BROOKLYN BRIDGE

How many dawns, chill from his rippling rest 

The seagull's wings shall dip and pivot him, 

Shedding white rings of tumult, building high 

Over the chained bay waters Liberty-- 

Then, with inviolate curve, forsake our eyes 

As apparitional as sails that cross 

Some page of figures to be filed away; 

--Till elevators drop us from our day . . . 

I think of cinemas, panoramic sleights 

With multitudes bent toward some flashing scene 

Never disclosed, but hastened to again, 

Foretold to other eyes on the same screen; 

And Thee, across the harbor, silver-paced 

As though the sun took step of thee, yet left 

Some motion ever unspent in thy stride,-- 

Implicitly thy freedom staying thee! 

--from To Brooklyn Bridge, by Hart Crane

Ever since I moved to Brooklyn last year, I've been fascinated by the history and symbolism of the Brooklyn Bridge, represented in these vintage photos.  It's so poignant to see images of landmarks that have changed little surrounded by things, such as fashion of the passersby and the skyline, that have changed drastically over the years.

For this summer's Jazz Age Lawn Party, I was inspired by the vintage photographs of the Brooklyn Bridge, and had my friend shoot my 1920s-inspired outfit on the Promenade.

Beaded dress: Diane von Furstenberg

Duotone Mary Janes: Tommy Hilfiger

Metal mesh handbag: vintage, via Buffalo Exchange in Chelsea

Hat: Scala Collezioni (buy here)
Photos by Meri Feir

Will you be attending the Jazz Age Lawn Party on August 17 or 18?  I would love to see you there in all your 1920s finery!

MARSDEN HARTLEY

This scarf reminded me of the work of Marsden Hartley, an artist I always encountered when reading about American art of the 20th century, but whose work I never really investigated.  

Hartley (1877-1943) was an American Modernist painter, poet, and writer, born in Maine.

Hartley's work was shown alongside many other well-known American artists, such as Georgia O'Keeffe and Charles Sheeler, at Alfred Stieglitz's legendary 291 Gallery in New York.

Though Hartley traveled extensively throughout the United States, and was eventually categorized as an authentically American artist, he also lived in Europe and was greatly influenced by German Expressionism, and inspired by German military pageantry, as seen in the works shown here.

While in Europe, Hartley became acquainted with Gertrude Stein, Wassily Kandinsky (discussed here), and Franz Marc (recently discussed here), each of whom had a distinct influence on his work.

In the later years of his career, Hartley moved back to the U.S., and became a part of the Regionalism movement, depicting scenes of local life in both his paintings and his writing.

Hartley considered his art a spiritual journey, and found great meaning in symbolism.

"My work embodies little visions of the great intangible..."

--Marsden Hartley

Wool coat: vintage, thrifted
Scarf: thrifted
Riding pants: Tahari
Leather boots: Franco Sarto (also worn here and here)
Socks: Gold Toe (also worn here)
Leather purse: vintage (also worn here)
  Striped tunic: H&M
Leather gloves: Urban Outfitters

[Hartley images from arthistory.about.com, oilpainting-frame.com, venetianred.net, and triviumproject.com, respectively.]

INDIVIDUALITY

One of the easiest ways to understand art is by examining the intersections between various artistic disciplines; for example, the relationship between clothing and art.

Paul Klee (1879-1940), a German and Swiss painter, straddled artistic media and styles, as well as various disciplines, including visual art, music, theory, and poetry.

In my last post influenced by Klee, it was striking to see the range of differences between the works, as well as the shared color and shape sensibility. Whether painting, drawing, writing, or music, Klee's work is relatable across media.

I personally find it most enlightening to read his poetry as a companion to his artwork.

Individuality?

is not of the substance of elements.

It is an organism, indivisibly

occupied

by elementary objects of a divergent character:

if you

were to attempt division, these parts

would die.

Myself,

for instance: an entire dramatic company.

--Paul Klee

Inspired by Klee's work, I wore a dress and hat reminiscent of his palette and favor for geometric shapes, yet reflected my personal sense of style and individuality, like all artistic interpretations.

I'm wearing a Marc by Marc Jacobs dress, Cynthia Rowley x Roxy sandals, Juicy Couture straw tote, and a straw hat by Maria Bonita Extra.

What does individuality mean to you?

[Klee images from allpaintings.org, poetry4beauty.blogspot.com, and chinaoilpainting.com, respectively.]