The girls have gone home, the house is picked up once again and the cats are wandering around looking to see where the noise makers went to. Well, at least Miss Lily is. Big Boy on the other hand is still no where to be found. The house smells like the chicken that I made for supper. The fragrance of chicken and shallots still hangs in the air. The shallots were in the sauce that went over the chicken. Man does it eat good.
I normally work from home on Mondays except for tomorrow. Someone is out and asked me to cover for them. I’m on the early morning commute a day early.
I’m chomping at the bit to start yard work but I know I have to finish my raised garden bed project first. That means a run to my store of dreams real early next Saturday. I wasn’t so smart yesterday morning by waiting until close to 10:30 to make that run. I almost got ran over twice by soccer moms in the store.
I need to keep playing with my camera settings to see what does what and what happens whenever I go with certain settings. I expect to see that new lens waiting for me when I come home from work on Wednesday.
It’s nice sitting here in the quiet. It was nicer when there were voices in the house and the sound of kids playing.
Sunday with blue skies and sun and some clouds lazily drifting over the Minnesota prairie. The birds are singing away with a really noisy cardinal up in one of the pine trees. It would be nice if it were a little warmer than what it is but I’m more than glad to take what I’ve been given today.
Tamara Łempicka, commonly known as Tamara de Lempicka (16 May 1898 – 18 March 1980) was a Polish Art Deco painter and “the first woman artist to be a glamour star”. Influenced by Cubism, Lempicka became the leading representative of the Art Deco style across two continents, a favorite artist of many Hollywood stars, referred to as ‘the baroness with a brush’. She was the most fashionable portrait painter of her generation among the haute bourgeoisie and aristocracy, painting duchesses and grand dukes and socialites. Through her network of friends, she was also able to display her paintings in the most elite salons of the era. Lempicka was criticized as well as admired for her ‘perverse Ingrism’, referring to her modern restatement of the master Jean Auguste Dominique Ingres, as displayed in her work Group of Four Nudes (1925) among other studies.