Don, Brevard, and Pisgah Forest Color

 What an experience!  I suggested to Don that I had not been to NC in the fall in probably 50 years, and could we maybe do a road trip across the Blue Ridge Parkway to see the Great Smoky Mountains?  This was all planned before the devastation Hurricane Hellene created, especially in Asheville.  But the Smokies were not affected, and Don and I, along with Sally and Neal Patton, booked a cabin in Gatlinburg, Tenn. 

It was hugely successful as far as color was concerned.  We somehow hit the very highpoint of color in the Smokies.  It was particularly rewarding for Sally and Neal, who had tried for years to get to the mountains at the height of the color, and missed it over and over.  

This blog will be in three parts: My time in Brevard,  the drive to the Smokies, and visiting the famous Cade's Cove, and then finally the hike to Clingman's Dome, the second highest peak in the Easter US, and all the color along the way.  One of the most spectacular trips of my life. 

We did have some good color in Massachusetts.  This is from a hike in the 
Tidmarsh Audubon Nature Preserve in Plymouth. 

When I arrived at Don's house in Brevard, the pets took to me right away (I wonder why?).
This is Snowball napping with me.

And this is the famous Peedee "stare", an uncompromising evaluation of "how soon you are going to pet me?"

Up the next morning to see how far we could get into Pisgah Forest.
This is Looking Glass Falls, one of the most photographed falls in America.
I have never seen this kind of color here. 

We took a dirt road back down, but found it closed 10 miles down and had
to turn around and retrace our route, but it was all so beautiful. 

Looking Glass Rock in the distance. 

Looking Glass Rock again

This is as beautiful color as I have seen in Brevard.

Don rehearsing with a woodwind quintet

I got to sit in with the Brevard College Wind ensemble, and also
the Blue Ridge Symphonic Brass, a group Don helped organize.  
A friend of Don loaned me a bass trombone to use while in Brevard, 
and it turned out to be a terrific instrument, probably built in the 60's
by Conn.  What a great sound!
We ended my time in Brevard with a great visit to Sylvia and Tim Bryson, as always,
a great treat.

Georgia O'Keeffe and Henry Moore at the MFA

 Surely, a huge money-maker for the MFA, and rightly so, bringing two of the most iconic artists of the 20th. century together in one splendid and very entertaining exhibition.  When Susan and I went, the galleries were filled to capacity, even though there was timed entry.  

I must admit to looking forward to O'Keeffe, rather than Moore, but as usual with many exhibitions, you learn a great deal to change your perceptions about an artist.  And although I can't say that I respond to Moore with the same awe O'Keeffe inspires, I have a great deal more (pun) respect. 

A large blog for a huge exhibition. Be patient.

And don't forget to click on an image to enlarge it, if you wish. 

Moore: Working Model for Three Piece No. 3: Vertebrae, 1968

O'Keeffe: Ram's Head, Blue Morning Glory 1938

O'Keeffe:  Horizontal Horse's or Mule's Skull with Feather,1936

O'Keefe: Red Hills and Bones, 1941

Barbara Hepworth, British, 1903-1975
Rock Form (Porthcurno), 1964

Brett Weston, American, 1911-1993
Knot in Tree Trunk, 1970

O'Keeffe: Shell No. 2, 1928

detail of above

O'Keeffe: Calla Lily in Tall Glass-No. 2, 1923

O'Keeffe: Shell and Old Shingle No. II, 1926

Moore: Reclining Figure, 1959-64

O'Keeffe: Canna Leaves, 1925

Bill Brandt, British, 1904-1983
Belgravia, London, 1951

O'Keeffe: Autumn Leaves-Lake George, NY,  1924

Moore: Group of Shelterers during an Air Raid, 1941

Recreation of Moore studio

Moore: three small pieces

Moore: Sculpture Settings by the Seal, 1950

Moore: Atom Piece (Working Model for Nuclear Energy), 1964-65

Recreation of O'Keefe studio

O'Keeffe: Cliffs Beyond Abiquiu, Dry Waterfall, 1943
In spite of my passion for very strong color, this is such a masterpiece of
muted and subtle effect; perhaps even more beautiful than the actual live scene.
Compare this with White Iris further down. 

O'Keeffe: In the Patio I, 1946

O'Keeffe: Black Place I, 1944

O'Keeffe: Black Place II, 1945

 

Moore: Working Model for Oval with Points, 1968-69, Susan

Moore: Working Model for Mirror Knife Edge, 1976

detail

Moore: Mother and Child, 1968

Moore: Stringed Ball, 1939

O'Keeffe: Feather and Brown Leaf, 1935

Moore: Bird Basket, 1939

qw

O'Keeffe: White Iris, 1930
This painting is so beautiful, it could almost be called trite.
Or kitsch.  But it is beautiful

O'Keeffe: Abstraction, 1946
O'Keeffe only produced 3 sculptures, two of which are in the exhibit. 

O'Keeffe: Series I White and Blue Flower Shapes, 1919
O'Keeffe claimed that none of her flower paintings had any sexual overtones, 
but, ahem, maybe I just have a dirty mind.  

O'Keeffe: Leaf Motif, No. 2, 1924

Moore: Helmet, 1939-40
I think Moore saw Munch's The Scream just before sculpting this.

Moore: Thin Reclining Figure, 1979-80

O'Keeffe: Deer's Skull with Pedernal, 1936
I am not sure why this is titled "with Pedernal", 
'Pedernal' is the name of a mesa in New Mexico

O'Keeffe: Fishhook from Hawai'i, No. 2, 1939

detail

A monumental exhibit.  It is exhausting to think of the effort it took to
bring all those sculptures into the museum, and the collaboration
involved between so many art institutions. 
Bravo, MFA!  It is always a gift to visit you.