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Each one she irreverently refers to as various \"Cathedrals\". This series is perhaps the best example of Stettheimer’s use of stage design techniques to best express her slyly satirical thoughts.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eIn \u003cem\u003eThe Cathedrals of Art\u003c\/em\u003e, the stage is set within the Metropolitan Museum of Art, with the Museum of Modern Art and the Whitney Museum of American Art waiting in the wings. Their missions were more specific than the Met’s, and in Stettheimer’s time, they were often competing with each other to become the space for new art in New York. It’s easy to see what Stettheimer thought of their administrative squabbles: the babies, who signify new art, are heading up the stairs into the central court of the Met.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMany other key players appear in the painting to represent the art world and its attitudes at the time. Stettheimer herself is on the bottom right, stepping gently on a sash bearing the word “commère” (godmother). She was in her seventies while working on this painting, but her painted self appears much younger. To her left is art critic Henry McBridge, standing guard at the entrance to the museum, holding “Stop” and “Go” flags—a nervy nod to his power over public opinion. Alfred Stieglitz, bedecked in black cape, stands at the bottom of the museum stairs. Other friends of Stettheimer appear in the painting, as was her style: her subject matter was often family and friends, including members of the intellectual salon she ran with her sisters.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eUnfortunately, Stettheimer died before she could complete the painting, the last in her Cathedral series. 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Her father was a renowned scientist and botanist, whose samples Ruysch used as drawing practice. She grew up in Amsterdam shortly after the end of tulip mania. A growing merchant class was beginning to appreciate the flower not for herbal or medicinal purposes, but purely for its beauty and fragrance. So it’s no surprise that flowers ended up a lifelong subject for the painter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRuysch’s contemporaries tended to paint tightly focused floral still-lifes, with a clear outline of the entire bouquet and vessel. Ruysch, however, developed a style of her own: lavish and full, her bouquets would spread out spontaneously, filling the frame, woven through with vines, insects, and shells. What seemed so wild and natural was in fact a careful combination of multiple studies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe blossoms featured in \u003cem\u003eFlowers in a Glass Bowl\u003c\/em\u003e are of many different varieties from all over the globe, and they do not bloom at the same time of year. It is highly likely that Ruysch would have had to study the flowers individually, creating sketches to work from, so when she was ready to paint she could combine all sorts of unlikely bedfellows into her lush arrangements. Inspired in part by her father’s work, as well as her many years of practice, Ruysch’s flowers are painted in such close detail they could almost be scientific renderings. This careful attention is part of what gained Ruysch international renown in her time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAs modern-day viewers, we may look at Ruysch’s floral work as simply beautiful bouquets. They’re beautiful indeed, but to gain further insight it is important to delve into how her works were viewed by her peers. In her time, certain flowers would have been easily recognized as references to Christianity. The blue morning glories at the bottom left and right of this arrangement symbolized the Resurrection. Morning glories open at dawn — Jesus coming back from the dead at sunrise.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhile those flowers are freshly opened, it’s also important to note that other items in the bouquet are less than fresh, and that’s on purpose. Leaves starting to spot, a background tulip slowly turning brown: these all represent death. Death is a part of life, Ruysch seems to say with this inclusion. Beauty isn’t everlasting. And yet, her contemporary viewers would have found hope in the striking blues of the morning glory, in resurrection and new life. 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After serving in the Army during World War II, Klein moved to New York City and began working as a commercial illustrator. Klein was seen as the favorite of the Broadway world: during the late 1940s and early 1950s, many of the most popular Broadway productions featured his work on their window cards and posters. By the mid-1950s, Klein established himself as one of America’s leading commercial illustrators. The next decade, however, would prove to be his most illustrious: between 1955 and 1965, Klein designed numerous award-winning travel advertisements, most of it for Howard Hughes and Trans World Airlines. One of these advertisements, depicting New York City’s Times Square, is now part of the collection at the Museum of Modern Art. Klein continued working commercially almost until the end of his life, but in his seventies returned to his artistic roots. He focused on watercolor depictions of his travels in the United States and Europe, painting both rural landscapes as well as architectural studies. These paintings also earned him many awards. Klein passed away in New York in 2005, but his work lives on in bright abstraction, defining a golden era in commercial art.\u003cbr\u003e\u003cbr\u003eTrans World Airlines was a major American airline from 1930 until 2001. In 1930, the two companies—Transcontinental Air Transport and Western Air Express—merged to become Transcontinental \u0026amp; Western Air, operating a route from New York City to Los Angeles with stops in St. Louis, Kansas City, and more. With American, United, and Eastern, Transcontinental \u0026amp; Western Air was one of the “Big Four” domestic airlines of the United States in 1930. The airline prospered during World War II, flying 40 million miles for the Army. 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He focused on watercolor depictions of his travels in the United States and Europe, painting both rural landscapes as well as architectural studies. These paintings also earned him many awards. Klein passed away in New York in 2005, but his work lives on in bright abstraction, defining a golden era in commercial art.\u003cbr\u003e\u003cbr\u003eTrans World Airlines was a major American airline from 1930 until 2001. In 1930, the two companies—Transcontinental Air Transport and Western Air Express—merged to become Transcontinental \u0026amp; Western Air, operating a route from New York City to Los Angeles with stops in St. Louis, Kansas City, and more. With American, United, and Eastern, Transcontinental \u0026amp; Western Air was one of the “Big Four” domestic airlines of the United States in 1930. The airline prospered during World War II, flying 40 million miles for the Army. 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I went to town on the background and made the jungle as bright and floral-y as I could—just a bit of reality and a bit of fantasy. \u003c\/span\u003e\u003c\/p\u003e","brand":"Jennifer Orkin Lewis","offers":[{"title":"8\"x8\"","offer_id":12640158744670,"sku":"7533","price":40.0,"currency_code":"USD","in_stock":false},{"title":"11\"x11\"","offer_id":12640158777438,"sku":"7534","price":85.0,"currency_code":"USD","in_stock":true},{"title":"16\"x16\"","offer_id":12640158810206,"sku":"7535","price":275.0,"currency_code":"USD","in_stock":true},{"title":"24\"x24\"","offer_id":12640158842974,"sku":"7536","price":1450.0,"currency_code":"USD","in_stock":true},{"title":"40\"x40\"","offer_id":12645838684254,"sku":"7537","price":5300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0265\/3475\/files\/wvxTdNEP5qs7X2vdcONXKEVnDSOMBEToL1d3bS5s1Hg.png?v=1683228931"},{"product_id":"earthly-delights","title":"Earthly Delights","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eI look at the phenomena of the natural world through the lens of story and imagination. 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While the early childhood works appear rather cellular with an emphasis on biological forms, youth\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003eis bright and dynamic. With swirling movement and colorful clusters of organic shapes, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNo. 3 \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis less diagrammatic than the more meditative, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNo. 7, Adulthood\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. Here, youth flourishes in a state of flux. 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Allow us to take a brief pause from our April celebration of National Poetry Month for a delightfully dark print release in praise of prose. Drawn in 1894 by 19th c. English illustrator \u003ca href=\"https:\/\/20x200.com\/collections\/aubrey-beardsley\"\u003e\u003cstrong\u003eAubrey Beardsley\u003c\/strong\u003e\u003c\/a\u003e, our newest \u003ca href=\"https:\/\/20x200.com\/collections\/vintage-editions\"\u003e\u003cstrong\u003eVintage Edition\u003c\/strong\u003e\u003c\/a\u003e, \u003cem\u003e\u003cstrong\u003eThe Black Cat\u003c\/strong\u003e\u003c\/em\u003e, served as a sinister companion to Edgar Allen Poe’s story of the same name.\u003cbr\u003e\u003cbr\u003eIn the grim tale, the narrator mistakenly walls up the furious cat with the corpse of his wife. Beardsley’s \u003cem\u003e\u003cstrong\u003eThe Black Cat\u003c\/strong\u003e\u003c\/em\u003e features the moment a wall is broken through, revealing the fierce one-eyed feline balanced atop the dead woman’s head. 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Her 1704 piece \u003cem\u003eFlowers in a Glass Vase\u003c\/em\u003e exemplifies her uncanny ability to execute work with scientific precision and an elevated sense of spiritual splendor to boot. \u003cbr\u003e \u003cbr\u003eRuysch came by her ability to pay meticulous attention to details and capture botanical subjects with lifelike precision naturally. Her father, a professor of anatomy and botany, had an extensive collection of animal skeletons, minerals, and botanical specimens–and from a young age, Ruysch drew from it literally and figuratively. 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