When in Umbria: Spoleto, Part 1

Spoleto Duomo bell tower

Chiesa San Gregorio Maggiore bell tower

After a lot of to-ing and fro-ing, we decided on Spoleto as the base for a week in Umbria. We found what looked to be (and was indeed) a comfortable, reasonably-priced apartment with lots of light and even a terrace with a view. The owners, British expats Norma and Laurie, were bursting with excellent information and, where needed, gratefully appreciated assistance in getting around. But it was more than that: they truly made us feel we’d arrived at a home away from home.

July Miscellany, with music by Jaeger, Mattingly & Trapani & performances by Dhegrae & Contemporaneous

That’s Robert Louis Stevenson contemplating the proceedings, courtesy John Singer Sargent. The proceedings include, among other things, El café by Joaquín Torres-García and the Cabinet of Geology and Mineralogy from the announcement of a project by Mark Dion at Vassar College.

Color, Seeds, Thread, Buttons & Music by Debussy, Jalbert & Shaw

Postcards of Matisse’s Blue Window (1913) and Bonnard’s Table in Front of the Window (1934-35) called out for construction paper cut-outs. As if that weren’t enough, I scouted among our shelves, where I spotted an ancient packet of watermelon seeds and put them to use.

January Miscellany: Hoffman, Schubert, and Marie Vieux-Chauvet

Playing around: The image of a Hans Hoffman woodcut in an arts magazine proved an irresistible impulse for coloring between the lines. After all, I’d collected dozens of colored pencils some time back (they looked so very appealing on display in a local arts and stationery shop) and they’d been neglected for far too long. Spare buttons discovered in a winter decluttering session, a leaf stamp and ink pad, a couple British stamps, and a magazine image of tiles all got their moment in the sun as well.

December Miscellany, with Lois Dodd & Germaine Tailleferre

Two Red Drapes and Part of White Sheet (1981)

I think you survive if you don’t fit anywhere.
—Lois Dodd [Faye Hirsch Monograph, p. 10]

Best is to view Lois Dodd’s paintings directly, as we did this week at the Alexandre Gallery.  If, however, commentary is desired to supplement the looking, listen to Dodd herself: