounds on Mary Engelbreit cards,
- a photograph of a stained wood checkboard floor I kept in my files that I’d have loved to achieve on the old ranch wood floors,
- numerous other Flemish interiors such as Vermeer’s self-portrait where he is painting in his studio.
- PS Note above what I said about imagination? See how I am just now noticing that I had subconsciously made reference to both Sargent (kilim stool and his rug in Daughters of Edward D. Boit) and Vermeer? Ego check.
Plus, the checkerboard went great with Lace’s outfit in the painting. Lacy’s portrait clothing ensemble, BTW, was given to her by her Grandmother GG. It says, “Spot the Dog” on her shirt. So, I have to put in that picture.
[I guess I forgot about “la mode
” when I was pondering above on “person
“, “a pet
” and “ar
t”. How could I??
GG, Jade Snow Wong (pug), Lacy Adams pictured by studio, 5328 W. 67th Street, Prairie Village, Kansas.
But, to answer my ponderings above…
For me, art can encapsulate persons, places, things (and pets!). It somehow helps me to feel all of it that perhaps I rushed past at the time in all of the excitement.
It captures all the emotions that so easily just escape into energy, often misplaced, and puts it in one spot that gives some release to the maker.
…maybe to others, but I don’t feel that it really ever starts with that.