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What do Shep and Ol’ Blue Eyes have in common?
Jean Shepherd and Lois Nettleton
Frank Sinatra and Lois Nettleton
Yes, but what else? My wife comments that some of my favorite creative people (Hemingway, Picasso, Mailer, Dylan, Shepherd, and Sinatra) have this in common: they could be not very nice people (to put it mildly). Probably the majority of people familiar with those names are not familiar with the ways in which each in his own way could be so self-centeredly cruel.
[Regarding creativity, how many know that Picasso wrote and that both Shepherd and Mailer drew?]
Recently, my interest spiked by an HBO two-part special on Sinatra, I encountered a short but succinct book by Pete Hamill, Why Sinatra Matters (1998). The intro concludes thusly:
….Now Sinatra is gone, taking with him all his anger,cruelty, generosity, and personal style. The music remains. In times to come, that music will continue to matter, whatever happens to our evolving popular culture. The world of my grandchildren will not listen to Sinatra in the way four generations of Americans have listened to him. But high art always survives. Long after his death, Charlie Parker still plays his version of the urban blues. Billie Holiday still whispers her anguish. Mozart still erupts with joy. Every day, in cities and towns all over the planet, someone discovers them for the first time and finds in their art that mysterious quality that makes the listener more human. In their work all great artists help transcend the solitude of individuals; they relive the ache of loneliness; they supply a partial response to the urging of writer E. M. Forster: “Only connect.” In their ultimate triumph over the banality of death, such artists continue to matter. So will Frank Sinatra.
Read the following, with Shep’s–or Hemingway’s or Picasso’s, or Mailer’s–name substituted for Sinatra’s, understanding that I recognize that there are differences in the correspondences:
Now [Shepherd] is gone, taking with him all his anger,cruelty, generosity, and personal style. The [words] remain[
s]. In times to come, that [voice] will continue to matter, whatever happens to our evolving popular culture. The world of my grandchildren will not listen to [Shepherd] in the way four generations of Americans have listened to him. But high art always survives…. In their work all great artists help transcend the solitude of individuals; they relive the ache of loneliness; they supply a partial response to the urging of writer E. M. Forster: “Only connect.” In their ultimate triumph over the banality of death, such artists continue to matter. So will [Jean Shepherd].
A scrawled masterpiece by Marta Monteiro
Seeing the cover of the New York Times Book Review of January 17, 2016, I nearly passed it by as a nothing space-filler. But I began to look at it a bit more carefully. I became fascinated by its graphic sophistication masquerading as a childish scrawl.
Picasso is quoted as saying that it had taken him decades to learn to draw like a child. This childlike drawing contains a plethora of visually and intellectually fascinating details. My interest in fine art, my training as an industrial designer, and my career as an exhibit designer all train me to see and understand. I feel visually and mentally invigorated just thinking about this piece.
The image shows many people, from the back, wending their way past a title and its list to their right, and the section title: BOOK REVIEW. The colors are, roughly, red, white, grayish blue, and black. The color areas are nicely balanced in zigzag arrangement throughout, starting with the most realistic depiction of the red sole of a man’s shoe at the bottom, expressing his and the entire crowd’s movement. Major red items continue a bit higher up on the far left with a woman’s head scarf; move up to half of a man’s red jacket; centered to the right, a woman’s red coat; further right is a red scarf and coat; one continues the zigzag movement to the center. A red-jacketed man whose red-soled shoe repeats the motif from the bottom of the crowd, but, on the other foot, as though the two feet are part of the one entity—the crowd–re-emphasizing the crowd’s forward motion. Above, a girl’s red coat; to the right a round red hat; left a red coat; the zigzag continuing, diminishing in size with a number of small red spots: all, with smaller red strokes moving the eye up into the far distance. One can as easily follow the rough zigzags of blue, black, yellows, and a couple of greenish tans.
Most of the solid color areas follow the shapes of the clothing, but yellow and blue sometimes serve both as parts of objects and as extensions beyond their objects, becoming parts of the abstract zigzag patterns that help move us up into the distance at the top of the page. A good part of the blacks also serve as outlines, helping define objects, such as the many black-textured scribbles that amusingly define a great variety of hair styles, and, on the lower left in the white of a man’s coat, a long jagged line (seeming by itself to be an arbitrary stroke just for composition’s sake), defines a sleeve and its wrinkled connection to the coat’s shoulder. Check out for yourselves other color and shape areas to see how they assist the overall graphic composition.
Halfway up on the left, a blue-textured smudge seems to be a couple of far-off trees. The man with the checkered jacket holds on his head a red-outlined flat box, graphically, roughly echoed by the black-outlined cooler to his left, and much higher up and further away, a blue-outlined arc-shaped container on a head, and above that, another outlined box on a head. The tiny shapes in the furthest distance are somewhat recognizable as people, then further up, abstracted into pure color blobs beyond our recognition, but we know what they are. They become even more anonymous than the closer members of the human throng.
Near the bottom right, a blue shape with a pattern of vertical black lines denote a coat with sleeve, and the wearer’s large white bag on his/her back serves as background for a very sketchy man’s head and shoulders with scribbled blue sweater, scribbled black hair, and yellow outline of head and ears. He is almost the nearest to the viewer and, being transparent, lets us see beyond him, giving us a psychological sense of being maybe at the back of, but definitely a part of, the moving crowd. (Graphically illustrating this “psychological sense” because, when we are in a crowd moving, we sometimes don’t see some parts of those around us and then sometimes those pieces of the crowd are revealed in the shifting movement—yet, seen or not, we know that they are all there.) It is as though humanity, en masse, including ourselves, travels up the page and far beyond our ken.
I’d never heard of artist Marta Monteiro, so I googled images of her work and found many that I liked. Yet my favorite is the finely designed sketch of migrating humanity gracing the cover of the Book Review.
[Among elements I’d failed to note earlier is that the vertical box, low, left, is diagonally oriented to help the zigzag move up toward the right, where several people, facing diagonally leftward, dramatically form a visual element with the red-outlined box on the head, in all, strongly aiming the direction back toward the center in the zigzag design.]
I emailed my original comments–above the centered diamond shape–to Ms Monteiro (where she is located in Portugal) and she graciously responded:
Dear Eugene Bergmann,
thanks so much for your interest on my work and your kind words.
I usually say that I communicate more successfully using images than words. When I try to use words they fail on me all the time but images don’t. So I wish I had the time to do a quick drawing about how happy I felt when I read your e-mail.
Everything you wrote is on that image. The childlike approach to drawing, the zigzag of colors and shapes and the (sometimes) abstract design of figures/people. All descriptions are really accurate and I couldn’t have said it better….