Sunday Morning


I love Sunday mornings.  They’re quiet here.  Well, at least they’re quiet for this part of the Hundred Acre Wood and they’re quiet for now.  It’s just me, my coffee, my ever faithful Chickadees and a few cars driving by.  Mr. Cardinal is none to happy with me tho.  I decided to sit out on the deck to enjoy my Sunday morning coffee and he prefers that I leave so he can come in to feed.  I guess he is a little self conscious about his table manners or something.

But like I said, it’s quiet here until someone’s Dad decides it’s a good time to mow the lawn versus going to church like a good Minnesota Lutheran would.  We don’t have a lot of good Minnesota Lutherans in my neighborhood.  They would have mowed the lawn because the Missus of the house would have reminded them on Saturday that it’s either mow the lawn or no Sunday football or baseball.  Yeh.  That can be good motivation given the right game being on the TV schedule.

But I’m an irresponsible Catholic and not a good Minnesota Lutheran so I make allowances and excuses as to why I can sit on the deck and drink coffee while Bill down the street loads his family into his soccer van so they can go to church.  I just smile and wave as they drive by knowing that he’s probably thinking what I’d be thinking right about then.  Yeh.  I hope he does a lot of praying this morning.  I’m sure a lot of unsaid four letter words went thru his head as he drove by.  No worries Bill.  You’re a good Minnesota Lutheran.

Art Sunday #130: Anton Mauve – Shepardess


Anthonij (Anton) Rudolf Mauve (18 September 1838 – 5 February 1888) was a Dutch realist painter who was a leading member of the Hague School. He signed his paintings ‘A. Mauve’ or with a monogrammed ‘A.M.’. A master colorist, he was a very significant early influence on his cousin-in-law Vincent van Gogh.

Most of Mauve’s work depicts people and animals in outdoor settings. In his Morning Ride in the Rijksmuseum, for example, fashionable equestrians at the seacoast are seen riding away from the viewer. An unconventional detail, horse droppings in the foreground, attests his commitment to realism.

His best known paintings depict peasants working in the fields. His paintings of flocks of sheep were especially popular with American patrons, so popular indeed that a price differential developed between scenes of “sheep coming” and “sheep going”.