Dinner: Meatless Sunday

Carrots and Dried Cranberries in a Maple Syrup glaze

Rice

Blistered Green Beans and Heirloom Tomatoes with fresh Mint in an Harissa-Honey-Lime Juice Sauce

Hard-Boiled Eggs

Wilmington, Delaware: The Delaware Art Museum, coda

 Leaving the Delaware Art Museum on such a lovely day demanded that I delay my trip home long enough to tour it's amazing a familiar sculpture gardens.

Wilmington Delaware: Delaware Art Museum, part 5

Gallery 10 on the ground floor is a space used to house temporary exhibitions. It is also the last gallery that I visited on this trip.  It was getting late, and my back was starting to bother me.  What I encountered in Gallery 10 was sublime and reinvigorating.  The space is dedicated to a retrospective of the works of Christian Robinson an African American Children's book illustrator.  

Over a dozen of his works were featured with a sample of the original artwork in each.  There was also a video on a loop of the artists leading an art lesson from a series of online zoom sessions he hosted during the pandemic.  I walked away have discovered a new artist who's ethos and aesthetic felt like a new chamber in my heart.  Without further ado, some images from the exhibition: "What Might You Do?  Christian Robinson"

Christian Robinson teaching an art lesson on video

Gaston and Antoinette are a pair of books that trace the adventures of a French Bulldog and a French Poodle.  They are companion books.

"The Dead Bird" is a classic of children's literature by Margaret Wise Brown.  This is a re-interpretation of the original.  It was one of the undisputed classic masterworks of primary children's literature.  The tale of a group of friends who discover a dead bird in the park and how they respond.

We end by giving the artist the final word.

Wilmington, Delaware: The Delaware Art Museum, part 4

 From the Green Gallery to the Orange, and an expanded look at the Collection of Illustrations.  The tale is told from the point of view of it's greatest proponent: Howard Pyle.  The Gallery is divided to tell a series of tales: The life and major works of Howard Pyle; The art and processes of illustration; The works of the illustrators that Howard Pyle taught and their legacy.  Featured prominently are the works of several woman illustrators, too.  In the parlance of Equity education, who is missing for the story and how do we elevate their voices in a broader, more inclusive, conversation?

I entered the exhibit from the exit unwittingly, and so I will take you through some of the highlights in the same order.

A gallery featuring the works of Howard Pyle's most prominent students

"Cover and Frontispiece," 1924 (Hans Brinker and Silver Stakes, by Mary Mapes Dodge

Frank Earle Schoonover (1877 - 1972)

The image as it appeared on the book cover in 1924

A pair of magazine covers from the collection in context with a period photograph

"Cover," 1937 (Romance Range magazine)

Gayle Porter Hoskins (1887 - 1962)

"The Mountain Pony has the Climbing Ability of the Goat," 1907

Alan Tupper True (1881 - 1955)

"Cream of Wheat for 'Sail'," 1912

Katharine Richardson Wireman (1878 - 1966)

"More Books in the Home!," 1924

Jessie Wilcox Smith (1862 - 1935)

"Lady of the 1870's," circa 1917

Anna Whelan Betts (1873 - 1959)

"Anthony van Corlaer, The Trumpeter of New Amsterdam," 1893 - 1894

Howard Pyle (1853 - 1911)

From painting to illustration in a book.

"A Wolf Has Not Been Seen at Salem for Thirty Years," 1909

Howard Pyle (1853 - 1911) 

More views of the route from drawing to book illustration.

"The Buccaneer Was a Picturesque Fellow," 1905

Howard Pyle (1853 - 1911)

"The Mermaid," 1910

Howard Pyle (1853 - 1911)

Artifacts from Howard Pyle's studio.

"Project your mind into the subject until you actually live in it.  Throw your heart into the picture and then jump in after it." ~ Howard Pyle (1853 - 1911)