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Author Topic: There’s no denying we are now in the Winter Flickr  (Read 2275 times)

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Online andyg0404

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There’s no denying we are now in the Winter Flickr
« on: December 23, 2017, 04:30:23 PM »
Hello everybody and welcome back to My Weekly Flickr.

I want to wish Betty and my fellow board members a very Merry Xmas and I hope some of you who haven’t supported Betty’s in the past will consider a donation over the Holidays so Betty really has a merry Xmas.

It’s not especially cold but it’s been a damp, dank miserable day weather wise. I’ll be driving to the Jersey shore on Monday to spend Xmas with my friends and I’m hoping the forecast for some snow in the morning turns out to be incorrect, I really hate driving in bad weather. But I’m looking forward to spending time with people I’m very fond of.

This week I was at the Met for their current David Hockney exhibit. Hockney is someone whose paintings I’ve seen at auctions but he isn’t an artist I’ve followed. He’s an Englishman who has spent many years in the United States and at 80 years of age has been creating art for six decades.  He is gay and has expressed this in his paintings. This is a link to his Wikipedia biography.

He’s very prolific, the exhibit filled a number of galleries in chronological order and showed his progression through his different styles. His very earliest works are dark, muddy, abstract and fairly ugly as you can see from this.

Tyger Painting No 2

His subsequent paintings were more representational but still rather crude in my opinion.

The Hypnotist

He visited California in 1963 and painted images he saw there.

A Bigger Splash
A Lawn Being Sprinkled

He painted portraits of friends.

Christopher Isherwood and Don Bachardy
Mr and Mrs Clark and Percy

Wikipedia explains Hockney’s next phase. In the early 1980s, Hockney began to produce photo collages, which he called "joiners" first using Polaroid prints and subsequently 35mm, commercially processed colour prints. Using Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork to make a composite image. Because the photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, one of Hockney's major aims—discussing the way human vision works.

Don and Christopher
My Mother, Bolton Abbey
Pearblossom Hwy., 11 - 18th April 1986, #2

There was a wall of his drawings which I found very nice.

Ossie Wearing a Fairisle Sweater
Dr. Eugene Lamb, Lucca
Colin St. John Wilson. London. 16th June 1999
Andy, Paris, 1974

His later works are very large, very bright and colorful paintings

The Road Across the Wolds
The Road to Thwing
A Closer Winter Tunnel

Once again the Met has chosen not to load the images from the exhibit as you can see from the varied websites to which I’ve linked the images above. Here’s a website with a bunch of images.

Here’s the New York Times review with liberal illustrations

This is a link to the Met press release.

This is a link to the Met overview page with a brief video.

This was certainly, aside from the early works, a much more cheerful and pleasant exhibit than Munch and I enjoyed strolling through the galleries. The Holiday season is a busy time for the Met and the galleries were well attended but due to the enormous size of so many of the paintings getting a good view was never a problem. I have a better appreciation now for someone I knew so little about prior to the exhibit. I’ll certainly pay closer attention when I see his work in the future.

Now let’s see who’s at the Flickrs.

Andy G.

Experimentation in femininity...


Gold Dress



nov sissy d1 a




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Re: There’s no denying we are now in the Winter Flickr
« Reply #1 on: December 30, 2017, 04:35:51 PM »
Hello everybody and welcome back to My Weekly Flickr.

Let me begin by wishing Betty and my friends on the board, as well as all the lurkers, a slightly early very Happy New Year. Hope it's a good one for everybody everywhere.

We remain in the deep freeze here in the Northeast, temperatures not getting out of the teens and feeling like single digits when the wind blows. Forecast calls for this to continue at least through this week. I continue to take my walks but I’m very glad when I finally get back home. Had another dusting of snow this morning which unfortunately was just enough to require my guy to come and move it. It’s hard for me to believe but it’s one year since I retired. Like so much of my life it passed very quickly but I certainly enjoy being retired and don’t regret the decision at all.

This week I took the long walk up Fifth Avenue to the Jewish Museum to see the exhibition Modigliani Unmasked. It’s an exhibit of his early drawings and when I queried my brother about it he said he didn’t think he would go as the drawings weren’t anything special. But I’m always looking for venues to visit and I decided I would check this one out. In addition to the drawings were sculptures and paintings and the paintings more than made the visit a success. The drawings were done in anticipation of his sculptures and were very simple and repetitive.  Many of the drawings and paintings came from the collection of Paul Alexandre. This is an old article from the UK newspaper The Independent which speaks of the discovery of a trove of 440 of Modigliani’s drawings, all of which were owned by Alexandre.  Amadeo Modigliani was an Italian Jew who painted in the early years of the 20th Century. This is a long review of a previous exhibition which explores his Jewish identity, how the museum promoted it and whether it’s valid.  This is a link to his Wikipedia page with many illustrations.

This is representative of the many drawings for his sculpture heads.

And while not the head depicted in the drawing this is representative of the actual sculptures in the exhibit.

There was a large drawing in watercolor and crayon of a caryatid. From the web I learned that a caryatid is a stone carving of a draped female figure, used as a pillar to support the entablature of a Greek or Greek-style building. Modigliani painted the one below which he gave to Jacob Epstein when they were friends in Paris together in 1912.  Their intention was to set up a studio together and they dreamed of creating a Temple of Beauty, a vast temple dedicated to all mankind and held aloft by a series of stone caryatids which Modigliani named 'The Pillars of Tenderness'. This Rose Caryatid is from the Norton Simon museum

This is a watercolor of Maud Abrantes, a married woman who for a time was his mistress. She was American and returned to America supposedly carrying his baby but nothing further about her or the baby was ever recorded. The wall card noted his depictions of her emphasized her eyes and ineffable sadness.

This painting, The Jewess, probably used Maud as a model.

Jeanne Hébuterne was his final lover. They lived together and she had his child but when they announced their engagement her family protested because he had a reputation of being a drug and alcohol abuser. When his diagnosis of tuberculosis was received the wedding was called off. Jeanne was pregnant with his second child when Modigliani died and she subsequently committed suicide the day after his funeral.

Jeanne Hébuterne with Yellow Sweater

Portrait of Roger Dutilleul – This is a portrait of one of his patrons who unable to collect the works of more established artists acquired thirty-four paintings and twenty-one drawings of his, virtually ten percent of Modigliani’s late work.

Portrait of Doctor Devaraigne – The doctor was probably a friend of his. The wall card said that when a subject’s features were particularly striking he would exaggerate them.

Hanka Zborowska – This is a portrait of the wife of the poet Leopold Zborowska who was also Modigliani’s last art dealer.  The wall card noted it was also likely the first of 12 portraits he painted of Hanka. He usually made multiple copies of his portraits. This one is from a private collection as were several others on display which was another incentive to see the exhibit.

Lunia Czechowska – This is the accompanying wall card to this painting. It speaks of her friendship with the Zborowska’s and also mentions his instantly recognizable long necks.
Modigliani saw himself primarily as a sculptor. Even when declining health forced him to abandon the medium, he continued to think, draw, and paint as one. Lunia Czechowska, a good friend of Leopold and Hanka Zborowski, became acquainted with the artist and emerged as one of his favorite models. Here, Modigliani suppresses descriptive identity in the service of a universalized presence: he graphically captures Czechowska’s aristocratic bearing, depicting her like an icon. Her smooth, ethereal features and exaggeratedly long neck emphasize the image’s sculptural quality.

This is a link to an installation view of the exhibit.

This is a link to a video discussion of the exhibit.

I’ve always enjoyed his portraits and this was a very enjoyable show which in addition to allowing me access to paintings in private collections also had material from venues I’ll probably never have a chance to visit.

Now let’s carefully walk across the ice pond to the Flickrs.

Andy G.


Sweet & Innocent look

Ice Queen, little blue dress

Christina Naye's White Light Summer Dress


nov17 (248)




Sissy maid or boy?

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Re: There’s no denying we are now in the Winter Flickr
« Reply #2 on: December 31, 2017, 07:20:01 PM »
As always andyg0404,
 I love your adventures to the galleries and your posted comments and pictures. It is the only way I can keep in touch with the Art world other than with my computer. Oh and of course I love the flickr pics also as a way to escape my Male self and dream of what may come in the afterlife.

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Re: There’s no denying we are now in the Winter Flickr
« Reply #3 on: December 31, 2017, 10:17:26 PM »
Thanks Angela, let me reiterate that I hope the New Year is a good one for all of us.

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Re: There’s no denying we are now in the Winter Flickr
« Reply #4 on: January 06, 2018, 04:44:13 PM »
Hello everybody and welcome back to My Weekly Flickr.

Like Betty we here in New Jersey have been experiencing the ongoing polar freeze this week with our first snowstorm and remarkably cold weather. This morning the thermometer read 3 degrees when I went out for my walk and the wind chill brought it well below zero. It wasn’t quite as bad as it could be as the wind wasn’t really blowing although as I sit here typing this I can hear it howling. The morning of the snowstorm though it was so bad that I had to curtail my walk because the wind was freezing my face and the walking was treacherous. Looks like Tuesday will bring us some respite with temperatures in the 40’s.

I went back to the Metropolitan Museum this week. The museum has been in the news this week as they’ve instituted a fixed price admission fee for non-native New Yorkers. This would affect me if I wasn’t a member but I’ve had membership since 2000 when my brother gave me the first year as a gift. I certainly get my money’s worth based on the number of my visits during the year. There were two small exhibits, the first being in the drawing corridor. I usually find things to enjoy in the drawings show and there were some nice things in this one although it was hardly one of their better offerings. The first half of the exhibit was turned over to a contemporary artist, Matthew Day Jackson, and a group of his four-color, four-plate etchings, none of which particularly moved me.  This is one:  But there were other items from more established artists that caught my eye and I’ll mention a few.

James McNeill Whistler is an artist I’ve always enjoyed, both his full length portraits and his etchings. Childe Hassam as well. Below are four images, two by each artist. For each artist there are two versions of the etching, an unmarked image and another showing it after the plate had been cancelled. Artists cancel their plates when they’re finished making prints, this is done by scribing crosshatch or “X” lines across the plate to indicate that further impressions are not from the original edition and to discourage further prints being made. But images made from cancelled plates can still have value. I found a website which explains why images from cancelled plates might still be collectible.
Artists like Degas often produced very few impressions of a work before cancelling the plate. Later in life he gave about 20 cancelled plates to his dealer Ambroise Vollard for Vollard to publish an extended edition. Thus, the Vollard edition of Degas’ etchings from cancelled plates were the artist’s intent … hence they are good. Since impressions of Degas’ prints from the pre-cancelled state of the plate are more rare, and therefore much more expensive, collectors often purchase impressions from the cancelled plates. For many of these Degas etchings, the cancellation marks are not very obtrusive.
You can see that Whistler really defaced the plate while Hassam carefully inscribed his lines not to cover his face.
James McNeill Whistler - Nocturne

Nocturne – Cancelled plate

Childe Hassam – Self-Portrait

Self-Portrait – Cancelled plate

Samuel Palmer – Sabrina – According to the website this bucolic watercolor depicts Sabrina, a legendary nymph of the River Severn who oversees drinking cattle. Sabrina comes from John Milton’s Comus and the painting replicates the dazzling effects of sunlight.

Jost Amman - Procession of the Doge to the Bucintoro on Ascension Day, with a View of Venice, ca. 1565 – This large, roughly 6ft x 2.5ft, woodcut print is hard to appreciate on the small screen but there’s a lot going on to look at with all the people and the boats and the buildings.  The website says the artist never visited Venice and probably based this on an earlier representation of the event.

Plate 1 from 'Los Caprichos': Self-portrait of Francisco Goya – Los Caprichos consists of 80 plates and I’ve been fortunate to have seen them in different exhibits. It’s always nice to come across them again, this was the only one in the corridor.

Manuel Salvador Carmona - Portrait of Pedro de Salvador Carmona and his wife María García – This etching caught my eye because of the trompe l’oeil effect of his showing the picture as appearing on another engraving, with curling edges that project toward the viewer.

Mariano Fortuny - Portrait of the painter Eduardo Zamacois seated at a table – I found this evocative of Rembrandt’s etchings and was also drawn to it by its bareness and simplicity.

The second exhibit was Quicksilver Brilliance: Adolf de Meyer Photographs. De Meyer was a photographer of the early 20th Century who depicted celebrities as well as taking fashion photographs being the first official fashion photographer for the magazine Vogue. This is a link to the website with an overview and a link to all the images.

Josephine Baker in 1925-26 – Baker was a black entertainer and activist who had to go to France to find her fame and fortune. For copyright issues the image on the Met website can’t be enlarged but I found a larger version on Pinterest which is directly below the first link.

Lady Ottoline Morrell – Morrell was known mainly for her friendship with the Bloomsbury group of artists and writers, the most well-known of whom were Virginia Woolf, John Maynard Keynes, E. M. Forster and Lytton Strachey.

Olga de Meyer – His wife was a fashion and artist’s model modeling for Sargent and Whistler among others.

Etienne de Beaumont – The Count was a French aristocrat, patron of the arts and collector. You can read about him at the second link.

So, no blockbusters but as with every visit to the Met there are always worthwhile things to seek out and admire.

Some time back I wrote about the wonderful drawing exhibit at the Morgan Library which consisted of the collection of Eugene V. and Clare Thaw. Preceded by his wife in June, Eugene passed away this week. This is a link to his obituary in the Times. I just read the newspaper and saw paid notices in the obituaries but not the actual obituary article.  But when I Googled him I found the obituary which will be in the print edition tomorrow.

And now the Flickrs.

Andy G.


leslie barloa

French maid Louann

PVC maid

Ready for inspection


Stefania Visconti

Coral Dress and Black Pumps


Sandals ;)

Online andyg0404

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Re: There’s no denying we are now in the Winter Flickr
« Reply #5 on: January 13, 2018, 05:24:53 PM »
Hello everybody and welcome back to My Weekly Flickr.

This week we had a brief respite from the bitter cold, the other morning I took my walk in just my flannel shirt but that ended quickly as today was once again cold and blustery due to the wind. At least the thaw melted all the snow and I was able to turn my car around in the backyard; this is a very good thing as backing up is not something I’m equipped to do easily. I’ve mentioned that I don’t drive very much and every New Year’s Day I calculate my annual mileage. This year I drove 703 miles. I’ve had my car for 12.5 years and in total I’ve put on 11,400 miles. So you can see I only use my car when I have no other choice. It’s very convenient that I can take the bus and train wherever I want to go and getting the senior discount helps keep it affordable. And I hope to continue to be able to take my long walks for the years going forward.

I find myself in a bit of a cultural lull as I’ve seen all the current art exhibits at the museums I’m familiar with and I haven’t come across any new galleries to visit of late. I have things on the horizon, several that I know of in February, and next week I hope to take a friend to a small exhibit but this week found me searching for something to do. I decided to visit the Ronin Gallery and see whatever Japanese woodblock prints were currently on display. I was about to go last Saturday but luckily I checked the website and reminded myself that they’re only open Monday to Friday so I decided to go in on Monday. Which I did and when I arrived at 11:30AM I was very surprised to find their office dark. No one answered the bell and it was clear that the gallery was closed. I was annoyed at myself for not remembering they open at Noon but I didn’t want to stand in the hallway for half an hour so I went home. Once home I went online and checked their website and discovered that I hadn’t been wrong about their opening at 11AM not Noon so I speculated that their clerk had been held up in the subway system which would explain their not being open. Once before I had arrived at opening time and found the clerk waiting outside until the employee with the key arrived so I imagine that’s what happened again.

At any rate, I was able to view the prints that line the hall of the building in the entrance as well as the prints that are in the hall outside their gallery. And they have most of their works on the Internet so this week I will join you in visiting through the website.

Hasui Kawase - Evening at Tagonoura – Kawase is a new artist to me but I liked this image of the farmer leading his horse or donkey and the wagon of hay through the hills.

Hasui Kawase - Nagoya Castle – A castle looming up behind a stone wall

Hasui Kawase - Zaimoku Island in Matsushima – Rocks jutting into the water, very blue water opposed by a very blue sky with clouds, with a boat drifting slowly by.

Gakusui - Two White Egrets in Snow – Another new name, the two blindingly white birds against the very black background of what I take to be a star streaked sky.

Sozan - Red and Blue Macaws – Two more birds in vibrant blue and orange from another artist new to me.

Hiroshige - Dawn at Kanda – A favorite of mine, the orange sunshine just showing at the horizon, the large tree standing dead center dividing the frame

Hiroshige – Shono – Men caught in a sudden downpour, wind blowing the trees sideways.

Hiroshige – Mishima – A busy street

Yoshitoshi - Fujiwara no Yasumasa Playing the Flute by Moonlight – Always like to include at least one picture of the moon if I can.

Hokusai - Old View of the Pontoon Bidge at Sano in Kozuke Province – Another favorite of mine, one of his Remarkable Views of Famous Bridges in Various Provinces.

Hokusai - Great Wave Off Kanagawa – The Met owns one of these.

Yoshida, Hiroshi - Carp and Tortoises – I like Yoshida’s style, cartoon like and I find similarities to the Victorian children’s book illustrator, Kate Greenaway. You can see one of her images at the link below Yoshida’s

This is a link to all the items in the exhibit.

While I was disappointed at the gallery being closed it’s always fun to visit their website as there are always lots of great prints to admire.

Now let’s admire our current selection of Flickrs.

Andy G.

Purple and white dress with purple tights and a cream cardigan :) it’s getting chilly again brrrr


Shelly prn

after pit stop and tire change again everything ok

Sissy ballerina....

Revealed Dress

Am I a sissie?



sissy gina with Lolita wig and pink collar

Online andyg0404

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Re: There’s no denying we are now in the Winter Flickr
« Reply #6 on: January 20, 2018, 04:56:08 PM »
Hello everybody and welcome back to My Weekly Flickr.

We had a little snow this week but the weather is much milder than it’s been, the temperature reached 50 degrees this afternoon. I will enjoy it while I can.

For those of you who enjoyed the Flickr post about my Washington trip to see the Vermeer exhibit at the National Gallery this is a link to a long article on Vermeer which deals with the author’s visit to Amsterdam, a trip I hope to emulate someday, and then goes on to review the exhibit which he refers to as amazing, an opinion I share.

I subscribe to an email newsletter from ADAA, The Art Dealers Association of America. I receive random emails concerning current art exhibitions at galleries, mostly in New York but they also list other areas as well. The majority of the art is modern which doesn’t especially interest me but occasionally it tips me off to galleries with art that I like. That was the case with the current email which had a notice about an exhibit at Debra Force Fine Art, Inside and Out, 19th Century American Genre, Marine and Still Life Paintings. The gallery is located at 13 East 69th Street, just one block from the Frick, in a tiny little apartment on the fourth floor. I had to buzz in to gain access but when I got upstairs they couldn’t have been more pleasant, greeting me, taking my coat and making me feel welcome. I always feel like a fake as they are looking at me as a potential buyer when I am there strictly to see the exhibition. That being said let me show you some of the things I liked.

Winslow Homer – Sailboats at Gloucester – For me this is the star of the show, one of my favorite artists, a beautiful watercolor of boats off the rocky coast under a blue sky with white clouds.

Winslow Homer – Green Apples – And one of his oils to accompany it.

Albert Bierstadt - View of Niagara Falls from Prospect Point – One of the Hudson River painters depicting the rushing water and the rocks of Niagara Falls.

William Michael Harnett - Still Life with Portrait by Raphael – Harnett was known for his trompe l’oeil still lifes but what strikes me about this painting is the rather ugly reproduction of the Raphael painting. Clearly Harnett did better with objects than people.

Thomas Alexander Harrison - Misty Morning – Harrison was a marine painter but he found time to paint this bucolic rural scene set in late Fall judging from the leaves on the ground.

Martin Johnson Heade - Cluster of Roses in a Glass – I’ve linked to Heade a number of times from auctions and this is a lovely small representation of roses.

Edward Moran - The Winning Yacht:“Countess of Dufferin”and “Madeleine” – Another marine painter, this time of yachts with their large white billowing sails on churning waters. The buoy and bird are a nice touch.

Thomas Sully - Girl with a Fan (Blanche Sully) – Sully was a portrait painter and this is a small head and shoulders painting of one of his daughters.

Jasper Francis Cropsey - Autumn Landscape – Cropsey is another Hudson River painter. I had to go to a different website to find this image which the website says is in private hands so it appears that the owner has decided to see what he can garner for it.

Jervis McEntee - Evening Light, Winter – McEntee was one of the lesser known Hudson River painters, he apprenticed with Frederic Edwin Church and remained friends with him as well as other members of the group. This is a nice representation of the isolation of living on a farm in the 19th Century, no neighbors for probably miles.

Frederick William MacMonnies - Pan of Rohallion, 1890 – I thought this a wonderful bronze statue. MacMonnies was a sculptor and painter born in Brooklyn who achieved great success early in his career overseas in France. He studied under Augustus Saint-Gaudens prior to being accepted at the École des Beaux-Arts.  The original version of this sculpture was as a decorative fountain sculpture for Rohallion, the New Jersey mansion of banker Edward Adams. He made many of these small reproductions and I see that one of them is in the collection at the Art Institute of Chicago.

Now let’s mosey over to Flickr and see who’s dressing up for us.

Andy G.

Another Boxing Day pic, this one made the papers!

2 Maid (5)

He's my Brother


sissy susie-ann

Sissymaid Sunday


Prissy dolly me


LFF December 2017

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Re: There’s no denying we are now in the Winter Flickr
« Reply #7 on: January 27, 2018, 04:53:13 PM »
Hello everybody and welcome back to My Weekly Flickr.

I haven’t been in the City on a Saturday in a while so I didn’t think to check subway alerts. Big mistake. When I went down into the station at 72nd Street there were no downtown trains. I had to walk to Broadway which didn’t thrill me as I had already walked close to 7 miles at that point. The IRT had a bunch of changes as well and the trains were crowded. On the board with the notices it looked like every line in the City was affected. Not thrilled but at least it’s no longer a weekly occurrence for me.

Earlier this week I walked over to Christie’s for their Old Master’s drawing auction preview. This was a very small grouping, the entire back of the gallery was closed including the second and third floor. Still, there were some nice things which I’ll describe below. Click on them for enlargement.

Élisabeth Louise Vigée Le Brun’s portrait of Tatyana Borisovna Potemkina – This is obviously not a drawing and actually is on display as an early preview of Christie’s April Old Masters paintings auction when it will be displayed with all the other items up for sale. It’s a painting that I was lucky enough to see at the enormous Le Brun exhibit at the Met that I wrote about some time ago.

Sometime in the Spring Christie’s will host the auction of the Collection of Peggy and David Rockefeller. Selected items are touring the world before the actual auction takes place and there was a small room with several items. Two Daumier prints which I can’t reproduce as they’re not on the website yet along with this nice piece by Camille Corot – Maison Sur Le Quais which I found on Wikipedia.

There was also a fine drawing by Ingres which just appeared on the website with this related essay.
Ingres’ - Fräulein Ritter

Adolph Friedrich Erdmann von Menzel - Portrait of the daughter of Dr. Karl A. von Maercker – Menzel was a German artist of the 19th Century who became friends with the Maercker family. He did many paintings, watercolors and oils, of the family and the lot essay on the site points out that the watercolors of the Maercker children are particularly charming which is exactly the word I would use to describe this one. This was the first thing I saw when I entered the gallery.

Pieter Withoos - Butterflies and insects – Withoos was a Dutch artist of the 17th Century and someone I’ve never come across. The colors and lifelike appearance of these bugs also charmed me.

Giovanni Francesco Barbieri, called il Guercino – Guercino was a 17th Century Italian artist, the nickname translates to squinter, so called as he was cross-eyed.  There were a number of his drawings and I especially enjoyed these two.

A woman looking up to the left, bust length - This drawing is apparently a study for the head of Saint Helen, not previously recognized, in the oil painting Saint Helen discovering the true Cross

Cato – This drawing appears to be a sketch for a painting of the old Roman, Cato the Censor. His fur trimmed hat, to me, makes him look more like a Dutch burgher.

Giovanni Domenico Tiepolo - The nursing of Punchinello – I’ve mentioned Tiepolo a number of times and there are usually drawings by him at these auctions and also at the various drawing exhibitions I attend. The Met owns quite a few.  There is a long essay on the website about the character Punchinello discussing who he was and the chronological depiction of his life by the artist.

Jean-Baptiste Greuze - Head of a girl with her eyes downcast (study for 'The marriage contract') – This is another sketch for a larger picture which is discussed in great detail at the website. It’s a very delicate drawing enhanced by the restrained use of the red chalk.

Giuseppe Bezzuoli -Folly driving the chariot of Love – This is the first time I’m seeing Bezzuoli, a 19th Century Italian painter. This is an enormous drawing, roughly 13 x 15.5 feet, drawn on four sheets of light brown paper. Again, there is a very long essay describing the work on the website.  It was executed as a cartoon, or full-scale design, for a ceiling fresco in Palazzo Gerini, Florence. I wonder where the winning bidder would hang something this large.

Jean-Honoré Fragonard - View of the double staircase of the Fountain of Dragons at Villa d'Este, Tivoli – I’m drawn to still lifes like this one, depicting a large estate with statues and cypress trees and an enormous villa.

So, a small show but still many beautiful things.

And now, the Flickrs.

Andy G.

Boys in dresses –

Mirror Mirror on the wall.

The Group

Mom with transvestite. Very common here if family doesn't have a girl then the youngest boy will become one!!! Weird tradition

Oh yes, I'm going down.

An early effort.

Pretty In Pink

Lovely Pretty Maid MISAKKY 009

Christopher Street Day Cologne2017


Online andyg0404

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Re: There’s no denying we are now in the Winter Flickr
« Reply #8 on: February 03, 2018, 04:35:29 PM »
Hello everybody and welcome back to My Weekly Flickr

This week I visited Sotheby’s for their Old Master’s auction preview. It was an immense exhibition, floor after floor of art. I started on the tenth floor and worked my way down through the building. There was art on most floors. The drawing gallery was the most crowded, to the point that I gave it short shrift since it was on the second floor and my last stop of the day. But there were many nice things there as well, multiple drawings by Ingres for example. Among the oil paintings, there were several rather nice Van Dycks, Orazio Gentileschi, Jan Brueghel the elder, Salomon van Ruysdael, a Valentine De Boulogne which I think was in the large Met show of his work, Titian and workshop, 2 really fine Canaletto’s, a number of Spanish painters, Murillo, Sorolla, De Ribera and a small rather rough Frans Hals.  Gainsborough, Romney, Raeburn, Gilbert Stuart and Lucas Cranach. There’s also a lot of second class stuff, the unfamiliar names that fill museums, but are nice nevertheless. I was exhausted at the end of my tour. I’ll link to examples of what I saw below. Be sure to read the lot essays as there is a wealth of information about the art and artist.

The Dutch and Flemish

Anthony Van Dyck – PORTRAIT OF AN ITALIAN NOBLEMAN – This painting has never been publicly exhibited as it’s been in private hands for over 40 years. It’s also signed and dated which is very rare for paintings from Van Dyck’s Italian period.

Anthony Van Dyck - PORTRAIT OF PRINCE WILLEM II OF ORANGE AS A YOUNG BOY, WITH A DOG – There are two versions of this painting, one painted for the parents of Prince Willem II, and another version made for King Charles I of England. The former descended in the family and is today in the Schloss Mosigkau museum  This painting recently reappeared after a careful cleaning and subsequent public exhibition at the Rubenshuis Museum in Antwerp and had its status as a true Van Dyck confirmed.  It had been considered lost.

Jan Brueghel the elder - A WOODED RIVER LANDSCAPE WITH A LANDING STAGE, BOATS, VARIOUS FIGURES AND A VILLAGE BEYOND – This is a lovely little river landscape painted on copper. It’s only 10” x 14.5”. There’s a lot going on here, the people in the boats getting ready to come ashore, the people waiting to greet them and off in the distance we see people who had disembarked and are heading home.

Saloman van Ruysdael - A WOODED RIVER LANDSCAPE WITH A FERRY AT THE OUTSKIRTS OF A VILLAGE – I love the Dutch and this is another lovely little landscape, a little larger than the one above. As the website says: “Two trees to the left and right of the picture plane frame the charming scene and serve as repoussoir devices (a pictorial device used to achieve perspective) that invite the eye to explore a quiet day in a village on the banks of a river.”

Frans Hals - PORTRAIT OF A MAN, HALF-LENGTH, WEARING A BLACK CAPE WITH A WHITE COLLAR – This little portrait by Hals is only 12” x10”. It had been badly retouched and only recently, in 2016, cleaned and restored and finally confirmed to be legitimate. As I commented to my brother it’s really not one of his brilliant paintings but how often do you get to see a Hals up for auction.

The French

Valentin Boulogne – A FORTUNE TELLER, BRAVO, LUTE PLAYER, DRINKING FIGURE, AND A PICK-POCKET – I saw this wonderful painting of a soldier being cheated at the Met’s exhibition of Boulogne at the end of last year. It was filled with wall size paintings like this one.

Nicolas Lancret – Winter – Lancret was a painter of the 18th Century who apprenticed under his mentor, Antoine Watteau and his influence can be seen in this domestic interior scene. Again, this is a painting with a lot going on. These women are involved in one activity or another and I especially like the woman with her head down as she toys with the cat.  Also the way cloth has been painted, the tablecloth with its patterned design and folds and the ladies dresses. The painting hasn’t been displayed since it was sold at auction in 1889 where it remained with the buyer’s family until now.


Joaquín Sorolla y Bastida – VIEJO CASTELLANO SIRVIÉNDOSE VINO (THE OLD MAN OF CASTILLE) - Sorolla was a Spanish artist of the 19th/20th century.  It was exhibited in one of his first exhibitions in London and then at the Hispanic Society in New York. I’m patiently waiting for the Hispanic Society to reopen as ostensibly after extensive renovations they will have much more gallery space to exhibit their vast collection, something that in the original venue was very limited.

Jusepe de Ribera – SAINT TERESA OF AVILA  - de Ribera was a 17th Century Spanish artist. I had a heck of a time bringing up a link to this. Sotheby’s has a Spanish paintings group as part of the Old Masters week but there doesn’t appear to be a link to any of the paintings. This link is from the last time the painting went up for auction in December 2014.

Bartolomé Esteban Murillo - THE PRESENTATION OF THE VIRGIN – Murillo was another Spanish artist of the 17th Century. This was done towards the end of his life and showed a theme he rarely depicted. He was known as a sensitive painter of children. Much more information at the link.
There appears to be a bug on the Sotheby's website which will not allow this painting to be seen. This is an outside link to what the picture looks like but unfortunately the essay on the site that accompanies it is currently unavailable.


Lucas Cranach – LUCRETIA – Cranach was a 16th Century German painter and this is one of the big attractions in this auction.  This is one of the earliest known treatments of the classical subject of Lucretia.  … this can be considered the most sensual and beautiful and it is a supreme example of the type of erotic historical painting produced for the artist’s private patron. A very powerful image.

English – 3 Portraits

Thomas Gainsborough, R.A. - PORTRAIT OF ROBERT PRICE, ESQUIRE OF FOXLEY (1717-1761), HALF-LENGTH – Gainsborough was a personal friend of the Price family.

George Romney - PORTRAIT OF LADY EMILIA KERR (1756-1832), HALF-LENGTH – This was painted for Lady Emilia and looks to have remained in the family until 1931.





Orazio Gentileschi - THE MADONNA AND CHILD – I thought I had referred to the Gentileschi’s, Orazio and his daughter Artemisia, recently but my notes show it was in January of last year and also involved a painting at Sotheby’s by Orazio. This is a newly discovered painting.

Titian – SAINT MARGARET – This has been described at different times as Titian and his workshop and his workshop guided by Titian. The former is the way it is going on the block this time and obviously should bring more of a return than the latter. Van Dyck who has two paintings listed above was inspired by Titian when creating his Italian portraits.

Giovanni Battista Tiepolo - SAINT ROSE OF LIMA; SAINT DOMINIC – Don’t see many paintings by Tiepolo at the auctions, mostly it’s his drawings like the one of Punchinello in last week’s listing.

Giovanni Antonio Canal, called Canaletto - VENICE, THE CHURCHES OF THE REDENTORE AND SAN GIACOMO; VENICE, THE PRISONS AND THE BRIDGE OF SIGHS, LOOKING NORTHWEST FROM THE BALCONY – What a treat this is, two really fine paintings by Canaletto, in pristine condition.

Francesco Guardi - A CAPRICCIO OF AN ARCHWAY, WITH FIGURES BENEATH AND A LAGOON BEYOND – And this lovely small, 8x5, imaginary archway by Guardi to accompany the Canaletto’s.

Well I hope I haven’t lost too many of you with this very long list but I wanted to include all the stars as this was one of the better auctions I’ve visited. Let me reiterate that if you enjoy any of these paintings you’ll want to read the lengthy essays on the website.

Now let’s go to the Flickrs.

Andy G.

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Re: There’s no denying we are now in the Winter Flickr
« Reply #9 on: February 10, 2018, 05:19:38 PM »
Hello everybody and welcome back to My Weekly Flickr.

Some time ago I wrote about the Berkshire Museum and its plan to sell 40 of its paintings and use the proceeds to increase its endowment, renovate its building and expand its programming. This goes against the unofficial museum code that art is never to be sold unless the proceeds are used to purchase different art. Not surprisingly the news engendered protests and a lawsuit; in particular to prevent the sale of a Norman Rockwell painting. You can read the article below which details that the sale will be allowed to take place although the Norman Rockwell must be sold to another institution so it will remain in public hands and not wind up in a private collection. I’m happy that the Rockwell will remain on view but I think the overall decision sets a bad precedent. Coincidentally a number of the paintings to be sold are from the Hudson River painters, a group which I will now discuss.

Massachusetts Agrees to Allow Berkshire Museum to Sell Its Art

This week I went back to the Met for their new exhibit, Thomas Cole's Journey, Atlantic Crossings. It’s a very large exhibit filled with masterpieces. My brother says it will be the sleeper hit of the season and I agree. The Wall Street Journal gave it a rave review which I’ve copied below. Cole is referred to as the father of the Hudson River painters, men like Frederic Edwin Church, Asher Durand and Albert Bierstadt, artists I’ve mentioned numerous times. As the WSJ predicts I was very surprised to discover that his designation as Father of the genre was meant to be derogatory, implying in the light of Impressionism that Cole and his followers were old fashioned. In addition to Cole’s work there are many paintings by his peers and followers as well artists he was inspired by such as JMW Turner, John Constable and Claude Lorrain. The number and quality of the works was a bit of a surprise until you find that the Met’s co-organizers in the exhibit are the National Gallery of London and a Yale University art professor.

This is a link to the Met website with an Overview of the exhibition and links to the exhibition galleries and all the objects in the exhibit.

This is a link to the Met press release announcing the exhibit with two short videos, one concerning the life of Thomas Cole and the other which looks at two works using radiography to show drawings beneath the paint and also discusses Coles feelings about protecting the environment from industrialization.
This is a direct link to all the objects in the exhibit. Everything in the exhibit is worthwhile visiting but I’ll make some selections and list them below.!?perPage=100&offset=0

Thomas Cole - From Nature – This is an early pen and ink drawing of an aged and weather-beaten tree.

JMW Turner – Leeds – Leeds was the first Industrial city in the UK and this watercolor was the first depiction of it.

John Constable – Stonehenge – Another watercolor. It is owned by the Victoria and Albert Museum in the UK. My brother tells me this is a very famous painting, he was surprised the V&A would loan it out, and I came across this discussion of it.  “Constable painted this at a sad time in his life. Both his wife, Maria, and his closest friend, John Fisher, had died, and his two eldest sons had left home. He is perhaps expressing his personal unhappiness in the watercolor, for the image is certainly a melancholy one. The painting was exhibited in the Royal Academy Summer Exhibition of 1836. Some of the lines that accompanied this painting in the catalogue describe ‘The mysterious monument of Stonehenge, standing remote on a bare and boundless heath…’. Constable himself probably wrote them.”

Claude Lorrain - Seaport with the Embarkation of Saint Ursula – Another very famous painting and rather different from the pastoral paintings of his that I’ve come across. This is a brief discussion of it. “According to legend Saint Ursula was a British princess who made a pilgrimage to Rome with 11,000 virgin companions. She returned with them to Cologne, where they were all martyred. St Ursula is shown here, in yellow and holding a flag with her emblem, watching her companions embark on the return voyage. The girls carry bows and arrows, the instruments of their martyrdom. The building at the left is based on the Tempietto di San Pietro in Montorio, Rome. The canvas was painted in 1641 for Fausto Poli, who was made a cardinal by Pope Urban VIII in 1643.”

John Constable - The Opening of Waterloo Bridge ("Whitehall Stairs, June 18th, 1817") – This is a link to the Tate where the painting lives. It’s a very large painting and this is a better reproduction than at the Met website and there’s also an essay about it. The clouds are quite striking and it’s interesting that he painted the bridge itself in the distance and not the immediate focus of the painting.

JMW Turner - Snow Storm: Hannibal and his Army Crossing the Alps – This is another very large picture and again the clouds and sky take up the bulk of the canvas.  So despite the subject being Hannibal and his army they are very small figures at the bottom of the image.

Asher Durand – Kindred Spirits – This picture pays homage to Thomas Cole showing him with his friend, the poet William Cullen Bryant. There was a major controversy over the way the Crystal Bridges Museum acquired the painting, through auction, from the New York Public Library. Many people and institutions wanted the painting to stay in New York and the Met and the National Gallery made a concerted effort towards that purpose but Sotheby’s held a closed bid auction which helped Crystal Bridges win the auction. You can read about that in the second link.

Frederic Edwin Church – Niagara – This is a small version of the enormous painting of Niagara Falls that hangs in the National Gallery. It was painted the following year and is in private hands. The version in the National Gallery is an awe inspiring picture, I always say you can feel the water coming off it when standing in front of it. The second link is to the National Gallery website.

Thomas Cole - The Titan’s Goblet – A fantasy, it’s described on the website as: “The massive, vegetation encrusted goblet around whose rim are found classical ruins, and on whose glassy surface boats sail, has been linked to Norse legend and Greek mythology.” You see the water leaking out the sides cascading down below.

Thomas Cole - Aqueduct Near Rome – Two wonderful paintings of Roman ruins that chronicle Cole’s interest in the rise and fall of civilization as ultimately depicted in The Course of Empire.
Thomas Cole - Interior of the Colosseum, Rome

Thomas Cole - The Garden of Eden – Lush depiction of the origin of man, we see the small Adam and Eve standing in the unspoiled garden.

Thomas Cole - The Oxbow – This is a paean to the beauty of the wilderness and a warning against deforestation and the advancement of industry and agriculture.  You have to look closely at the bottom of the image to see that Cole has painted himself at work.

Thomas Cole - The Course of Empire (5 paintings) – I’ve linked to Wikipedia for this as it has all five of the paintings available to see as well as a discussion about them. They’re owned by the New York Historical Society and hung in the second floor galleries for years. The really wonderful thing about this current exhibit is that rather than being hung high like at the
Society, all five paintings are hung at eye level in an alcove. You can move about in front of them and see the progression of man’s beginning to his destruction. A brilliant series, his masterworks.

This is a review from the Washington Post.

This is a review from the Observer.

This is a review from Antiques and the Arts

There was so much great work in this exhibit that it really was hard to pick and choose but I chose what I considered to be the best items.

If you’re looking for the Flickrs they follow this review from the Wall Street Journal. I copied the actual review as the site is behind a paywall.

Andy G.

Wall Street Journal
‘Thomas Cole’s Journey: Atlantic Crossings’ Review: Hudson River School Headmaster
Cole is so firmly identified with American painting that his oeuvre has rarely been considered in an international context—until now.
Barrymore Laurence Scherer
Jan. 30, 2018
New York

When, in 1848, the painter Thomas Cole suddenly died at age 47, his funeral oration was delivered by his celebrated friend William Cullen Bryant, the poet and journalist, who recalled the “enthusiasm awakened by…pictures which carried the eye over scenes of wild grandeur peculiar to our country…and into the depths of skies…such as few but Cole could ever paint.”
Thomas Cole’s Journey: Atlantic Crossings
The Met Fifth Avenue
Through May 13

For those “scenes of wild grandeur” Cole is generally regarded as the father of the “Hudson River School.” The term has for so long designated America’s first indigenous school of landscape painting that many admirers today would be surprised to learn it was initially coined in derision. Cole’s dramatic imagery, like that of such followers as Frederic Edwin Church, Asher B. Durand and Albert Bierstadt, was being deemed old-fashioned compared to French Barbizon and Impressionist paintings. But without Cole there might have been no Winslow Homer.

Cole is so firmly identified with American painting that his oeuvre has rarely been considered in an international context. Now the Metropolitan Museum of Art’s deeply absorbing new exhibition “Thomas Cole’s Journey: Atlantic Crossings” is doing exactly that.

Organized by Elizabeth Mankin Kornhauser, the Met’s curator of American paintings and sculpture, and Tim Barringer, Yale professor of art history, with Christopher Riopelle, curator of post-1800 paintings at the National Gallery, London, the exhibition and its richly informative catalog depart from our traditional view of Cole chiefly as a home-grown American artist. Instead, for the first time, they examine the English-born patriarch of American landscape painting beside the European contemporaries and old masters whose works he studied firsthand during several voyages to England, France and Italy—especially John Constable, Claude Lorrain, John Martin and Joseph Mallord William Turner.

Cole was born and raised in a northwestern English village begrimed by the coal smoke of burgeoning industry. Among the first works in the show is Philippe Jacques de Loutherbourg’s 1801 “Coalbrookdale by Night,” its rustic, half-timbered houses silhouetted against an infernal sky set aflame by the town’s iron-smelting forges. Such a scene formed the backdrop to Cole’s Lancashire youth, and suggests why he would later glorify America’s virgin, wooded landscape while implying a warning against its deforestation not just by industry but even by agriculture. This is the essential message of his beloved “View From Mount Holyoke, Northampton, Massachusetts, After a Thunderstorm—The Oxbow” (1836), also in the show.

Cole briefly worked for a Liverpool engraver whose prints of contemporary paintings may have introduced him to fine art. Intent on becoming an artist after immigrating to America with his parents in 1818, he was principally self-taught and began painting the Hudson Valley as he wished to see it—unmarred by development and dramatically tinged with his poetic fervor. The success of Cole’s initial landscapes, including “The Garden of Eden” (1828), prompted him, in 1829, to make his first European voyage.

In London, Cole made a beeline for the newly opened National Gallery, delighting there in Claude’s 1641 “Seaport With the Embarkation of St. Ursula,” its combination of figures, Classical architecture and soft, crepuscular lighting influencing his own work thereafter. At the Royal Academy, Cole was astounded by the stark ruins and sumptuous clouds in Constable’s recently finished “Hadleigh Castle, the Mouth of the Thames—Morning After a Stormy Night.” At Turner’s private gallery, Cole was awed by “Snow Storm: Hannibal and His Army Crossing the Alps,” though not by Turner’s crude appearance and manner. Though he would later regard Turner’s more radical style with disdain, Cole virtually quotes Turner’s menacing arc of cloud as the departing storm in “The Oxbow.” And to come upon these great works—respectively lent by London’s National Gallery, Yale Center for British Art and Tate Britain—hanging together in the show is to feel Cole’s own wonderment and understand the challenge he faced in formulating his own aesthetic.

Cole’s ambitious pentalogy, “The Course of Empire” (1834-36)—lent by the New-York Historical Society—forms the exhibition’s centerpiece. Magnificently displayed at eye level in its own five-sided alcove, it invites viewers to examine every finely conceived detail of its grand and cautionary narrative. Here, the music-loving Cole produces a psalm of nature as eloquent as Beethoven’s “Pastoral” symphony. In retrospect, we can acknowledge that Cole had every reason to fear that his beloved American landscape was threatened.

The show’s thoughtfully selected paintings, drawings, oil sketches and related works by Cole, by the Europeans who influenced him, and by the American painters who perpetuated his legacy clarify the dynamic balance between his indebtedness to foreign tradition and innovation, and also his own original vision: Cole’s fantasy “Titan’s Goblet” (1833) anticipates the surrealism of Salvador Dalí and René Magritte a century in the future.

Ultimately, it is hard to imagine any visitor departing this moving exhibition without a deeper and more comprehensive understanding of Cole’s extraordinary activity not just as an American, but as an actor upon the world’s stage.
—Mr. Scherer writes about music and the fine arts for the Journal.

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