I’m grateful to have known many artists. Yesterday I finally reframed two dear artworks, a project I’ve been eager to accomplish for a year, and hung them on the living room wall. I realized with some sadness that most of the artists represented on that wall now are deceased. Dick Higgins was a friend of Auntie’s, and after she died her daughter sent me the small watercolor above. (Dick’s daughter Wendy is a phenomenal oil painter in Santa Fe, specializing in light.) I pirated an old frame and mat that had had a Japanese print in it for fifty years to reframe this one, which is not only a lovely image but also carries the breeze off the Rappahannock River at happy hour.
“Cats on the Furniture” is a print by one of the loves of my life, Daryl Harrison, who died of breast cancer in 2006. She was scientific illustrator for the University of Florida biology department when we lived next door in the 80s, and was staff artist at the Albuquerque Zoo for years before she died. This print perfectly captures her skill and her whimsy. It came in a silver metal frame, and the mat had faded, so I stole the frame and mat from an old pastel my mother made of me and Knobbydog, which always bugged me because she got his head wrong. I’m grateful I know my way around a picture frame.
When I owned a gallery in the 90s, I supported the artists by purchasing a lot of their works. One of my favorites is this fox by an artist still living, Daniel Logé. Another, below, is this lovely spring alpine scene by Richard Van Reyper. I became friends with his daughter when she brought some of his paintings to enter in a show. I was immediately enchanted with his work, and also with his daughter who became a friend. They’re both gone now. Gretchen succumbed with grace to cancer ten years ago, and I just learned that Dick died last year.
My mother painted a couple of versions of this vase with lilies of the valley, her favorite flower. Amy has the more abstract version of it, while I got to keep this one. She died in 2004. Sometimes it seems like yesterday. She loved the art of Ando Hiroshige (1797-1858), and this print below, Fudo Falls, from One Hundred Famous Views of Edo, was made the year before he died. Oh wait! That’s a Liberty puzzle!
And it’s not on my wall, but it was on my table for the past few days. Liberty carries a number of Hiroshige prints made into puzzles. I’m grateful to Sarah for sharing her puzzle collection with us here in Colorado, and thoroughly delighted in assembling this first of three. More on that, perhaps tomorrow. I’m grateful for artists and the infinite worlds they bring to life.
It doesn’t matter what the puzzle is: clicking that last piece into any wooden jigsaw puzzle is supremely gratifying.
Puzzle season is upon us! We are trading them amongst ourselves as we did last winter, and emailing each other images of which one we might buy this year. In our informal club each household seems willing to contribute one puzzle per winter. I borrowed this one from a friend none of us suspected had puzzles. “Netherlandish Proverbs,” a 16th century oil-on-oak painting by Pieter Breughel the Elder, depicts Dutch proverbs of the time.
Artifact Puzzles includes a key to 60 of the sayings, several of which (To cast pearls before swine) are familiar to me, and many brand new to me seem particularly relevant to our times, like To tie a flaxen beard to the face of Christ.
Pieter Breughel’s “Netherlandish Proverbs” as rendered by Artifact Puzzles. The painting is 400 years older than I am. The proverbs… timeless.
Our favored wooden jigsaw puzzle maker is Liberty Puzzles in Boulder, but Artifact will do in a pinch. I’ve only done two, and I don’t like them as well because they have fewer whimsy pieces, and the cut of their pieces isn’t as intricate or interesting.
Whimsy pieces in the two Artifact puzzles I’ve done are both fewer and less intricate than in Liberty puzzles.
Liberty puzzles trick you on the edges; Artifact puzzles differ in the nature of the deceit. While all of the edge pieces look like edge pieces, there were at least seven corner pieces in this puzzle, and numerous flat-edged pieces that are not edges, that abut each other various places in the center of the puzzle.
The painting’s original title was “The Blue Cloak,” from the proverb “She puts the blue cloak on her husband,” meaning she deceives him. Notice the three pieces in the upper right, where one seeming-corner meets two seeming-edge pieces. This particular trickery seems unique to the Artifact brand.
“To carry the day out in baskets” means to waste one’s time, as some might think I am, doing these puzzles.
Last winter I sat at my table on a cold afternoon and a neighbor crept inside the front door without knocking, without calling first, without the dogs noticing his arrival. In the second after we all heard the front door squeak, they crashed open the door to the mudroom nearly smashing it into his face. “What are you up to?” he asked, then peered over my shoulder. “You’ve got too much time on your hands,” he said. I was alarmed by his entry and annoyed by his judgement.
These wooden jigsaw puzzles are a meditation for me. The mental agility required to assemble them gives several aspects of my brain good exercise, pattern recognition, color discernment, and memory top among them. Then the image itself offers another layer of awareness: is it a classic painting, like this one, or a Hiroshige waterfall? Or is it a contemporary image, is it an antique print (and of what? butterflies, or a historic locomotive?), does it conform to a rectangular shape or take the organic shape of a jaguar; and what thoughts does that image stir, what feelings, both when I first see it, and as I move through the pieces over time? There is never nothing to think about when working one of these beautiful puzzles, each a work of art in its own right.
And it affords, above all, the gift of concentration. For while my mind may roam pondering proverbs, or mulling mythology while assembling a mermaid, or considering the effects of climate change on the Netherlands, or the plight of jaguars; while a memory may be sparked by a porpoise-shaped whimsy piece or a prairie dog (or is that a meerkat?), the rest of the world falls away. The mind is given the exercise it loves, and the spirit is free to to untether and rest beyond thought, observing the layers the mind plies while it fits together cleverly cut pieces of wood and color.
“To tie a flaxen beard to the face of Christ” meaning to hide deceit with Christian piety. The proverb feels relevant to our current situation on several levels. Beyond the obvious, it tells us that 16th century Christians clearly did not see Jesus as a blond man, touching off in me thoughts about racism, xenophobia, and hypocrisy.
Five proverbs listed on the puzzle key are represented here, and at least one more discerned only from researching the painting online.
The central proverb in this image is To be unable to see the sun shine on the water, meaning to be jealous of another’s success. The fellow above is throwing money into water, i.e., wasting it. To his left, the bottoms poking out a hole in the planks represent a couple of proverbs, one stated on the puzzle key, It hangs like a privy over a ditch: it is obvious; and one uncovered here, They both crap through the same hole, meaning they are inseparable comrades. Heehee! Under the privy (and the money) is Big fish eat little fish, meaning that whatever people say will be put in perspective according to their level of importance, or “Those in power have the power.” This makes me squirm a little as I consider the looming transfer of power in Our Nation’s Capital. Add to that the crumbling brick wall, A wall with cracks will soon collapse, or Anything poorly managed will soon fail…
“To have the roof tiled with tarts” meaning to be very wealthy. Perhaps soon the White House will be tiled with tarts. Hmmm. At whose expense?
While doing the puzzle, I noticed a few images not identified on the key, like this fellow kneeling at a fire, so I looked up the painting online. The central proverb here is “To not care whose house is on fire as long as one can warm oneself at the blaze,” meaning to take every opportunity regardless of the consequences to others. Hmmm.
Like the above man at fire, the fellow “sitting on hot coals” wasn’t in the key either. He is being impatient. Above him is one “catching fish without a net,” meaning he profits from the work of others.
“To bang one’s head against a brick wall.” We all know what that means!
The details of expression in the painting are particularly well captured with this poor, morose boy. “He who has spilt his porridge cannot scrape it all up again,” or as I learned it, don’t cry over spilled milk: what’s done cannot be undone.
“Netherlandish Proverbs” was a fast, fun and thought-provoking puzzle, however burdened with nincompoops. I’m glad to have passed it on. I look forward to the beauty, surprise, and complexity of the next puzzle, next year, something bright and wild and full of life.
Spectacularly weird weather continues to give us extraordinary skies, sunrise through sunset and beyond.
The kittens continue to make themselves at home, gradually extending their territory one windowsill at a time.
This morning they claimed the Cradle of Civilization, and because they were too cute in it, and because this is a game of give and take, I ceded the basket and the garden table to them. I made it clear, though, that the tables on either side of that one, and my desk in the corner, are off limits. As they explore the house further each day there is a constant negotiation of territory.
Meanwhile the garden roller coaster opened the throttle a long time ago.
The raised beds, looking north from inside the horseshoe. Dahlias from seed, gladioli, tomatoes.
The raised beds from the entrance, looking south towards the bush beans and melons.
Tomatillos have set a new burst of flowers after I fed them last week.
I may have made a mistake. I gave bloom food to all the flowers and vegetables last week, and it seems to have done some of them good, the flowers, the squashes, beans, eggplants, but I fear I’ve undone my tomatoes and tomatillos. They’re sending off prolific new shoots with blossoms, and some of that new growth on the tomatillos is turning yellow. What do I add to help them, and should I cut off all those flower shoots? And what should’ve I given them instead of bloom food (1-4-5)? Bloom foods I’ve used before have said “for flowers and fruits.” This one I bought in bulk, and don’t really know much about it. I used the same company’s grow formula (3-2-4) earlier this summer, maybe more than once. I think I also did a bloom feed earlier. I thought that doing it last week would help the fruits that were already on there, but instead I think I may have sabotaged them. Live and learn.
Then I called my next door neighbor, who has a true subsistence garden for his family, and asked him what I’d done wrong. He said his tomatoes are doing the same thing, lots of new shoots with flowers, and he didn’t give them anything. So that made me feel better. He agreed maybe I should cut off the new shoots. I started doing that and suddenly it seemed like I was cutting too much growth. It’s been a hard year for a lot of vegetables, late to go in because of the cold, way too much rain leaching nutrients from the soil early and compacting the beds with some clay in them, then hot and dry baking those beds, then cool and wet, then super windy, then rainy, then hot and dry… Fluctuations.
What’s making the tomatillos turn yellow? Is it too much water? Grasshoppers eating stems? Competition from the snake gourd next door?
Plus the grasshoppers! Everyone is complaining about their plague-like populations. Fortunately in my yard there is so much growth of all the ornamentals, from the wet spring, that they have plenty to eat without doing too much damage to the food crops. Still, I’ve been cutting back spent beds where they’re congregating, and setting out Nolo bait stations every few days. Maybe I’m making a little headway, I can’t tell, but the little piles of Nolo get eaten before the afternoon thunderstorms arrive.
A beautiful combination, Callirhoe involucrata, or poppy mallow, with creeping germander, and full of native bees for the past few weeks. But also, if you look closely, crawling with grasshoppers.
Despite the grasshoppers, there are some nice tomatoes forming, and the marigolds are happily blooming.
Our very first little gherkins!
And finally, back inside to kittens. I’m still not sure about their names. I’ve been trying on several different names for each of them in the past couple of weeks. For Ojo, the little black boy, I’ve considered Pepper and Alcide. For the tortoiseshell girl whose working name was Ajo, I’ve considered Garlic, Cinnamon, and Sookie. But in the back of my mind I can’t get past the soft, sweet custart-colored patch on her tummy, and I think I’m going to call her Flan. A as in father, not as in Ann. It sounds as soft and sweet as she can sometimes be, and if the name does make the kitten, I prefer that to a spicier moniker.
Kittens, they are each other’s toys, and I have become their furniture. Flies in the windows teach them to jump. The big dog lies on the futon while the girl kitten stalks a fly by his nose. She creeps, she inches forward tensed, then pounces, lightly, on the cushion by his face; he remains still, watching this curious puppy that has several times hissed at him.
Ojo with the beautiful green eyes.
He’s claimed the forgotten dusty shelf in the laundry closet.
The little black cat rolls and purrs on my chest as I write. His sister sits on a forbidden table. I disrupt him to go scoop her up and bring her back to my lap in the recliner, disrupting his nap preparations. He almost seems to be jealous of her, curled on my chest, settling for one of the first times on the bed he claimed last week. Eventually all three fall asleep, Stellar where he lay, Ojo in the window bed, and Flan, finally, on the footrest between my feet. I find myself feeling more relaxed and happier than I have in a long time, and I know that living with these little kittens is good for my heart. And if it’s good for my heart, it’s good for my art.