To Cochise's Stronghold

The destination was Cochise's Stronghold, an area in the Coronado National Forest just south of Dragoon.  Our original plan was to drive to Tombstone, have breakfast and then drive up toward St. David.  We planed on taking a shortcut on the Dragoon Ranch Road into the Dragoon Mountains.  That did not work as the road is private and closed.  So we hauled our gear up to Benson, over to the Dragoon exit and then down to the  road that takes you into the Cochise Stronghold Campground.  But, the journey proved to be the photo-opportunity as we stopped often to capture anything that looked interesting.  We ate lunch at the campground and then returned home.  We had a brand new photographer with us.  His name is Bob and he did pretty dang good with a borrowed camera and some simple instructions.  You will see his start below. 

This is the view as you head into the Dragoon Mountains.  It is a wide open area covered in tall grasses, mesquite, a two lane road to the mountain base and a long line of barbed wire.

This dirt road is getting us real close to the campground.  This is typical of the landscape in the area.

The campground is well suited for tents and small camping trailers.  The best part were the birds!!

On the way back we stopped some more times as we saw some interesting houses and rock formations.

Bob liked the different look this house projected . . . GREEN!!

Bob spotted the stained glass window on this cabin.  Nice!

This is the look of the mountain's face on the way back.

As you leave Dragoon and go under the I-10 to get access towards Tucson, you might spot this scene.  Steve stopped quickly.  Can you spot what caused him to pull off the road and for us to grab our cameras?  Look very carefully.  Something does not seem quite right, does it?

Ah, but Carol, you said this was a journey and you started us in the middle.  Of course!  Below you  can enjoy the beginning of the trip.

Our first stop was at an old bridge.  We thought we spotted some water below and there was some.  But, there was more.

There were lots of locks on the fence.  I believe they have significance but could not explain what it is.

Very little water but it was sure reflecting the blue sky.

Off down the road again!

Whoa Nellie!!  What have we here.  Well lots of smiles and lots of clicks!

On the road again!!

Another mandatory stop!  As we were admiring the old truck the owner came out and invited us to take all the photographs we wanted.  Sweet!!  So, of course, we took lots of photographs.

They had a cat.

We were told this was the first homestead in southeastern AZ.  They no longer live here!

That is all folks.  It turned out to be a most fun day.  We hope you enjoyed our journey as well.

Truman Presidential Library

Harry Truman (1884-1972) was President of the United States from 1945 to 1953.  He was very actively involved in the creation and early management of his Presidential Library, located in Independence, MO.  According to Wikipedia, "Truman actively participated in the day-to-day operation of the Library, personally training museum docents and conducting impromptu "press conferences" for visiting school students. He frequently arrived before the staff and would often answer the phone to give directions and answer questions, telling surprised callers that he was the "man himself."  The Library is laid out with rooms that cover various themes such as his presidential years, his personal life, politics of the time, and even a bit about American life during his presidential service.  Note that most of these images were captured with my iPhone 7+.  I gave up doing a lot of editing so please excuse the reflections and crooked signs.  Most importantly, Tom and I hope that you get a sense of what it might be like to walk through the Library on your own.

Tom did NOT use his fisheye for this photograph.  Thomas Hart Benton, the artist, painted it in this manner.  He is known for his surrealistic style. This painting recognizes the importance of Independence as the gateway to the west.

Truman's office as it was during his tenure at the White House.

Harry Truman is buried in the courtyard of his Presidential Library.

Nelson-Atkins Museum Part III

This is the last installment covering the day we spent at the Nelson-Atkins Museum.  There are many wonderful things about Kansas City and this place is at the top of my list.  This blog entry gives you just a taste of some parts of the museum.  We did not get to cover many areas.  That is OK as we plan on returning to KC and surely will fit this into our schedule.  

The interior of the museum is spacious, elegant, resplendent and yet comfortable.

Cafeteria food set at a very high standard for taste and healthfulness set in an awesome indoor patio was inexpensive and a great way to rest our weary feet.

Dusasa I, 2007 by El Anatsui (1944-) Found aluminum and copper wire.  This  very large wall hanging was one of the first art pieces that we saw after entering the Museum.  "Dusasa I was created from recycled liquor-bottle tops that have been flattened and stitched together using copper wire.  Working with the metal shapes, El Anatsui allows the material and colors to suggest the composition.  The artist's use of liquor-bottle tops acknowledges the historical role of liquor as a commodity traded by colonial powers for slaves and its ritual use as a libation, when it is poured as a form of prayer. . . The title Dusasa comes from Ewe words (people of Ghana), da and sass, meaning a fusion of disparate elements on a monumental scale.!

At the end of a long walkway one will see a huge panel entitled, Gates of Paradise.  "They are famous because they mark major advances in rendering perspective, or receding space, and the human figure.

One of the panels from the Gates of Paradise.

Elberta, 1975, by Helen Frankenthaler (1928-2011), Acrylic on canvas.  "To create Elberta, Helen Frankenthaler diluted paint to the consistency of watercolor and poured it directly onto raw canvas laid on the floor.  The result is a composition of sweeping planes of warm yellow, radiant orange and a contrasting highlight of vivid blue.  The narrow band running horizontally along the lower edge of the work is evocative of a horizon line.  This horizon-like band and the expansiveness of the composition give this lyrical painting the sense of an abstracted landscape.  Elberta's forms and luminous hues make it a quintessential Color Field painting."

Chance Meeting, 1989 by George Segal (1924-2000, Plaster, aluminum and galvanized steel.  "Chance Meeting" represents one of George Segal's favorite motifs: people on city streets. . . This pose, along with the title, implies that they are friends or acquaintances who have unexpectedly met on the street.  Segal often used family and friends as models.  In Chance Meeting, the woman wearing the high heels is the artist's daughter, Rena Segal.  This plaster sculpture, part Pop Art and part Realism, contains details captured by the casting process, including folds in the clothing and even top stitching on seams."

Makerchair Jigsaw, prototype, 2014 by Joris Laarman (1979-), ABS (acrylonitrile butadiene styrene).  "Often 3-D printing is used for prototyping small objects.  Here, Dutch designer Joris Laarman has pushed the boundaries by creating a functional chair constructed of printed components.  This prototype features 202 black and white jigsaw pieces that fit together to form the back, seat and supports."

The Chariot, 1950 by Alberto Giacometti (1901-1966) painted bronze.  "The solitary, emaciated figure in The Chariot, frozen in a precarious stance, is a poignant reminder of the fragility of life.  The sculpture is associated with Etruscan and Egyptian chariot motifs as well as with Giacometti's memories of 'a pharmacy wagon being wheeled around the room' in the Bichat Clinic where he was a patient during World War II.  Equally significant to The Chariot is he existential philosophy of his friend Jean-Paul Sartre.  Existentialism emphasizes the isolation of the individual  in an indifferent universe, where existence is defined by an individual's choices."

Atalanta and Meleager with the Calydonian Boar, 1864-1865, Francesco Mosca, called Il Moschino (1525-1578), Carrara marble.  "The ancient Roman poet Ovid provided the subject matter for this sculpture.  Here, Meleager, prince of Calydon, is moments away from embracing Atalanta, the virgin huntress with whom he has fallen in love.  The two have just killed a wild boar that had been unleashed upon the countryside by Diana, goddess of the hunt, for lack of attention paid to her by the kingdom of Calydon.  The head of their trophy, the boar, lies between the two lover's feed.  The smooth sensuality of the surface of this sculpture is typical of the refined tase of Mosca's Florentine patrons at the time."

Head of Abe Lincoln, the Hoosier Youth, about 1932, Paul Manship (1885-1966), Bronze.  "Representations of Abraham Lincoln abounded throughout the Great Depression, elevating the former president as a champion of the common man.  The image of him as a hearty youth full of promise was the most popular.  This large sculpted portrait by Paul Manship was commissioned for the Lincoln Life Insurance Company in Fort Wayne, Indiana.  Responding to the wishes of his clients, Manship portrayed a young Lincoln.  The artist imagined his subject at age 21, creating this image using the smooth modeling and simplified forms of Art Deco."

Natural Bridge, Virginia 1835 by Jacob C. Ward (1809-1891) Oil on panel.  "Jacob Ward painted the  Natural Bridge in Virginia so that viewers gaze at the geological marvel from below.  This low vantage point emphasizes the 200-foot height of the bridge.  Listed among the natural wonders of the world, the Natural Bridge was first owned by Thomas Jefferson, who received it from King George III in 1774.  During the early 19th century, many artists rendered the Natural Bridge because the site ranked with Niagara Falls as one of the new nation's most inspiring landmarks and tourist attractions.  Such natural monuments were thought to distinguish America from Europe."

Gloucester Harbor, 1873, by Winslow Homer (1836-1910), oil on canvas.  "Winslow Homer is best known for his dark, brooding seascapes of the 1890s.  In the 1870s, however, he was distinguished for scenes of children at play that were considered decidedly lacking in sentimentality.  This view of three children in a dory in Gloucester Harbor, Massachusetts, not only depicts a delightful summer outing, but also suggests, by the presence of the huge schooners in the background, the boys' possible future livelihood."

A Lazy Fisherman, 1844 by John Gadsby Chapman, (1808-1889, oil on canvas.  From the information tag: "A critic in 1844 described this barefoot boy in ragtag clothing as "laziness personified".  His complete ease is embodied in his languid pose and heavy lidded eyes and echoed in the fallen basket, lax fishing line and sluggish river.  This sentimental view, rendered with creamy, smooth brushwork, developed from John Gadsby Chapman's experience illustrating volumes of romantic verse.  His talent for drawing is revealed in the boy's hat, clothing and especially in the out-turned foot. . . . Pleasing scenes of children were especially popular in the mid-19th century as they offered musings on childhood innocence and freedom in an increasingly challenging world."

Two-Tiered Still Life with Fruit and Sunset Landscape 1867, Severin Roesen (1815-1872), oil on canvas.  From the information tag: "Severin Roesen's bountiful still life celebrates and reinforces the popular 19th century notion that America's natural resources distinguished the nation from the rest of the world. In majestic proportions and a vivid palette, an abundant variety of fruit sits atop a two-tiered marble shelf.  The dense forest at left and the mountain landscape at right suggest the diversity and power of the American landscape.  Painted around the time of the Civil War, the canvas' dramatic and somewhat threatening sky may suggest the question of whether or not America's unique democracy would prevail."

Water Lilies, 1915-1926 by Claude Monet (1840-1926) oil on canvas.  From the informational tag: "In 1893, Claude Monet bought land adjacent to his property in Giverny, dug a pond and turned it into a Japanese-inspired water garden.  This contemplative environment served as inspiration for a series of paintings that occupied Monet's artistic productions from 1901 until his death in 1926.  Typical of his other paintings dedicated to the water lily pond, the subject here is not so much tho flowers but the dream-like effects produced by light reflecting off this liquid world."

Mill at Limetz, 1888 by Claude Monet (1840-1926, oil on canvas.  In his later life, Monet gradually became more interested in capturing the effects of light on water, including rivers, the ocean and his famous water lily pond.  This is an excellent example of that later period, a dense application of paint woven int a tapestry of luminous color.

The Sonata, 1893 by the American Childe Hassam (1859-1935), oil on canvas.  From the tag: "Combining luminous color, staccato brushwork and academic drawing, Childe Hassam's The Sonata exalts sensory and aesthetic experiences.  The painting feature a pianist having just performed Beethoven's famously difficult Sonata Appassionata, a score for which she holds in her lap.  He slouched posture, echoed by a similarly beautiful but fragile looking yellow rose atop the piano.  A Japanese scroll showing a blossoming cherry tree also evokes the dual pleasures of sight and smell."  The piece demonstrates the artist's endorsement of a late-19th century movement that proclaimed that art was not obliged to tell a story or to impart morals. Instead, art  could be viewed as uplifting society by celebrating beauty.

Man with a Pipe, 1890-1892 by Paul Cézanne (1839-1906), oil on canvas.  The artist wrote' "I love above all else the appearance of people who have grown old without breaking with old customs."  This painting is one of a group of studies related to The Card Players, one of Cézanne's most important pictorial projects.  The local workers reminded him of qualities he admired - steadfast, unchanging, and monumental.