Wednesday, August 03, 2022

David Hockney: Moving Focus / Retrospective at Kunstmuseum Luzern


Long time readers know that I am inspired by the life and work of David Hockney.
My thoughts on Hockney's 2005 exhibition at LA Louver can be found here
 I wrote then and still feel that Hockney, throughout his career, has been as interested in how we see as in what we see. Light, color and questions on space and time have come to the forefront in both physics (light has become the cornerstone of reality and space and time have become observer-dependent) and the art of David Hockney. This new retrospective of David Hockney's art at the Kunstmuseum Luzern looks like a must see. 

Tuesday, August 02, 2022

Cherries Jubilee for Two (L'Affaire Cerises Jubilé)

 by Gregg Chadwick


My brother Kent called me last night while he was dining with our parents because he had a question for me. “Do you remember the name of the French restaurant in La Jolla where they would not serve me Cherries Jubilee for dessert  because I was underage?”

We laughed and chatted for a while and all I could come up with was Chez something. Fortified by a double espresso this morning I began to think about that meal and the wonderful times we have had as a family dining out, traveling, and learning about art, history, culture, and food. 
My first thought was to check in our collection of matchboxes from our travels over the years. I vaguely remembered a picture of the Eiffel tower on the matchbox and maybe the menu. It was the early 1970’s so likely there was a hand drawn feel to the menu and signage. I was studying French in Junior High and my brother was learning it in High School so we had few problems with the menu that night. We had visited Paris with my parents when we were younger, so we had an appreciation for French cuisine. Around that time I was painting my first oil paintings with a definite nod to Cezanne, Monet, and Renoir. 



Gregg Chadwick
Pink Chair
30”x20”oil on canvas 1972 
(The artist was 12 years old)

It was Kent’s birthday and the meal was great fun. I started with an order of escargots. That I do remember. The waiter asked if we would like some as it was a house speciality. The look on his face when I said, sure I would like an order of snails was priceless. “Bon choix” he said. 
They were delicious with just the right amount of garlic. It was fun using the two pronged fork to pull the snails from the shell. 


Eugéne Manet
Sketches of Snails, Flowering Plant
1864/68
Watercolor over graphite pencil on cream laid paper; 198 × 126 mm
The Art Institute of Chicago, gift of Robert Allerton, 1923.1057


I would often order fish as a main course so I most likely had the sand dabs. How do I know? Well, I discovered a menu for sale online while taking up my gorgeous and brilliant professor wife’s suggestion that I search for French Restaurants in La Jolla during the 1970s. First I found an article in the La Jolla Light with reminiscences from food writer Leslie James - "I can still taste the buttery, garlicky escargots at Chez Françoise.”  This looked promising, Chez Françoise could have been my brother’s birthday restaurant. The chef at that time was Pierre Lustrat. 



Chef Pierre Lustrat


An article in the San Diego Reader describes that "when La Jolla's Chez Françoise needed a chef, Pierre Lustrat jumped at the chance, taking charge of the kitchen from 1972 until 1975. While he executed the menu to everyone’s satisfaction, he longed to buy the place and to prepare his own dishes, in his own way, with the skill and imagination that his years of training had brought him.

When he finally claimed the restaurant as his own, he renamed it L’Escargot (the snail), redecorated it, and — most important — revamped the menu.

'When people first came here, they ordered escargot always the same way — with garlic and butter. Well, I thought up four or five ways to serve them, including en croute (in pastry dough).’”



After reading about Pierre Lustrat’s life as a chef, I pulled up images from the Chez Françoise menu from the 1970s. Pink paper. Hand drawn text with a quote from Chef Pierre - “ La bonne cuisine a besoin du temps et patience. Si vous l’avez, vous pourrez savourer un bon repas.” 
In English - "Fine cuisine requires time and patience. If you have it, you can then enjoy a good meal.” Our family had time and patience that evening as we dined. My Dad would have ordered the onion soup for his main course and Kent had the special which he remembers as Beef Wellington. Interestingly, Beef Wellington (named after the Napoleonic Era English Duke of Wellington who enjoyed the dish two or thee times a week if stories are to be believed) or Filet de Bœuf en Croute, is still served in French restaurants around the globe despite the Duke of Wellington’s devastating defeat of Napoleon at Waterloo. At dinner that night because my father was a career military officer and the rest of us were history buffs, we would have discussed Napoleon’s final battle while referencing our memories of the battle charts laid out in my dad’s A Military History & Atlas of the Napoleonic Wars by Vincent Esposito and John Elting at home in his library. The National Army Museum in the UK describes the final moments of the battle:

"Defeat of the Imperial Guard
At about 7pm, in a last bid for victory, Napoleon released his finest troops, the Imperial Guard. They marched up the ridge between Hougoumont and La Haye Sainte, but had chosen to attack where Wellington was strongest. Under a withering fire from British guardsmen and light infantry, the Imperial Guard halted, wavered, and finally broke.
Their defeat sent the rest of the French into panic and eventually retreat. This continued all night, with the French harried by the Prussian cavalry. Napoleon lost nearly 40,000 men killed, wounded or captured. The Allies suffered 22,000 casualties.
Napoleon was defeated. He spoke of fighting on, but was forced to abdicate when the Allies entered Paris on 7 July. He spent the rest of his life in exile on the island of St Helena in the South Atlantic.”

My Dad and Mom had visited the battlefield at Waterloo when they lived in Paris during their Julia Child years after the Korean War. I was taking a photography class at La Paz Junior High in Mission Viejo at the time of our outing to the French restaurant in La Jolla and I was actively printing my Dad’s old negatives including the monument at Waterloo. I can still smell the photo chemicals and see the glow of the red safe light  in my memory. 







The Duke of Wellington at Waterloo, 1815
‘My heart is broken by the terrible loss I have sustained in my old friends and companions and my poor soldiers. Believe me, nothing except a battle lost can be half so melancholy as a battle won.’
Duke of Wellington, 1815
Lithograph after 'Wellington at Waterloo' by Robert Alexander Hillingford, 1815 
National Army Museum, Study collection



Manet’s Still Life With Brioche
photo by Gregg Chadwick


As the night moved on that evening in La Jolla we talked about the future. Kent would soon finish High School and leave for college. Where? 
He wasn't sure yet. The mystery of our lives had just begun with many new chapters to fill. Our main courses were finished. The plates would be cleared. And then the menus reappeared like magic for a discussion about dessert. My Mom would have Mousse au Chocolat and my Dad would have his traditional Crème Caramel." "Brulèe please” my Dad would ask and then add - “Almost burnt.” “D’accord”, said the waiter. Perhaps, I had a lemon tart. I don’t remember because I soon was going to watch my brother’s birthday triumph reach a culinary Waterloo. "I will have the Cerises Jubilé, s'il vous plait”, said Kent. “Non. Monsieur - you will not” said the waiter firmly. We were all perplexed. Were they out of cherries? 




No, the dish was made in a traditional style at the table with flaming brandy. And my brother was too young to drink. But the alcohol burns off someone protested. No monsieur, you are still too young for some things the waiter seemed to say. We all were young then. The news of Watergate was just breaking and the Vietnam War was ending. I was reading film director Jean Renoir’s biography of his artist father Paul Renoir at that time and my Dad would ask me why I enjoyed the paintings of Renoir so much. The answer was easy - though I didn’t know it yet. Renoir’s joy of being alive appealed to me. 
Renoir often painted the simple pleasures of modern life in a way that spoke to me. In paint Renoir captured the beauty of sharing a meal with family and friends. Soon we would move back to the East Coast and I would stand in front of Renoir’s Luncheon of the Boating Party at the Phillips Collection in Washington DC. 
Kent would be off to college at UC Davis.

L'Affaire Cerises Jubilé would remain in our memories. Today looking at the old menu from Chez Françoise I found under Desserts proof that this was my brother’s birthday restaurant: And there it was - Cerises Jubilees (pour deux) - Cherries Jubilee for two 
Next time we visit with Kent and his wife Cathy at my parent’s house, we need to make things right for Kent. We will light the brandy on fire and make Cherries Jubilee in style.  


Renoir’s Luncheon of the Boating Party at the Phillips Collection in Washington DC
photo by Gregg Chadwick









JULIA CHILD’S CHERRIES JUBILEE

Here are Julia Child‘s directions for Cherries Jubilee:

Drain the cherries (save the juice), and toss in a bowl with the lemon rind, sugar, cinnamon, and kirsch or cognac; let steep until needed.

[At serving time]

Blend a tablespoon of arrowroot or cornstarch in a bowl with the cherry marinating juices, then beat in a few tablespoons of canned cherry juice. Pour into chafing-dish pan and stir over heat until thickened, adding more cherry juice if needed. Before entering dining room, stir in cherries and heat thoroughly. To flame, set over chafing-dish flame, sprinkle with 3 tablespoons granulated sugar, and add ½ cup (125 ml) cognac. Heat, then set afire with a lighted match. Spoon up the flaming mixture until blaze dies down; serve over vanilla ice cream.” [1]

Sunday, July 31, 2022

Paint & Pitchfork: Illustrating Blackness | The New Yorker Documentary


Must Watch - Paint & Pitchfork: Illustrating Blackness | The New Yorker Documentary

In a documentary by Christine Turner, the painters behind the official portraits of Barack and Michelle Obama share their thoughts on the portrayal of Black bodies on canvas.

Shirley Ngozi Nwangwa in the New Yorker describes the genesis of the film:
"When the filmmaker Christine Turner got a call from the Los Angeles County Museum of Art (lacma) asking whether she’d be willing to make a film about the painters Kehinde Wiley and Amy Sherald, she didn’t hesitate to say yes. She’d followed the work of both artists for several years, once even going to see Sherald’s work in New York while nine months pregnant. And she knew that the only way to showcase Wiley and Sherald in all their glory, she told me, was to “give them the same reverence, dignity, and respect” that they grant their own sitters. The final product, “Paint & Pitchfork,” explores the unfinished legacies of two Black cultural icons, and how in painting themselves, their subjects, and their people into the art-historical record they attempt to rectify the social and cultural absence of, as Wiley says, in the film 'people who happen to look like me.'"




Thursday, July 21, 2022

07/21/22 Select Committee Hearing

Congrats Steph!

Saturday, July 02, 2022

LBJ signed monumental Civil Rights Act, today 1964



Gregg Chadwick
UCLA School of Nursing Dean Hassenplug Meets President Johnson, 1964
36”x36” oil on linen 2019
UCLA School of Nursing Collection

 

Friday, July 01, 2022

"Something In The Night" - Bruce Springsteen and the E Street Band 7/5/2012


From the City of Lights - Paris 


Gregg Chadwick
Pigalle - City of Lights
48"x36"oil on linen 2015
Kavich Reynolds Productions Collection, Los Angeles, California 


Tuesday, June 28, 2022

Remembering Stonewall




"The Battle of #Stonewall - 1969" 
by Sandow Birk 1999 Oil on Canvas, 96" x 120"
Collection of the Crocker Art Museum, Sacramento, CA 🏳️‍🌈 🏳️‍⚧️🏳️‍⚧️
http://sandowbirk.com/stonewall 🏳️‍🌈 🏳️‍⚧️



Suburbia is Subsidized: Here's the Math [ST07]


"Car-dependent suburbia is subsidized by productive urban places. That's why American cities are broke. But how bad is it, and who is subsidizing who? Watch the rest of the Strong Towns series here: https://www.youtube.com/playlist?list... Urban3 is a consulting company that helps cities better understand the economic impact of development. They have worked with many American cities to better understand and visualize the costs of development, and uncover which properties are productive, and which are not. Some municipalities have been willing to share that information, and it has provided a fascinating glimpse into the financial problems caused by sprawling car-centric suburban development. https://www.urbanthree.com/ This video explores some of the cities analyzed by Urban3, and provides some lessons that cities should learn about how to build Strong Towns." Watch this video ad-free on Nebula here: https://nebula.app/videos/notjustbike...

06/28/22 Select Committee Hearing

Monday, June 27, 2022

Olivia Rodrigo - F*** You (feat. Lily Allen) (Glastonbury 2022)


At Glastonbury Olivia Rodrigo brought Lily Allen onstage and spoke out against Friday's horrendous US Supreme Court ruling:

"I'm devastated and terrified that so many women and so many girls are going to die because of this. I wanted to dedicate this next song to the five members of the Supreme Court who have showed us that at the end of the day, they truly don't give a s*** about freedom."

Rodrigo then went on to name the five justices who ruled to overturn Roe v. Wade, with Chief Justice John Roberts filing a concurring opinion. 

"This song goes out to the justices Samuel Alito, Clarence Thomas, Neil Gorsuch, Amy Coney Barrett and Brett Kavanaugh," Olivia Rodrigo said as the crowd roared. "We hate you."






Monday, June 06, 2022

Coldplay & Bruce Springsteen (Dancing In The Dark) - MetLife Stadium 6/5

Thursday, June 02, 2022

Darkness on the Edge of Town - 44 Years Down the Road

 by Gregg Chadwick

44 years ago today, Bruce Springsteen's fourth album Darkness on the Edge of Town was released. The wide open romanticism of Born to Run was missing from this new album. Instead we were greeted with a powerful mix of Steinbeck, Hopper, Woody Guthrie, and Springsteen's unleashed guitar. Bruce's new guitar sound was both lyrical and powerful. I put that sound into my artistic toolbox and pull it out when I need to. In the opening track Badlands, Springsteen howls that "It ain't no sin to be glad your alive." I've held on to that line as a call to action ever since. 


Gregg Chadwick
Love In Vain (Castro - San Francisco)
16"x20"oil on linen 2016

I had just finished my freshman year at UCLA and  this was my first summer on the Monterey Bay in central California. The pace of life was so much slower than Los Angeles or Washington DC and I found time for study and reflection in the hours after my temp job finished. I would go for a run through Point Lobos after work to clear my head and then would sit with East of Eden or The Grapes of Wrath until the sun went down. I would paint late into the night trying to get these new inspirations onto canvas. I had a lot to learn but I was dogged and I let my failures lead me onto new paths. 


Gregg Chadwick
This Machine Kills Fascists - Woody Guthrie
14"x11"oil on linen 2012
Peter Himmelman Collection, Los Angeles


The highways around Monterey were wide open in the late 1970's. Like a character in a Springsteen song I would drive to find out where I was going. Images that still need to be painted flooded in:

Early morning light on farm workers in the fields outside Salinas.
The crumbling docks of Cannery Row seemingly melting in the sea air.
Rows of US soldiers waiting their turn on the target line at Fort Ord.
The seaside chimera of Santa Cruz glowing in the morning fog.



Gregg Chadwick
The Opal's Rim (Point Lobos)
72"x48"oil on linen 1997
Private Collection, Los Angeles


On July 1, 1978, I took Highway 101 up from the Monterey Bay to Berkeley. I met my brother and his future wife Cathy at the edge of the UC campus and we wandered until we found the Berkeley Community Theater. Throughout my high school years in the suburbs of DC, my older brother Kent was studying at UC Davis and I cherished the moments we had together. Each time we reunited seemed like an epiphany. We talked and argued about life, art, politics, poetry, spirituality and music. We had seen a few concerts together on the east coast starting with a J Geils gig in Asbury Park. But neither one of us had seen Bruce Springsteen and the E Street Band play live. Until that night in Berkeley. 





The concert was a revelation, almost a rock n' roll revival. But there was also an undercurrent of pain and empathy like the Darkness album itself. Springsteen's 1978 guitar improvisation opening to Prove It All Night got us all out of our seats. 


Two songs stood out for me that night. The first was Springsteen's haunting, solo piano version of The Promise which became a sound that I tried to get into my paintings from that day forward. 


The second was Bruce and the E Street Band's electrifying version of Because the Night


I knew that Springsteen had penned Because the Night and then given the not quite finished work to Patti Smith to complete and record. I took that song on as my romantic talisman. Somewhere down the line I knew I would find a partner who would feel the passion from those haunting lines and that searing music just as I did. My wife, MarySue, and I found each other in 2003 and  our friend, the singer/songwriter Kelly Colbert performed a scorchingly hot version of Because the Night at our wedding on 7/7/07.


MarySue and Gregg at Their Wedding  7/7/07
photo by Sabine Pearlman



My artistic landscape was growing in the Summer of 1978 and Springsteen's Darkness on the Edge of Town provided a soundtrack for the film of my life. And most importantly Darkness inspired me to find the stories that I wanted to tell in my art and life.