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Everything posted by Jonathan

  1. Here are images from the "NBI Art Reproductions" brochure, b&w, 1967 (thanks, Brant). Paintings by Frank O'Connor: Diminishing Returns, oil on canvas, original: 36 x 20, print: 23.5 x 13.125 Painting Within a Painting, oil on canvas, original: 36 x 14, print: 23.5 x 13 Serenity, oil on canvas, original: 36 x 24, print: 23.5 x 15.75 Leap Frog, oil on canvas, original: 30 x 24, print: 19.5 x 15.625 Still Life With Apples, oil on canvas, original: 12 x 16, print: 10.25 x 13.5 Character Study: Man With a Turban, oil on canvas, original: 24 x 20, print: 19 x 15.75 Paintings and drawings by Joa
  2. Victor's posts on humor in art made me think of dissident collaborators Komar and Melamid. I've always enjoyed their work, including much their performance art, such as conjuring up fictional artists Nikolai Buchumov and Apelles Ziablov, collaborating with the population of the world when creating their Most Wanted paintings, and even their establishing Elephant Art Academies. I love their senses of humor and satire. This is my favorite painting of theirs: Painted in the style of Socialist Realism, a Muse is tracing Stalin's silhouette onto a wall -- she's creating art which conforms to the d
  3. I haven't seen the painting you described, John, but the style you're referring to is called trompe l'oeil. And your story of the Greek competitors sounds a lot like a contest held between Zeuxis and Parrhasius: I wouldn't doubt if the painting you saw was at least partially based on the story, as it is well known among artists. Maybe a Google search on trompe l'oeil clubs, exhibits, etc., might help you find the painting. J
  4. Wow. That's it? Just "Trash"? Man, Rand sure is hard to figure out as far as tastes in art. When someone speaks glowingly of a television show like Charlie's Angels, it's kind of a shock that she would see Parrish as "trash." It's like someone who has a collection of velvet paintings of Elvis, sad clowns and tigers in her home calling her neighbor's Corinthian bird bath "trashy." J "Little pink houses for you and me..." ~~John Mellencamp~~
  5. Where would I find Rand's comments on Maxfield Parrish? Personally, I see Parrish much in the same way that I see Rockwell. Their narratives are usually cute and sweet, sometimes too much so for my tastes, but their rendering skills and their tastes in abstract composition, color schemes, etc, are so powerful that they more than make up for the times that they cross the line into sugary sentimentality (and, hell, sometimes I really crave sugar). My favorite Parrish is Reveries: J
  6. MSK wrote, "AND I JUST LOVE THE NEW HEADER!" I agree. Kat's got a good eye for visual composition. J P.S. Actually, Kat's header makes me feel bad for SOLO, whose lackeys seemed to struggle so hard to come up with a design that expressed the essence of SOLO, and they failed again and again. Their logo should convey a sense of pathetic curmudgeonry, it should somehow represent the fact that SOLO has a very tiny sphere of influence, and it should give the viewer a sense of what he's going to step in if he enters SOLO territory. Perhaps something like this (I'm calling this sketch Lord of His Dom
  7. I think Pitt did a fine job in Se7en, Twelve Monkeys, Spy Game and Meet Joe Black (Claire Forlani. Mmmm.). And it's not like Galt is a difficult character with lots of complex personality traits that an actor would have to struggle with. Look handsome, speak with confidence, and it's a wrap. Jolie did well in Girl, Interrupted and The Bone Collector. I think she'd have no problem handling the role of Dagny. Btw, am I the only one who envisions the film in black and white or a sort of diffusion glow sepia? To me, the textures of heavy industry in AS demand it. J
  8. I didn't read the entire speech, and I don't have time to read it now, but in skimming through it, I noticed this: This is interesting coming from Fred Ross, who owns paintings by Bouguereau, the artist he seems to promote most often in his speeches, in his activism, and on his website. A few years ago he tried to stir up controversy when the Minneapolis Institute of Arts decided to sell Bouguereau's painting _Bohémienne_ in order to finance the purchase of Albert Moore’s _Battledore_ (Moore is generally considered to be a much more important realist artist than Bouguereau). Ross publicly cam
  9. Does anyone have an idea of how many paintings Frank O'Connor created, how many survive, and where they are now? I've seen print or digital reproductions of only five or six. There's the painting which was on the cover of an earlier edition of The Fountainhead (I'm drawing a blank on its title), there's "Diminishing Returns", and I've also seen a few paintings of nudes/semi-nudes, at least two of which have the figures facing away from the viewer and looking out of a window or other structural aperture. Also, how long was his painting career? Did he ever show his work in a gallery or otherwise
  10. MSK wrote: Thanks, Michael. I don't have a lot of experience in dealing with people who have had serious problems with chemical abuse, but from the few instances that I've seen or directly heard about from those who have had such problems, I've gotten the sense that it's not uncommon for them to be pretty successful at hiding their drug or alcohol problems from others, including hiding it from extremely intelligent, observant spouses who would "persistently grill" them if caught in the act. Thanks for the link to Barbara's post. J
  11. On the "Lindsay and his 'take' on Zionism/Israel" thread on SOLOP, Diana Hsieh wrote: MSK, With your experience and knowledge of addiction, would you say that the fear of being grilled persistently by a strongly moral spouse would prevent a person from drinking heavily on a regular basis, or is it much more common for a person with a serious drinking problem to do his best to hide his habit from such a spouse, as well as from her friends and admirers? Might such scolding play a part in driving an addict to confine himself to drinking in a place where he can be alone for hours or days at a tim
  12. MSK: Speaking of obsessing, have any of you Linz-bashers flown all the way to New Zealand to deliver a speech to a half dozen friends and relatives of someone else who was having a pitiful book signing in a store (which doesn't carry the book being signed) down the street from a conference at which Perigo was delivering a speech which you were trying to refute before hearing it? Now that would be obsessing. J
  13. BAMF I'm in south central Minnesota, in a region which is becoming the Kansas of the north. I've been in several situations where tornadoes have passed around or over the area that I was in, but these were the first that I've ever seen up close and personal. Photos and video footage just don't do it justice. A couple of friends and I were within a few feet of very solid shelter, so we stayed out and watched the thing approaching as long as possible without being unsafe about it. We ducked inside when it was about six blocks away. Seeing the size and power of it was...well, indescribable. Two
  14. This is what my world looked like on Thursday: These are stills from a video that someone else shot from a couple miles west of where I was, which was about two or three blocks from the tornado in the first image. The second and third shots are from about 10 and 20 seconds later. The fourth was taken a few minutes after that when all four or five tornadoes combined to form one biggun. A few houses were destroyed and many others battered, but there was actually surprisingly little damage to people and structures. A lot of crops are down or were ripped from the ground. In one field that I sa
  15. I'm sure I would have loved the art, and the science and the traveling companions might have been somewhat interesting too. ;-) J
  16. Hilarious, Victor. I love the diaper. But where is his trusty evil-fighting weapon, his golden, super-pomposity-powered air conducting baton? J
  17. Thank you, Ellen. And welcome home! I look forward to any tales (and photos) of your travels that you'd be willing to share with us. J
  18. Rich: Imagine a radically original artistic genius, a real-life Howard Roark or Richard Halley, working on commission for a committee made up of Objectivists. Is it your impression that his masterly independent vision would be respected by the committee, or would he receive considerably more demands and advice on how to "improve" his creation than what Roark received in The Fountainhead? J
  19. "I do hope you were able to see in your mind's eye my tongue planted very firmly in my cheek..." Yup, that's how I saw it. I just thought I'd give a serious answer along with the "good Objectivist" one. J
  20. According to Peikoff's theory of moral lying, if I were having an affair with a married woman, might it be morally acceptable for me to lie to her if I felt that she was being a "snooper" about my feelings for other women? And how would we know if the story that Frank O'Connor used rows of empty booze bottles to mix artist's paints isn't an example of a moral Peikovian response to "snoopers"? J
  21. Barbara wrote: Thanks for your understanding. As I said in my post which started this thread, I think I've been ~applying~ Objectivism to the discussions on RoR that I've participated in. A common theme among my posts over the years on SOLOYahoo/SOLOHQ/RoR has been to oppose Objectivists judging the psychological health, moral character, and "sense of life" of people based on the art that they create or find value in. If certain Objectivists see a work as glorifying something negative, like, say, hopelessness and failure, they refuse to listen to the reasons behind why others see it different
  22. Thanks, all, for the comments and compliments. I'm tight for time right now but will post some thoughts when I get some free time in the next few days. And I'll do my "assignment," Michael. J
  23. MSK: But I don't want to fit in with evil renegades like you, Michael. I want good, clean, proper Objectivists like Joe Rowlands to like and accept me. I want to learn to be just like them. I want to help change the world by figuring out how to condemn the right art (or should I say the wrong non-art?), and I don't want to just mimic and agree with Joe's opinions without actually believing them. I want to learn the principles which guide him in exempting himself from following Rand's theories and requirements for judging art while claiming that those who disagree with him are anti-Objectivist