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Today's walk: 11 miles over the moors to Largs, on a sunny but chilly afternoon. Nice.
(I later added an additional 5 miles that weren't in my original plan, but didn't take any photos on that bit so you can pretend it didn't happen if you like.)
Practice at Dundowran
NIKON D4S with Sigma 70-200mm F2.8 EX DG OS HSM (Nikon F) at 70mm
Shutter: 1/250
Aperture: 6.3Practice at Dundowran
NIKON D4S with Sigma 70-200mm F2.8 EX DG OS HSM (Nikon F) at 70mm
Shutter: 1/250
Aperture: 6.3Photograapher
Coyotes Came Out of the Desert, 1945
Matsusaburo George Hibi, born Japan 1886
died New York City 1947
Matsusaburo George Hibi was an American painter and printmaker, born in Japan. In addition to developing his own notable artistic practice, Hibi left a lasting impact through his efforts in organizing pre-WWII art associations in Northern California.
Hibi emigrated to the United States in 1906 as a young adult, initially studying English in Seattle, Washington. He moved to San Francisco, California shortly after, where he drew cartoons for Californian newspapers and Japanese publications. Hibi’s formal art education began in 1919 at the California School of the Arts, where he would remain for 11 years as a student, custodian, and staff member.
By the early 1920s, Hibi had emerged as a key figure among the Japanese and Asian American art communities based in Northern California. Hibi helped found the East West Art Society in 1921 and served as lead contact for organizing the group’s exhibition at the San Francisco Museum of Art in 1922, which featured works by himself, Chee Chin S. Cheung Lee, Tokio Ueyama, and his close friend Chiura Obata, among others. Hibi married Hisako Shimizu, a Japanese immigrant who also studied at the California School of the Arts, in 1930 and relocated to Hayward, California. While raising his two children and teaching at his Japanese language school for second-generation Japanese Americans, Hibi continued to produce and exhibit his artwork in numerous juried exhibitions throughout the Bay Area. In 1937, Hibi held his first solo exhibition comprised of 90 paintings at Hayward Union High School.
However, Hibi’s artistic career and life were uprooted by the events of World War II. After the attack on Pearl Harbor in 1941, Executive Order 9066 forced all Japanese Americans on the West Coast to move to incarceration camps beginning in 1942. Hibi and his family were initially sent to Tanforan Assembly Center, then Topaz War Relocation Center, where he played an instrumental role in organizing and running the art schools alongside Chiura Obata. Hibi continued to produce his own work as well, such as paintings and small woodblock prints that depict the camp’s barracks blanketed in snow. These works often feature his signature motif of coyotes or mountain lions, whose presence emanates a sense of anxiety and struggle for survival that pervaded the campgrounds. Despite the harsh physical and emotional climate of their incarceration, Hibi remained committed to arts, as evidenced by his writing: "I am now inside a barbed wire fence but still sticking to art–I seek no dirt of the earth, but the light in the star of the sky."
After their release from Tanforan in 1945, Hibi and his family moved to New York City, where he attempted to rekindle his artistic career. However, Hibi's health quickly deteriorated, and he died in 1947 from cancer. His widow Hisako, who later relocated to San Francisco, organized a posthumous solo exhibition of his work at the Lucien Labaudt Gallery in 1962.
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Experience America
The 1930s was a heady time for artists in America. Through President Franklin Roosevelt’s New Deal programs, the federal government paid them to paint and sculpt and urged them to look to the nation’s land and people for subjects. For the next decade — until World War II brought support to a halt — the country’s artists captured the beauty of the landscape, the industry of America’s working people, and a sense of community shared in towns large and small despite the Great Depression.
Many of the paintings in Experience America were created in 1934 for a pilot program designed to put artists to work; others were produced under the auspices of the WPA (Works Progress Administration), which followed. The thousands of paintings, sculptures, and murals placed in schools, post offices, and other public buildings stand as a testimony to the resilience of Americans during one of the most difficult periods in U.S. history. This display is drawn entirely from the Smithsonian American Art Museum's collection. SAAM holds the largest collection of New Deal art in the world.
americanart.si.edu/exhibitions/experience-america
During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.
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Gentoo Penguins at Brown Bluff
This guy is practicing his nest building skills for next year by moving rocks from one pile to another.
Practice piece 5: front
Still sticking with the 'leaves aren't always green' theme, I decided to do some elongated leaves in a blue and tan variegated cotton thread (Superior?), then went around them with an aqua blue variegated thread (Rainbows), then I used a silver metallic thread (Wonderfil) for the stems and veins of the leaves ONLY, then followed that with tiny bubbles in the same silver thread. I quite liked how this turned out and call it my 'Blue Gum' piece!