Monday, February 28, 2011

Colllage 328

Lucy Arrington
from page 663-664 of original text
collage, ink
made 1/7/11
page 527-529 Pevear/Volokhonsky translation

Here I'm experimenting with more black. Channeling Adrienne. Not sure this works, though. It is one that I might have tossed if it hadn't been against the rules. It just looks chaotic with nothing holding it together.

Sunday, February 27, 2011

Collage 327

Hussars, ladies, witches, clowns, bears, clearing their throats and wiping their frost-covered faces in the front hall, came into the reception room, where candles were hastily lighted. The clown Dimmler and the lady Nikolai opened the dance. Surrounded by shouting children, the mummers, covering their faces and altering their voices, bowed before the hostess and took their places in the room.
--p. 526 in P/V

Lynn Waskelis
from page 661-662 of original text
collage, candle wax, ink
made 1/7/11
page 526-527 Pevear/Volokhonsky translation

Saturday, February 26, 2011

Collage 326

Stopping his horses again, Nikolai looked around. Around him was the same magical plain drenched in moonlight, with stars strewn over it.
"Zakhar is shouting that I should turn to the left, but why to the left?" Nikolai wondered. "are we driving to the Melyukovs'? Can this be Melyukovka? We're driving God knows where, and God knows what's going on with us-- and it's very strange and good, what's going on with us." He glanced back at the sleigh.
-- p. 525 in P/V

Lynn Waskelis
from page 659-660 of original text
collage, candle wax, ink
made 1/7/11
page 524-525 Pevear/Volokhonsky translation

Friday, February 25, 2011

Collage 325

Lucy Arrington
from page 655-656 of original text
collage, ink
made 1/7/11
page 522-524 of Pevear/Volokhonsky translation

This piece and the one that Emma did (#324) show vividly how we influence each other as we work. It's one of the best parts of collaboration. We find that we become more creative as we take off from each others' work. One of the best things about this project.

Thursday, February 24, 2011

Collage 324

Here I was following Lucy's lead . . . using diluted ink, a large ink brush, and a new material that I brought to the studio called pan pastels--a pastel powder in a little dish that you apply with a make-up sponge. So much fun!

Emma Rhodes
from page 655-656 of original text
collage, India ink, panpastel
made 1/7/11
page 521-522 Pevear/Volokhonsky translation

Wednesday, February 23, 2011

Collage 323

What happened with this collage? We were giddy in the studio that day. For some reason I decided to cover the whole piece with black acrylic paint -- then panicked, and ran for the sink to wash off as much as possible. Black anything is my go-to for when I don't know what to do -- acrylic paint, ink, whatever.

I certainly wasn't illustrating what's happening on this page. It is a lovely passage with Nicolai and Natasha comparing notes, memories of their childhood.

"Smiling with pleasure, they went through their memories, not sad, old people's memories, but poetic, youthful ones, those impressions from the very distant past where dream merges with reality, and they laughed softly, rejoicing at something.

Sonia, as always, lagged behind them, though they had memories in common.

Sonia did not remember much of what they remembered, and what she did remember did not evoke in her the poetic feeling they experienced. She only delighted in their joy, trying to imitate it."

Poor Sonia. -- Lola

Lola Baltzell
from page 653-654 of original text
collage, acrylic paint
made 1/7/11
page 519-521 Pevear/Volokhonsky translation

Tuesday, February 22, 2011

Collage 322

Lucy Arrington
from page 651-652 of original text
collage, acrylic ink
made 1/7/11
page 517-519 Pevear/Volokhonsky translation

Natasha is sad and bored. She misses her fiancé terribly. These pages describe an afternoon during the Christmas season, wandering aimlessly around the house testing her power over the servants, but she is desperately unhappy.

Monday, February 21, 2011

Collage 321

I believe that this was our first friday reunited as a team post holiday season. December was a blur of show planning so this day was the first time in awhile that we were going at a normal pace. As Lola mentioned below, everyone was absolutely wild! I think it was a relief to be in the studio again without having the anticipation of the opening reception.

Lately I have been struggling with my collages. While black was a new and exciting element for me for awhile, I now feel that it has become a crutch that I am returning to again and again. At school right now I am primarily working in three-dimensional forms and sometimes my brain struggles to move between 3D and 2D. I also have been desiring to spend more time responding to the text. Up until now I have been connected to this project because it has taught me to loosen up, to play, and to work almost subconsciously--turning off my inner critic. Now that I feel much more comfortable in that department I want to move on to something else. I want to get back to reading, become inspired by Tolstoy, and, as always, enjoy my time with the team! --Emma

Emma Rhodes
from page 649-650 original text
collage, acrylic ink, oil crayon
made 1/7/11
page 516-517 Pevear/Volokhonsky translation

Sunday, February 20, 2011

Collage 320

Without the marshalship, he did not have to have such large receptions, and life in Otradnoe took a quieter course than in former years, but still, the huge house and wing were full of people, and, as before, more than twenty sat down at table. These were all people who had been accustomed to the house, almost members of the family, or such as, it seemed, had necessarily to live in the count's house. These were the musician Dimmler and his wife, the dancing master Iogel and his family, the old maiden lady Belov, who lived in the house, and many others as well: Petya's teachers, the girls' former governess, and simply people who for some reason found it better or more advantageous to live in the count's house than in their own.
p. 515 in P/V

Lynn Waskelis
from page 647-648 of original text
collage, wax, acrylic ink
made 1/7/11
page 514-516 Pevear/Volokhonsky translation

Saturday, February 19, 2011

Collage 319

We were wild in the studio when I made this one. Messy, messy, messy. We were passing materials back and forth, in a frenzy. I used some materials that Christiane Carney Johnson mailed to us including pages from a Bible in Russian and some revolutionary images. One of the things I have loved about this project is learning to loosen up. Maybe I've taken it too far? --Lola

Lola Baltzell
from page 645-646 of original text
collage, acrylic ink, acrylic paint
made 1/7/11
page 512-513 Pevear/Volokhonsky translation

Friday, February 18, 2011

Collage 318

Lucy Arrington
from page 643-644 of original text
collage, acrylic ink, acrylic paint
made 1/7/11
Pevear/Volokhonsky translation page 511-512

In this collage I wanted to try using black as wantonly as Adrienne does in her work. It worked so well, that when I first saw this post, I though it was one she had done. Interesting how our work starts to blend and flow together, then apart as someone finds something new & that influences others.

Thursday, February 17, 2011

Collage 317

Emma Rhodes
from page 641-642 of original text
collage, oil stick
made 1/7/11
page 510-511 Pevear/Volokhonsky translation

Wednesday, February 16, 2011

Collage 316

From behind the screens came women's laughter and whispering. Natasha, Nikolai and Petya took their coats off and sat down on the sofa. Petya leaned on his arm and immediately fell asleep; Natasha and Nikolai sat silently. Their faces were burning; they were very hungry and very merry.
p. 509

Lynn Waskelis
from page 639-640 of original text
made 1/7/11
page 508-510 Pevear/Volokhonsky translation

Tuesday, February 15, 2011

Collage 315

This has always been one of my favorite sections of War and Peace. Natasha emerges as young adult who the reader begins to care about. Tolstoy’s rich descriptions of country life, the hunt, the dogs, how the gentry and the peasants interact, and Natasha’s ease in this environment help define her character in ways that will stick with the reader through the rest of the novel."

Otto Mayr
from page 637-638 of original text
made 2/1/11
page 506-507 Pevear/Volokhonsky translation

Monday, February 14, 2011

Collage 314

When we had our exhibition last year, one magazine writer referred to War and Peace as "bleak." Evidently this writer had not read the book and was perhaps characterizing the likelihood that he or she would ever wade into Tolstoy's grand classic. War and Peace may be a lot of things, but it is not bleak. It ends with a great deal of hope: the war is over and Natasha and her brother Nikolai are growing older and raising their children. The book ends IN PEACE. The suffering and loss that WAR brought are in the past and life continues. -- Otto

Otto Mayr
from page 635-636 of original text
made 2/1/11
collage, acrylic paint
page 505-506 Pevear/Volokhonsky translation

Sunday, February 13, 2011

Collage 313

This page sums up the whole book for me -- friend vs. foe. Here we find Nickolay lost in the zen of the hunt -- this time with a wolf then a fox. He completely loses himself in the adrenaline of hunting his enemy. We recall the same Nickolay lost in that same adrenaline charging at the French soldiers on horseback. Suddenly Nickolay encounters trespassers hunting on his property. He ends up befriending the enemy hunter, who is actually his new neighbor, Ilyagin. Just like at war against the French soldiers, Nickolay realizes that these hunters on his land are not his enemies, but upstanding men just like him.

Whether it is back in the world of the 19th century aristocracy or in our own society today, good vs. evil still reigns. That is why Tolstoy's War and Peace is timeless. -- Chris

Christiane Carney Johnson
from page 633-634 of original text
collage, acrylic paint
made 1/27/11
page 503-505 Pevear/Volokhonsky translation

Saturday, February 12, 2011

Collage 312

We are now in Volume II, Part Four, Chapter V/VI.This is one of the famous scenes, Nicolai hunting the wolf. There lots of details -- you feel as though you are there, the brown horse breathing heavily, the glint of the unsheathed dagger held by Danilo. I am sure that my old Russian studies teacher at Grinnell College, John Mohan, would have had a lot to say about the symbolism of this passage.

The materials I used here were mailed to us by Christiane Carney Johnson, a friend who was also a Russian studies major at Grinnell. You will see her first collage tomorrow. I have mailed her a few more pages so you will be seeing more of her work in the next few weeks.

Team Tolstoy is on track. We have committed to making 11 collages per week so we can finish this "loose and baggy monster" by the end of the year. We will not be in the studio the first Friday in March as we have been invited to present our work to a high school art class in Cambridge. We have also been invited to present a workshop at an art school in the fall.

We don't know where all this is headed, but are along for the joyful ride. -- Lola

Lola Baltzell
from page 631-632 of original text
collage, acrylic paint
made 1/7/11
page 502-503 Pevear/Volokhonsky translation

Friday, February 11, 2011

Collage 311

Thanks to the delay, the old dog, his matted fur hanging from his haunches, headed off the wolf, and was now within five paces of him. The wolf, as if sensing the danger, gave Karai a sidelong glance, tucked his tail still further between his legs, and increased his pace. But here-- Nikolai only saw that something happened with Karai-- he was instantly on top of the wolf and rolled head over heels with him into a ditch in front of them. p. 501

Lynn Waskelis
from page 629-630 of original text
made 1/7/11
page 500-502 of Pevear/Volokhonsky translation

Thursday, February 10, 2011

Collage 310

"Hope alternated with despair." -p. 499 in Pevear/Volokhonsky

Emma Rhodes
from page 627-628 of original text
collage, oil pastel
made 1/7/11
page 499-500 Pevear/Volokhonsky

Wednesday, February 9, 2011

Collage 309

The Rostovs go hunting, and it is serious business for Nikolai. I was thinking about what it might be like, riding on horseback through the misty air. -- Adrienne

Adrienne Wetmore
from page 625-626 of original text
collage, ink
made 12/10/10
page 497-499 Pevear/Volokhonsky translation

Tuesday, February 8, 2011

Collage 308

As over a plush carpet, the horses walked over the field, splashing in puddles now and then as they crossed the roads. The misty sky went on imperceptibly and evenly descending to earth; the air was still, warm, soundless. Now and then came the whistle of a hunter, the snort of a horse, the crack of a whip, or the squeal of a hound strayed from its place.
p. 495

Lynn Waskelis
from page 623-624 of original text
collage, oil crayon, ink
made 12/10/10
page 495-497 Pevear/ Volokhonsky translation

Monday, February 7, 2011

Collage 307

If you look at many of the pieces we made this day, you will see that we used a lot of the same material. That day Lucy Arrington found some wonderful books in the "free" pile on the landing of the studio building. We often get enthused about a particular bit of ephemera and use it throughout the session. I am referring to the gray and white paper that surrounds the red figure and the purple and black along the top. -- Lola

Lola Baltzell
from page 621-622 of original text
collage, acrylic paint
made 12/10/10
page 494-495 Pevear/ Volokhonsky translation

Sunday, February 6, 2011

Collage 306

"It was already turning winter, morning frosts gripped the earth moistened by autumn rains. . ." -p. 493 in Pevear/Volokhonsky

Emma Rhodes
from page 619-620 of original text
collage, acrylic paint, oil crayon
made 12/10/10
page 492-494 Pevear/Volokhonsky translation

Saturday, February 5, 2011

Collage 305

Looking at this collage a few weeks after doing it, I am surprised how frightening it looks. The shadowy spires in the background along with the skeletal trees and overall palette look more suited to a Gothic novel!

-- Adrienne

Adrienne Wetmore
page 617-618 of original text
collage, acrylic paint
made 12/10/10
page 490-492 of Pevear/Volokhonsky translation

Friday, February 4, 2011

Collage 304

After the raptures of the meeting and after that strange feeling of dissatisfaction compared with what one expected ("it's all the same, why was I hurrying so!), Nikolai began to live his way into his old world of home.
p. 490

Lynn Waskelis
from page 615-616 of original text
collage, wax, acrylic paint, ink
made 12/10/10
page 489-490 Pevear/Volokhonsky translation

Thursday, February 3, 2011

Collage 303

"Biblical tradition says that absence of work -- idleness -- was the condition of the first man's blessedness before his fall. The love of idleness remained the same in fallen man, but the curse still weighs on man, and only only because we must win our bread in the sweat of our face, but because our moral qualities are such that we are unable to be idle and at peace. A secret voice tells us that we should feel guilty for being idle. If man could find a condition in which, while idle, he felt that he was being useful and was fulfilling his duty, he would have found one side of primordial blessedness. And this state of obligatory and irreproachable idleness is enjoyed by an entire class -- the military. In this obligatory and irreproachable idleness consists and will consist the chief attraction of military service."

I don't know about his comment about the military. My aunt was a military wife back in the 1950's, and she still comments to this day that it was always "hurry up and wait". But I certainly agree that idleness generates guilt! --Lola

Lola Baltzell
from page 613-614 of original text
made 12/10/10
page 487-489 Pevear/Volokhonsky translation

Wednesday, February 2, 2011

Collage 302

Lucy Arrington
from page 611-612 of original text
collage, ribbon
made 12/10/10
page 485-487 Pevear/Volokhonsky translation

"In the middle of summer, Princess Marya received an unexpected letter from Prince Andrei in Switzerland, with a strange and unexpected piece of news. Prince Andrei announced his engagement to Miss Rostov."

This is a major point in the story... there will be huge ramifications in a number of lives; but these pages mostly underline what we already know of Marya, her passionate religious longings and the conflict she felt between her longing to devote her life to worship, and her devotion to nephew and her father (in spite of the old Count's constant scorn). In some twisted way, she's the ultimate martyr.

Tuesday, February 1, 2011

Collage 301

In the middle of summer, Princess Marya received an unexpected letter from Prince Andrei in Switzerland, with a strange and unexpected piece of news. Prince Andrei announced his engagement to Miss Rostov. His whole letter breathed a loving rapture for his fiancée and a tender friendship and trust for his sister.
p. 485

Lynn Waskelis
from page 609-610 of original text
collage, graphite, oil crayon
made 12/10/10
page 483-485 of Pevear/Volokhonsky translation