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Passing Through Blue– At West End Gallery



This dead of midnight is the noon of thought,
And Wisdom mounts her zenith with the stars.
At this still hour the self-collected soul
Turns inward, and beholds a stranger there
Of high descent, and more than mortal rank;
An embryo God; a spark of fire divine.

A Summer’s Evening Meditation, Anna Laetitia Barbauld (1743-1825)



I had come across the short verse, taken from a much longer 1773 poem, above a few months ago and set it aside with the intent of using it in a blogpost at some point. I wasn’t sure how to use it or if what I was reading in it was the intent of the poet.

This raised a whole bunch of questions, beginning with: Does the author’s intent matter in what I was seeing in her words? Or does what I see in one of my paintings matter in how others see it? Is someone’s else interpretation of it equally valid even if it differs greatly from my own? 

Some tough ones there.

I often use quotes and short passages from literature to initiate a post. While I try to discover their original context and meaning and adhere somewhat to it with my use, I take liberties in my interpretation. I may read something into them that was not part of the original intent, just like you may look at a painting of mine and see something that speaks something to you that is different from or beyond what I saw in it. Something that speaks in a personal language that only you know, something drawn from your own life experiences and sensations.

I think it’s all appropriate so long as the differing interpretation is not employed as justification for anything harmful or denigrating to others. I worry sometimes about that, more so with the writing here than with my painting. Sometimes, in trying to not be too specific on a subject, I recognize the rhetoric of what I have written might be equally applied by those who have a viewpoint that is in complete opposition to what I meant. For example, the definitions of freedom or revolution I write about might not be the same as someone else.

And the vice versa applies here.  I check for the original meaning and context because many years ago I used a quote without checking. It’s been long enough that I can’t remember the subject of the quote or from where it came. Whatever it was, it seemed to serve what I wanted to say. I later found out from a reader that its original meaning was the complete antithesis of what I read into it and was trying to convey in the post, that it came from a person associated with hate groups and was meant to advocate some form of white supremacy.

I was mortified and deleted the post immediately. Since then, I try to find the context of anything I use.

But for the most part, the meaning and purpose one takes from a piece of writing, music, or art is theirs alone. I have often told the story of a lady approaching me at an opening. We stood before a painting of mine that was simple composition, sections of two tree trunks that intertwined around each other as they bisected the painting’s surface from bottom to top. I saw in it a certain human sensuality, one that spoke about how we depend on the assistance and affection of others. She hated the painting and let me know that she saw nothing but the subjugation of women and male dominance in it.

I was stunned. I didn’t see anything like that in that piece before she spoke. I saw it after even if it still didn’t register fully in the way she saw it. But I could see what she was seeing.

I didn’t try to tear down her viewpoint or justify my own. No matter how hard I might try to assure her that it was never intended that way, what she saw was what she saw. Her reading of it was as valid as my own. And I let her know that.

And I guess that’s the way it should be, in most cases. You do what you do, you try to express what you are as a human in a way that you hope comes across clearly to others and that whatever you do, it doesn’t harm or be used to harm others. For the most part, it works out okay. Sometimes, it doesn’t.

You just hope you’re not too badly misunderstood. Or worse than that, not heard at all.

Here’s song on that subject. It’s a fine interpretation of a favorite Animals‘ song, Please Don’t Let Me Be Misunderstood from Cyndi Lauper. Good stuff.

At least, that’s the way I see it…



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Daytripper– At West End Gallery

The best kept secret in America today is that people would rather work hard for something they believe in than live a life of aimless diversion.

–John W. Gardner, Living, Leading, and the American Dream, 2003



This is another new Little Gem that is now at the West End Gallery for their annual exhibit of small works. This piece really hit me in a visceral way when it was done. It exuded a lot of different things that all hit the mark for me. The color was right on with its mood, tone, and temperature harmonizing perfectly. The shapes and forms felt right in relation to each another and the small figure in the foreground added great depth to the scene.

There was a lot packed into this very small painting. Yet, I struggled with what it was saying to me. The wildfires in LA were burning at the time and I thought that with its extra warm coloration it might be saying something about fleeing the heat and flames.

But that didn’t feel right. The nature of the tiny figure was a nagging question for me. Was it fleeing the city’s hustle and bustle? Or was it returning from the city to its home in a cooler, calmer remote place? I couldn’t answer that definitively, but I loved the ambiguity. It didn’t really matter whether the figure was  seeking diversion in the heat of the city or in the cool of the country. The point I saw was that it was seeking something different, if only to provide a contrast to what it experienced every other day.

The daytripper, of course. 

I looked for a short quote or passage that somewhat summed up what I was seeing here and came across this short passage from a posthumously published book the late John W. Gardner (1912-2002) who had served as the U.S. Secretary of Heath, Education, and Welfare under LBJ. I wasn’t sure it spoke directly to this painting, but it spoke to something that had been on my mind, something that seemed to manifest itself in recent times.

It was this idea that we have become a country that leans into constant diversion, that we seek easy, instant, and short-lived gratification in lieu of working or sacrificing for something that would more deeply satisfy our needs and desires. Something that would benefit us in a lasting manner. It’s a tendency that has been exploited by the powerful and influential for their own benefit

It is a hard offer to resist. We all want things to come easy., with little thought or effort. on pour part. And after being exposed to easy diversion for so long, we expect and demand it. We no longer value the day trip– we expect it each and every day.

It’s all an illusion. And a dangerous one at that. We have lost that muscle memory of the need for work and sacrifice for something greater, something more lasting.  We have exchanged that ability for shiny trinkets. 

I know that sounds much like the rants of an old codger at the local diner crowing about how things were so much better back in the day. To be honest, it wasn’t any better. We still wanted everything to be easy and thoughtless. That desire just wasn’t being as fully exploited as it is now. 

I’m going to stop now because I can’t fully link that thought to the painting outside of saying that we need diversion and the occasional day trip. But it should remain that– a day trip. Not a life filled with diversion that keeps us from attending to the real needs of ourselves and others. We need to pay attention, to look away from the shiny and easy a little more often. 

Divert ourselves not with the meaningless, but with things that feel our souls. 

And I think John W. Gardner was correct in believing that most people today would be willing to shuck constant diversion in order to have something worth working or fighting for. 

Maybe that tiny figure is turning its back on the diversions presented to it in order to seek its purpose? Or maybe the painting itself is a diversion?

I don’t know.

But like I wrote earlier, this little painting has a lot of things packed into it. 

Here’s the song that gave the title to this little guy, Daytripper. I am sharing both the Beatles’ original along with a wonderful version from fingerpicking wiz Tommy Emmanuelle that also includes Lady Madonna from the Beatles. If you like watching a master guitarist play, this is a must see.

A little diversion, yes, but it feeds the soul. Or so I think.





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Andrew Wyeth-That Gentleman



It’s all in how you arrange the thing… the careful balance of the design is the motion.

-Andrew Wyeth



I am running a bit late this morning but wanted to share the post below from several years ago, to feature the paintings of Andrew Wyeth but to also highlight the importance of balance in any work of art. I have lately been trying to reconcile the desire to have large fields of color within my work that will have instant visual impact with the need to also have balance and a sense of motion for the eye within the piece, even in pieces that depict stark stillness. It’s one of those esoteric conundrums in every piece of work with an answer that is only known after the fact– you don’t know what it is until you see it and even then, you don’t know how you got there. 

It’s something I can’t easily explain, if at all. But for this morning it serves as an excuse to look at some wonderful Wyeth pieces.



I recently read this quote from the late Andrew Wyeth then looked over a large group of his work, examining each piece with these words in mind. I could really see the importance of the placement of the elements in his work, how it was the characteristic that truly defined his work. It was this that gave his work a poetic feel.

His use of negative space is masterful, the empty areas taking on an important role in the overall feel of the work. Placing the central character, the focal point of the picture, in any in any other spot would change the whole piece, would make it feel less.

It would feel off balance, at least in the form that Wyeth defined it. That balance is his signature.

And I think that is true for many artists. This idea of balance and motion makes up the artist’s eye. Every artist has a slightly different way of seeing things which creates their own unique visual voice.

Myself, when I feel stuck or blocked or feel that I have painted myself into a creative dead end, I look back at older work. It is often the balance and motion with the composition that affect me the most. It serves as a reminder to not lose sight of this idea of balance, to not focus too  much on other parts of the painting that, while important, may not have as much effect on the overall impact of the piece.

Balance in the design creates motion. Good advice from Mr. Wyeth.



 



 


 

Andrew Wyeth– Spring Fed,1967

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I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly dreaming I am a man.

–Zhuang Zhou



I love this famous anecdote above from the great Daoist philosopher Zhuang Zhou, who was born sometime in the 4th century BCE. Like most things worth thinking about, it has no answers for us, only questions. In this case, the question being how we discern what is reality and what is a dream.

I am not going to get into a philosophical argument here this morning on that question. I only mention it because it reminded me of the painting above and the feeling I take away from it.

It is an early piece of mine from thirty years ago, back in 1995, that I call Summerdream. I’ve been looking at it a lot recently as I prep it to be part of the upcoming annual Little Gems show at the West End Gallery.

It’s a small piece that has always resonated with me. I love its forms and simplicity. But more than that, it has a sense of solidity in the way it is painted with deep saturated watercolor while still giving me a dreamy, ethereal sense of floating. I like this dichotomy, its appearance of earthly solidity alongside a diaphanous airiness in its felt atmosphere.

Like Zhuang Zhou, I find myself asking which is real and which is the dream here.

I don’t know for sure. Perhaps I am actually a butterfly dreaming that I am a man wondering such a thing? Or maybe both I and my butterfly alter ego are just a tiny part of a dream dreamt by a tiny being that dwells forty dimensions of time and space from where I sit? 

Maybe or maybe not. We will most likely never know and that, in itself, might be the only correct answer. We deal with the reality in which we find ourselves at any given moment.

Right now, I am a guy sitting in the dark of a winter morning. That’s my reality right now. But later, I might look at this painting and find myself as a floating butterfly.

And that will be an acceptable reality then.

Here’s a well-worn song, from the Cranberries and the late Dolores O’Riordan, Dreams.



Summer dream is a 5″ by 7″ watercolor on paper, framed at 11″ by 14″. It will be available at the West End Gallery as part of their annual Little Gems show, which opens February 7. This painting and a group of new small paintings will arrive at the gallery later this week. The gallery is currently on a short winter break and will reopen this coming Tuesday, January 21.



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In the Rhythm of the World– At West End Gallery

Our minds must have relaxation: rested, they will rise up better and keener. Just as we must not force fertile fields (for uninterrupted production will quickly exhaust them), so continual labor will break the power of our minds. They will recover their strength, however, after they have had a little freedom and relaxation.

–Seneca the Younger, On Tranquility of the Mind



Just a reminder that today is the last day to visit the West End Gallery in Corning, NY before they go on a short winter break from January 5 through January 20.

Everyone needs a little break, as Seneca pointed out in the passage above from about two thousand years ago, in order to recharge one’s batteries and regain some vigor. I have kind of been on a hiatus myself for the last couple of months, barely lifting a brush during that time. I had been feeling a bit beaten down and had lost a bit of pep in my step.

Just a feeling of blah. I don’t know if blah itself is a real thing but if you’ve felt it, you know what I mean.

But I believe I am emerging slowly from it. I have just finished some of a group of small pieces for the upcoming Little Gems show that opens on February 7 at the West End Gallery. It was awkward at first, but momentum grew with each small painting. The urge to pick up the brushes and see paint on a surface has returned and seems to grow with each passing day. 

It has been very beneficial to me that the Little Gems show has always fallen at this time of the year when I am ebbing low. The small scale of the paintings allows me to work on things that I might otherwise put off, to explore new themes and possibilities. To learn and attempt new things. To sometimes fail then take the lesson learned from failing and make something better.

Though it is work, it is most invigorating, not depleting at all. Like priming a pump. 

Or fertilizing a field– maybe that’s the more apt description?

I don’t know about that, but it feels good to feel the giddiness of creating something new again, to feel that there is something ready to come out once again. It has been absent for the last month or two and has been sorely missed. From going through this cycle many times before, I knew it would come eventually. It seemed to take a little longer this year and the wait became excruciating.

But it is close to being back in full and I am excited.

I may be taking a short break here on the blog for the next couple of weeks to more deeply reengage with this newly recovered rhythm. While I was on my short hiatus from painting my work here on the blog continued and it might be that I need a break. Might need to fertilize the field?

Maybe. We’ll see how it goes.

If you get a chance today, stop into the West End Gallery before they go on break. Hope they can fully recharge their batteries.

Here’s an absolute favorite Beatles song. I don’t know when I last shared it but it feels like it needs to go with this post. This is Tomorrow Never Knows.



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GC Myers- Time Patterns 2024

Time Patterns– At West End Gallery



I can hardly understand the importance given to the word research in connection with modern painting. In my opinion to search means nothing in painting. To find is the thing. Nobody is interested in following a man who, with his eyes fixed on the ground, spends his life looking for the purse that fortune should put in his path. The one who finds something no matter what it might be, even if his intention were not to search for it, at least arouses our curiosity, if not our admiration.

Pablo Picasso, “Picasso Speaks,” 1923



To find is the thing…

I often write here about searching for something with my work. It’s usually something I can’t describe in any way that helps myself or the reader. It’s just something that pulls me forward.

Well, that’s what I thought, for the most part.

Reading the passage above from Picasso recently set me thinking that perhaps it was not a search at all, at least not in the way I had portrayed it.

Perhaps I was driven onward because I had found something and felt the need to express and share it. Or perhaps to keep that feeling of discovery, that eureka! moment, alive within myself– and within others who sensed whatever I had found for themselves when they viewed the work.

I can’t say for sure. I am still wrangling with this. But it makes some sense to me. A painting begins as an exploration, a search, but as it progresses it moves toward a revelation of some sort. The search is in the process, not in the resulting work.

At least, for the artist. It may differ for the viewer. They may see it as a way toward something they need and seek. Something they may not even realize is needed or sought. Perhaps they will find that same thing in the final work that that I had found, that same thing that seems to somehow answer vague, unasked questions.

Who knows for sure? But this idea that the work in not so much a search as it is a revealing of what has been found satisfies something in me.

Maybe that what was I was looking for in the first place?

Or maybe this is all one of those dreams where everything you wonder about suddenly seems to make perfect sense and there is that momentary feeling of elation that is then suddenly and completely gone once your eyes open.

Could it be that?

I don’t know but here’s an old song from Todd Rundgren that came to mind while I was finishing up. I haven’t heard this tune in many years and Todd Rundgren is one of those artists who was very popular in the 70’s but has faded somewhat from the front of the public mind the in the decades that followed, though he still is actively recording and performing. Just on a smaller stage as the musical outlets    became narrower and more niched. This is I Saw the Light.



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Wabi Sabi



“The tides of time should be able to imprint the passing of the years on an object. The physical decay or natural wear and tear of the materials used does not in the least detract from the visual appeal, rather it adds to it. It is the changes of texture and colour that provide the space for the imagination to enter and become more involved with the devolution of the piece. Whereas modern design often uses inorganic materials to defy the natural ageing effects of time, wabi sabi embraces them and seeks to use this transformation as an integral part of the whole. This is not limited to the process of decay but can also be found at the moment of inception, when life is taking its first fragile steps toward becoming.”

― Andrew Juniper, Wabi Sabi: The Japanese Art of Impermanence



The post below is from four years back. It got a bunch of hits yesterday and when I went to see what it had to say (I often forget what I’ve written) I was struck by the image at the top of the post. The whiskey-brown color just grabbed me and at the bottom of the image I noticed wear around an exposed knothole that reminded me of a wave. Maybe Hokusai’s Great Wave in wood? I began to see the image as a painting, something I had not done before. Anyway, I read the post and liked it a lot, which pleased me. I am sometimes surprised when I read something from years ago and am impressed with it, like I was reading it for the first time. As I’ve added to my own patina in the past four years, I thought this would be worth replaying.

I added a song at the bottom that is kind of about wabi sabi. It’s called The Wino and I know from Jimmy Buffett. It’s from his 1974 album, Living and Dying in 3/4 Time, long before there were Parrotheads or Margaritaville. Hard to believe I bought it about 50 years ago. This song has been a favorite of mine for that long.



The photo at the top is the floor of our garden shed. It’s a simple structure that we bought new probably 35 [ about 40 now] years ago. Over the years, the once pristine plywood floor has darkened, taking on a smooth rich patina on the parts that have not pitted or worn away from decades of comings and goings.

It’s a beautiful thing and I often find myself stopping while I’m in there, which is every day, just to take some small pleasure in looking at its worn surface. The fact that it took a long period of time and innumerable footsteps, along with the mud, snow, grass trimmings, and oil that come along for the ride, to smooth and wear down the surface adds to my appreciation. It’s not something that could be replicated easily. Oh, you could try but it would lose that organic depth that comes with time.

Just a bit of the wabi-sabi of things around us. That’s the Japanese concept of finding beauty in the imperfection and natural wear shown by things.

And I guess that applies to people, as well. I know I am fascinated in seeing how folks age, how their faces and bodies reflect the life they have lived. There is beauty in the lines on the face or the graying of one’s hair.

Of course, I am talking about other people. I don’t find any beauty at all in my wrinkles or my whitened and thinning hair. In fact, I close my eyes now when I walk past my bathroom mirror out of the fear that some old man will jump out of it at me.

Nah, that’s not true. As much as I would sometimes like to have the smooth skin and the darker, fuller head of hair of my youth, I am satisfied, even pleased, in seeing the wear and tear written on my features. I see a small scar high on my forehead and remember the wound that left it so well.

It was many years ago and I was playing with my Magpie– her name was actually Maggie Blackwater–our highly charged husky-shepherd, chasing her around our yard. As I pursued her, I went through some low hanging branches on a birch tree next to the deck I was building off the back of our home. Midway through, as I ducked my head lower to avoid the sweep of the branches, I slammed it suddenly into a deck board that I had not yet cut off. I was knocked on my back and could feel the instant throb of pain on my forehead from the blow.

Maggie was on me in an instant, licking and urging me to get up and play some more. I laid there on the ground on my back and just laughed as hard as I could while the blood trickled down my forehead. I tend to laugh at my own misfortune, especially when it is of my own doing, which is almost always the case.

Maybe there is a bit of wabi-sabi in our laughter? Maybe it comes from the recognition of our imperfections, our humanness, in those moments?

And even while I was there on the ground, that same garden shed was not far away, its floor not yet so deeply darkened or worn. It didn’t yet have the accumulated memory of its being written on its surfaces. It was newer but it certainly wasn’t as beautiful.

And maybe that’s the attraction of this concept of wabi-sabi for me, that the wear and tear that appears is evidence of our being here, that we existed in this place and in this time. It’s much the same way in which I view my work, my paintings. Evidence that I was here, that my hand made these things and in some way my voice was heard.

That I, like that garden shed and its floor, had a purpose in this world.

Appreciate and enjoy the wabi-sabi in your own life.



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GC Myers- An Orderly Life sm

An Orderly Life– At the West End Gallery



The man who believes that the secrets of the world are forever hidden lives in mystery and fear. Superstition will drag him down. The rain will erode the deeds of his life. But that man who sets himself the task of singling out the thread of order from the tapestry will by the decision alone have taken charge of the world and it is only by such taking charge that he will effect a way to dictate the terms of his own fate.

― Cormac McCarthy, Blood Meridian, or the Evening Redness in the West



I hesitated a bit about the use of the excerpt above from a book by author Cormac McCarthyBlood Meridian, that I read probably thirty years ago.

It’s considered by some as McCarthy’s magnus opus and one of the greatest of American novels. My memory of it is of its powerful imagery of the relentless chaotic violence that marked the tale, which is set in the Texas-Mexico borderlands in the late 1840’s. It’s a powerful told story that has the feel of the most lurid Hieronymus Bosch painting one could imagine.

It’s a book I would like to revisit but I keep putting off, especially in the context of America at this moment in time. It might be too disheartening to see parallels from that book in a contemporary reality.

Even so, the excerpt above describes what I see as the basis for much of my work, which is the need to seek some sort of order in the chaos, mystery, and seemingly senselessness which this world presents to us on a daily basis.

It might be a fool’s errand. I’ve said that many times before. But to not seek some sense of order in the swirl of chaos, some light in the dark, is unimaginable. Unacceptable.

To seek order means that we have not ceded control over our lives and fates to superstition and fear. That we have chosen to think and reflect on those mysteries of life.

And maybe if we can somehow pull one single thread of order from that vast tapestry of mystery and chaos, we will count ourselves among the fortunate ones who live outside the realm of chaos and fear.

Just one thread…



This post ran a few years back but I thought I’d share it because it included the painting at the top, An Orderly Life, which has been at the West End Gallery for several years now. It’s one of those pieces that really resonate for me personally and every time I come across it in the gallery I feel a pang for it. It’s a mixture of wanting it back for myself– as I said, it holds personal meaning for me– and sorrow that it hasn’t spoken to anyone else in the same way. The sorrow is always more pronounced for those pieces that I feel hold something special or that really strike a chord within me. I think this piece will soon come back to me and I will accept it with that same mix of happiness and sorrow. It actually makes the piece feel more alive to me in that we humans experience that same sort of acceptance and rejection throughout our lives, often going unrecognized for whatever their special purpose might be. In a way, the painting is just living a normal life.

And that is okay.

Here’s a 2009 song from Yusuf Islam, formerly known as Cat Stevens. This is titled To Be What You Must.



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GC Myers- Greenie's Barn circa 1994

Greenie’s Barn, 1994– Now at West End Gallery



There is surely no greater wisdom than well to time the beginnings and endings of things.

–Francis Bacon, Of Delays, 1625



I came across the post below from a couple of years back this morning and thought I would use it to accompany the painting shown above. It’s a small watercolor from 1994 called Greenie’s Barn. It represents for me a beginning as it was painted in that period where I was discovering an artistic voice, at a point coming after what I feel was the major breakthrough in my development. Everything was fresh and exciting, with new discoveries coming with every session of painting. I look at this painting and that jumps out at me because I can remember how thrilled with what I was seeing in this small piece at the time. I loved it the colors at its edges, the ragged nature of its form, its quietude and contrast of light and dark. All things I desired in my work. It felt like it was signaling a direction for me to follow, as though it were a weathervane on that barn.

The barn itself reminded me of the old barns in this area. Many that I knew as a youth have long fallen to the ground from neglect as the farmers who built and used them for generations died out or moved into other forms of work. I see some now, teetering and ready to fall, sections of their roofing peeled back, exposing their roofbeams, and I feel a sadness for them. They were such important structures in their time, often maintaining an almost regal presence in their landscape, and now their kingdom was gone.

So, for me, this small painting of a barn represents both beginnings and endings. I don’t know why I named it Greenie’s Barn. It just felt right at the time and I remember referring to barns by their owners’ names as a kid. It has been with me for 30 years now and I never wanted to offer it in a gallery, but I felt now was the time. It’s at the West End Gallery now as part of their holiday show.

The post below from a few years back deals with beginnings and endings as well. It ends with this week’s Sunday Morning Music selection.



I tromped up through the woods yesterday. The snow wasn’t deep and it was cold enough to freeze up some of the boggier parts of the hillside so that I could wander through. It was something I hadn’t done for some time. Too long. Even though it’s only less than a quarter mile up in the woods, it seems like a world removed from the home and studio down below, which themselves often feel far removed from the world at the end of our long driveway.

It’s quieter than down below, the trees and the terrain muffling sound. The crunch of the snow underfoot is clean and clear. It’s a good sound.

With the snow on the ground and the leaves now gone, I could see deeper into the woods. I was able to better see the individual trunks and crowns of the trees. Some were like anonymous people in a crowd scene in a film, not really standing. While I could still appreciate their individual beauty, they didn’t stop my eye.

It was the bigger trees that jumped out at me, the beech and maples and the now dying ash trees that have been ravaged by the borer beetles. It made me think how loggers must look through the woods, their eyes measuring and taking in the shape of each tree until one large tree sets off their inner alarms. It made me wonder how my great-grandfather, who at the age of 17 first set out into the Adirondack forests in 1872 leading his own crew of loggers, would look through these woods. Would he simply see the trees as a form of income or would he look upon them as companions? After all, this was man who spent much of about 60 or so years in the deep woods in all sorts of weather conditions, most of the time coming before the use of tractors and chainsaws.

It’s one of those times when you wish you had a way to spend a few minutes speaking with an ancestor.

As is always the case in nature, the forest reminds you of the beginnings and endings. The floor of the forest is littered with dead trees that have tumbled over in wetter and windier times or, in the case of the mighty ashes that have died from the damage of the beetles, rot then fall in large chunks until all that is left is the lower trunk of the tree. The remnant ash trunks are sometime twenty plus feet tall.

I am always a bit sad when seeing these dead trees who by virtue of location and environment didn’t last as long as they might have in other places. But even so, among their bony remains on the forest floor new saplings and young trees abound, all straining upward trying to push their faces to the light.

It’s a reminder of the inborn desire to struggle and survive that is present in all species. We all desire to exist, to feel our faces in the sunlight of this world. But, as the forest points out, we all have beginnings and endings.

And that’s as it should be. How would we be able to appreciate this world, to see it as the gift it is, if we knew our time here was without end?

I don’t know the purpose of this essay. I simply started and this is what it ended up as. A beginning and an ending…

Here’s a song that is about beginnings. Not a holiday song. You most likely will get your fill of those everywhere else. Not to say I won’t play one or two in coming days but today let’s go with From the Beginning from Emerson, Lake & Palmer.



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Brueghel_the_Elder_-_Netherlandish Proverbs

Pieter Bruegel the Elder- Netherlandish Proverbs, 1559



I was following the pack, all swallowed in their coats
With scarves of red tied ’round their throats
To keep their little heads from falling in the snow
And I turned ’round and there you go
And Michael, you would fall and turn the white snow red
As strawberries in the summertime

White Winter Hymnal, The Fleet Foxes



I felt like hearing the song White Winter Hymnal though it is still technically not yet winter. But it is cold and there is a light covering of snow on the ground in these parts. I checked to see when I had last played it here and saw that it was in 2018 along with the post below. Since it was a favorite Bruegel painting, one that never fails to grab my attention, I decided to run it again.



I was listening to some music early this morning and came across this song, one that I hadn’t heard in a number of years. Thought it might be a good one to share if only to show the painting that adorned the album cover from which it came.

The painting is from Pieter Bruegel the Elder from 1559. It has come to be known as Netherlandish Proverbs though its original title was The Blue Cloak or The Folly of the World. It has also been known as The Topsy Turvy World which I personally like.

Like any Bruegel painting, it is a pleasure for the viewer with their gorgeous warm colors and dense compositions that make it feel like there is always something more to see. The painting certainly lives up to that feeling, containing depictions of over 120 proverbs or idioms used by the Dutch at the time.

Many are comical, pointing out the absurdity of the world, and some are still in use, such as “Banging your head against a brick wall which you can see in the bottom left-hand corner. Others have faded from usage, like Having one’s roof tiled with tarts” which indicates that one is very wealthy. Some are surprisingly scatological, such as “He who eats fire, craps sparks,” which is about the same as our current “If you mess with fire expect to get burnt.”

If you go to the Wikipedia page for the painting there is a complete list of the proverbs along with the imagery for each. I am enjoying it as I work my way through the list. Even without the list, looking closely at a Bruegel painting is always a great pleasure, as I pointed out above.

The painting was used on the cover of the Seattle based Fleet Foxes‘ self-titled 2008 first album. The song is White Winter Hymnal which works well for this time of the season. The lyrics are actually kind of nonsensical (the verse at the top is basically the whole song) but the song with its ringing harmonies is lovely and the video is interesting. The song has also been covered by the acapella group Pentatonix.

So, take some time to really look at the painting and use the list to see if what can identify what Bruegel was saying.



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