And we hope you can view.
Yeh, this is a bit of a departure but we lost a legend this weekend. Thanks for all of the great songs Chuck.
Hope you can view.
And not one that someone would typically celebrate. No, the milestone that I reached today was the one where I finally could not open a jar of salsa. So I tried a different jar because I’m sitting here on bread baking day watching “Master and Commander” on HBO and salsa and chips sounded pretty good to me. The second jar didn’t open either. So we tried the third and final jar it the seal finally gave way.
My fingers hurt from trying but not as much as my ego. Yeh, that’s slightly more than bruised right now. The fingers hurt from a tab bit of arthritis that developed from the sins of my youth. I can take a little Ibuprofen for that and they’ll feel much better soon. There’s not much that I can take for the ol’ ego lest it be a bit of rum or maybe some wine later on for my supper.
I went to Amazon and ordered a good jar opener. Such is life I guess.
Sunflowers (original title, in French: Tournesols) are the subject of two series of still life paintings by the Dutch painter Vincent van Gogh. The earlier series, executed in Paris in 1887, depicts the flowers lying on the ground, while the second set, executed a year later in Arles, shows bouquets of sunflowers in a vase. In the artist’s mind both sets were linked by the name of his friend Paul Gauguin, who acquired two of the Paris versions. About eight months later van Gogh hoped to welcome and to impress Gauguin again with Sunflowers, now part of the painted Décoration for the Yellow House that he prepared for the guestroom of his home in Arles, where Gauguin was supposed to stay. After Gauguin’s departure, van Gogh imagined the two major versions as wings of the Berceuse Triptych, and finally he included them in his Les XX in Bruxelles exhibit.
Van Gogh began painting in late summer 1888 and continued into the following year. One went to decorate his friend Paul Gauguin’s bedroom. The paintings show sunflowers in all stages of life, from full bloom to withering. The paintings were considered innovative for their use of the yellow spectrum, partly because newly invented pigments made new colours possible.
In a letter to Theo, Vincent wrote:
“It’s a type of painting that changes its aspect a little, which grows in richness the more you look at it. Besides, you know that Gauguin likes them extraordinarily. He said to me about them, among other things: ‘that — … that’s… the flower’. You know that Jeannin has the peony, Quost has the hollyhock, but I have the sunflower, in a way.”