Collage 168

Our friend Otto from Berlin writes: The Battle of Austerlitz begins. The word "fog" appears in this chapter too often to count. Smoke and confusion also put in appearances, as the battalions and regiments march through the morning fog, across hill and dale, not seeing the enemy, bumping into each other, not understanding their orders, cursing the "Germans" for not knowing their own terrain. (By "Germans" they mean German-speakers, in this case the
Austrians under Kaiser Franz II, the last Holy Roman Emperor. The closest thing to a German state that existed in 1805 was Prussia, which hadn't been drawn into the Napoleonic wars yet.)

This chapter again demonstrates Tolstoy's view of how historical events are shaped.

It is not so much the orders and dispositions issued by Napoleon, Alexander or Franz, or their generals and commanders, that influence the outcome of the battle as the countless unforeseen and unforeseeable small events that together add up to the outcome.

This collage attempts to suggest the fog and confusion that descends on the battlefield as soon as the fighting begins.

Otto Mayr
from page 343-344 of original text
collage, acrylic paint, burned paper
Made 8/21/10
Berlin, Germany

Collage 167

Our friend Otto in Berlin writes:

This is the last page of Chapter XIII in Book 3. All the preliminaries to the Battle of Austerlitz are complete. It is
the evening before the great battle. Tolstoy ends the chapter with Napoleon's proclamation, which I assume to be
historically documented, to his troops:

Soldiers! The Russian army is advancing against us in order to avenge the Austrian army of Ulm. These are the same battalions you crushed at Hollabrunn and have been pursuing ever since to this place. The position we occupy is a strong one, and while they are marching to go round me on the right they will expose a flank to me. Soldiers! I will myself direct your battalions. I will keep out of fire if you
with your habitual valor carry disorder and confusion into the enemy's ranks, but should victory be in doubt, even for a moment, you will see your Emperor exposing himself to the first blows of the enemy, for
there must be no doubt of victory, especially on this day when what is at stake is the honor of the French infantry, so necessary to the honor of our nation. Do not break your ranks
on the plea of removing the wounded!

Let every man be fully imbued with the thought that we must defeat these hirelings of England, inspired by such hatred of our nation! This victory will conclude our campaign and we can return to winter quarters, where fresh French troops who are being raised in France will join us, and the peace I shall conclude will be worthy of my people, of you, and of myself.

Napoleon

With the collage, I sought to suggest how simple and orderly everything seems before the fighting begins. All the battle plans, deployments - "dispositions" - have been made. The commanders have issued their inspiring declarations. Tolstoy's descriptions of the battle will fill the next six chapters (77 pages in my Pevear-Volokhonsky hardback), until the end of Volume 1.

Otto Mayr
from page 341-342 of original text
collage, acrylic paint
made 8/20/10
Berlin, Germany

Collage 166

Team Tolstoy met yesterday after a 1 week hiatus. Yesterday we were Lynn, Lulu and Adrienne. We completed 14 collages so now are up to 217. Well over 25%.

A young Atlantic Works Gallery member, Nick DiStefano, wants to help out. He stopped by the studio yesterday to learn more about the project. He is a muralist and going to graduate school for graphic design. He told me about all kinds of online resources, one of which is access to free sheet music. I love including others because it makes the project more dynamic with a constant inflow of new ideas and energy. He will meet with us at our next gathering.

I got re-energized and have started to read the book again. Otto assures me that at some point I will get hooked. He wrote, "It does take a long time and a lot of pages to get to that point, and it happens very gradually, but once you get there - look out!" I am on page 438 of the translation. Pierre has returned to Helene, has become disillusioned with the Masons and for the first time, Tolstoy lets the reader have access to a diary so you can better understand Pierre's thoughts. -- Lola


Lola Baltzell
from page 337-338 of original text
collage, acrylic paint
made 7/16/10

Collage 165

On this page, young Rostov is in the midst of a battle. He overhears two superiors debating about what they see on the battlefield -- they see fires and cries from the French. Is it a ruse, or have the French retreated, lighting fires in the rear guard to deceive the Russians? Rostov does not follow orders. Rather than staying with the boundary of a brook, he rides further on his horse, "constantly making mistakes, taking bushes for trees and hollows for people, and constantly explaining his mistakes to himself." I found his behavior puzzling. If you were on the battlefield, would you disregard orders and ride into dangerous territory? That must be why I am a collagist and not a soldier. -- Lola

Lola Baltzell
from page 339-340 of original text
collage, acrylic paint
made 7/16/10

Collage 164

Lucy Arrington
from page 335-336 of original text
collage, acrylic paint
made 7/16/10

This image includes some elements I cut from a picture of a Russian nutcracker (think ballet). I thought it might be amusing to incorporate those bits, but didn't realize while I was doing it how violent the image would become. I actually felt I was being somewhat whimsical as I made it. It's fascinating how our unconscious mind can do things we don't realize in the moment. Now at a distance, I wonder what I was thinking at the time... I honestly didn't intend (consciously, anyway) to turn a nutcracker into an image of violence.

Collage 163

Sometimes Tolstoy uses analogies that I really don't entirely get. On this page, two military commanders are discussing whether Napoleon could easily attack instead of being attacked. One of them replies, "with the smile of a doctor being told by a wise woman how to treat a patient". What exactly is that supposed to mean? -- Lola

Lola Baltzell
from page 333-334 of original text
collage, acrylic paint
made 7/16/10

Collage 162

I haven't seen this collage or the next one since I made them over a month ago. It's interesting to see something you've created then forgotten... I thought I was being pretty detached from the text, but now that I look at them, I realize how much violence they convey. The sharp angles, the red & black. They seem to clearly be about the war aspect rather than peace. -- Lucy

Lucy Arrington
from page 331-332 of original text
collage, acrylic paint
made 7/16/10

Collage 161

These next 6 collages were made by Lucy Arrington and me. Lucy is a very dear friend of more than 25 years. She owns some of the very first paintings that I ever made. This color -- raspberry -- reminds me of her. She brought it in with her that dayand we got right into it.

We were out in Western Massachusetts a few weeks ago and she took us to a second hand store which had fantastic old books. We found Greek, Latin, and a how-to-learn Spanish for French speakers. You will see those languages in later collages. This project is a collaboration in every sense -- even sourcing ephemera.

We are also waiting in great anticipation for the 3 pieces that Otto is mailing from Berlin. -- Lola

Lola Baltzell
from page 329-330 of original text
collage, acrylic paint
made 7/16/10

Collage 160

The inspiration for this piece was some materials that Emma brought into the studio. I think of my "strong suit" as color, color, color. But in this piece I enjoyed working with neutrals. She brought in the butterflies. She found boxes of old letters and magazines in the studio building. What a treasure trove. (Emma AND the ephemera!) This imagery always reminds me of the Victorian era when botany and collections of everything natural were all the rage. -- Lola

Lola Baltzell
from page 327-328 of original text
collage
made 7/2/10

Collage 159

I am feeling out of touch with this project! We will be convening on Friday. Not a moment too soon! I have lost momentum as we missed last week, and have also not been reading the book. It's hard to keep it moving forward but am confident that we'll get re-charged once we are all together. -- Lola

Lola Baltzell
from page 325-326 of original text
collage
made 7/2/10

Collage 158

Getting off their horses, some adjutants took the soldier under the arms and began laying him on a stretcher which had just appeared. The soldier groaned.

"Gently, gently, can't you do it gently?" said the sovereign, clearly suffering more than the dying soldier, and he rode off.

Rostov saw the tears that filled the sovereign's eye, and heard him say in French to Czartoryski as he rode off:

"What a terrible thing war is, what a terrible thing!"

Lynn Waskelis
from page 323-324 of original text
collage
made 7/2/10

pp. 254-256 in Pevear and Volokhonsky translation

Collage 157

I had not addressed The Book at all beyond using the words on the pages as texture, but I still did feed off of what the others around me were doing. I rode high on their encouragement and managed to get out this one last piece - simple, perhaps going the opposite direction as the first one. One lasting impression of the War and Peace project was how compelling collaboration can be! -- Adrienne

Adrienne Wetmore
from page 321-322 of original text
collage, acrylic paint
made 7/2/10

Collage 156

Boris was excited by the thought of the closeness to supreme power in which he felt himself to be at that moment. He was conscious of himself being in touch with the springs that controlled all those huge mass movements, of which he, in his regiment, felt himself a small, submissive, and insignificant part...

"Who's that?" asked Boris.

Lynn Waskelis
from page 319-320 of original text
collage, acrylic paint
made 7/2/10

pages 251-253 in Pevear and Volokhonsky tranlation

Collage 155

Once I started to move in a more illustrative direction, I became a little more interested in digging through our endless supply of materials. This collage still feels like "me" so I am not compromising my style, so it is still very satisfying.

Team Tolstoy is out of town -- I am not sure whether any of us will gather tomorrow, including myself! But next week we are all back so hope for a wonderful reunion. -- Lola

Lola Baltzell
from page 317-318 of original text
collage
made 7/2/10

Collage 154

I don't recall this one very well beyond being a further exploration of simplifying as in my previous piece. The energy in the studio was very upbeat and I remember feeling the need to keep going! -- Adrienne

Adrienne Wetmore
from page 315-316 of original text
collage, acrylic paint, India ink
made 7/2/10

Collage 153

The sovereign's foot, in the narrow, sharp toe of its boot, as they wore them then, touched the belly of the bobtailed bay mare he was riding; the sovereign's hand in its white glove picked up the reins, and he set off, accompanied by a disorderly swaying sea of adjutants. He rode further and further, stopping by other regiments, and at last Rostov could only see his white plumes beyond the suite that surrounded the emperors.

Lynn Waskelis
from page 313-314 of original text
collage, acrylic paint
made 7/2/10

pages 247-248 in Pevear and Volokhonsky translation

Collage 152

There was such a great energy in the studio on this day and I felt like being playful. We had the best time! --Emma

Emma Rhodes
from page 311-312 of original text
collage, acrylic paint
made 7/2/10

Collage 151

It was around this time that I got more interested in what was going on in the text and wanted to relate the collage to the story line. This was clearly during one of the war scenes. I also love to dive into whatever new materials that anyone happens to bring in. In this case, I was having a good time with Emma's playing cards. -- Lola

Lola Baltzell
from page 309-310 of original text
collage
made 7/2/10

Collage 150

To tell the truth is very difficult, and young men are rarely capable of it.

p. 242 in P/V translation

Lynn Waskelis
from page 307-308 of original text
collage
made 7/2/10

pp. 242-244 in Pevear and Volokhonsky translation

Collage 149

Here is Adrienne's second collage. Her third one will be posted in a few days.

Here's what she had to say about it: "This piece was meant to be lighter in tone. I like the texture the Indian script provided, and the black marks were supposed to be a nod to calligraphy. The marks were meant to feel calm, yet playful - I don't know if it succeeds but it felt good to go in that direction."

Today we hit another milestone -- we have completed 200 collages! Emma and I were in the studio together today. Today definitely had a green palette going. We were working on the duel scene between Pierre and Dolokhov. Emma was surprised when I cracked open the book to see what was going on. She is getting ready to start reading THE BOOK. How exciting! -- Lola

Adrienne Wetmore
from page 305-306 of original text
collage, acrylic paint
made 7/2/10

Collage 148

I made this collage when Adrienne was with us -- hers is the previous collage. Inevitably each and every session seems to develop a theme as we work so closely together -- physically and energetically. I liked her looseness and painterly-ness. It's also a nod to Lynn who tends towards using lots of figures. Emma brought in a set of wonderful playing cards that I also used in this piece. As well as the old German text that is so fabulous.

I received an email yesterday from a college friend, Christiane Carney Johnson. She gave permission to quote her. Chris was also friends with Lynn, Lulu and Otto as we all went to Grinnell College together. The 4 of us -- Christiane, Lulu, Otto and myself -- all took the survey of Russian literature with professor John Mohan. Just to give context for her comments. He has since died, maybe 10 years ago. He made a huge impression on all of us impressionable undergraduates.

"Well, you did it to me... I am now re-reading War and Peace... after, what, 25 years? In fact you guys have moved me so much, I am reading with total inspiration and wonderful exhilaration as to what I will find in the book. I love comparing your collages to the pages - just picking a random page now and then. Wow - I never read the book like that during college. I do see Mr. Mohan in those pages from time to time..."

It's actually been 27 years since we graduated from college. I will sign this post by the nickname I had back then. In Russian, the letter "R" looks like a "P" in English script. Christiane always called -- and still calls -- me "Lapa" or "Lap" for short. Signing off today -- Lap.


Lola Baltzell
from page 303-304 of original text
collage, acrylic paint
made 7/2/10

Collage 147

Emma Rhodes
from page 301-302 of original text
collage, acrylic paint
made 7/2/10

Collage 146

Introducing Adrienne Wetmore, a friend of Lynn's. Adrienne spent the day with us in the studio on July 2. We (Adrienne, Lynn, Emma and I) made a record number of collages that day -- I think 14 in all. It was an exciting, high-energy day. The kind of creative energy that Team Tolstoy loves. Here is what Adrienne has to say:

When Lynn told me about this collaboration and asked if I would contribute to the project, I was a little nervous, having taken a long hiatus from art. My jitters were quieted at once by the wonderful energy in the studio - I may actually have gotten high from the support!

I love typeface, numbers, calligraphy, script. The 1 2 3 piece began using the numbers as a placeholder, devoid of meaning, though I had a nagging feeling that they could go the other way. Laura referenced the text, saying we were now at War. Maybe the numbers are something ominous (I vaguely remember a painting that bluntly counted dead bodies), or maybe they're just happy little blackboard symbols..?

1 2 3 felt heavy. I wanted to lighten up with the pieces that came after. I will comment on those when they are posted in a few days.

Thank you Team Tolstoy for a great day. It was an honor to have taken
part in this collaboration. -- Adrienne

Adrienne Wetmore
from page 299-300 of original text
collage, acrylic paint
made 7/2/10

Collage 145

Every once in a while neither Lynn nor I can tell who made a piece. Is that a good thing or a bad thing? We are together so much, working on the same project, that sometimes we experience a mind meld. Or something like that. This one isn't signed but I think it's "mine" because I love the Indian texts. Only Chitra could tell for sure which Indian languaage I used here. It might be a combination.

As of last Friday, we learned that we need to relocate our team headquarters. Our current space isn't working out for Melissa, the lease holder. We are too loud, too many participants, too many visitors, etc. I'd say we are too much fun! She will replace us with a solitary writer. Alas. However, we have a new "home" already. We'll move in with Chris Chou who was featured here recently. She was my very first studio mate, going back to 2003. We are actually really happy to be in her space as Lynn is as blown away by her as I am. It will be interesting to see how the project might shift from the influence of being around Chris' work.

We knew this was coming. And we're totally OK with it -- moving forward with this project, the team strong and happy. -- Lola


Lola Baltzell
from page 257-258 of original text
collage, acrylic paint
made 6/25/10

Collage 144

On this page of the book, the Rostov family has just received a letter from "Nikolushka", the pet name for Nicolai who writes that he has been wounded but promoted to officer. The youngest family member, Petya, is annoyed that the women in the family are upset by the news of his injury. Petya says, " I'm very glad, really very glad, that my brother has distinguished himself..." -- Lola

Lola Baltzell
from page 295-296 of original text
collage, acrylic paint
made 6/25/10

Collage 143

"My calling is different," Princess Marya thought to herself, "my calling is to be happy with a different happiness, the happiness of love and self sacrifice."

p. 232 in P/V translation

Lynn Waskelis
from page 293-294 of original text
collage, acrylic paint
made 6/25/10

pp. 231-232 in Pevear and Volokhonsky translation

Collage 142

I was playing around here with the idea of Otto's house shape. And it is also a continuation of the Hebrew text. On this page of the book, Prince Nikolai Andreevich informs Princess Marya of the wedding proposal. "The old prince was extremely gentle and painstaking in dealing with his daughter that morning." He warns her that Anatole has lusty intentions towards Mlle. Bourienne. Her father says, "he'll get your dowry and incidentally take along Mlle. Bourienne. She'll be his wife and you...". Ouch!

Today I am formally proposing to show this project at a gallery in East Boston where I am a member. Last I checked, we were tentatively scheduled for December. We've been talking about how we will show each collage which is on thick paper. My husband Mark, our photographer, is quite creative and suggested that we construct a house (a nod to Otto) and use each collage as a shingle of the roof. He envisions making the structure tall enough so you could walk through the space. Lynn is an architect. I wonder if we're on to something? -- Lola

Lola Baltzell
from page 292-292 of original text
collage, acrylic paint
6/18/10

Collage 141

One of my high school friends, Julie, is Jewish and has invited me for decades to participate in her family's Passover dinners. It is the rite of spring when [in the early years] her mother would call and provide the details of where/when. In more recent years it is Julie who makes the call. I love script -- and all all languages -- and at one point asked Julie whether it would be too irreverent to use Hebrew in collage. For my birthday this year she gave me a used Passover book and said -- go for it! So here is the first inclusion of Hebrew script. It has nothing to do whatsoever with the text -- Princess Marya is contemplating whether to accept a marriage proposal from Anatole -- but that's just fine with me! -- Lola

Lola Baltzell
from page 289-290 of original text
collage, acrylic paint
made 6/18/10

Collage 140

It gives me great pleasure to include a contribution by Carol Odell, a mentor and friend and fantastic artist. Carol and her husband Tom, a sculptor, have their studios and gallery in Chatham on Cape Cod. Whenever I visit my family there, I am sure to stop by to see the Odells. You can see more of their work here:

Odell Art Studio and Gallery

Here's what Carol had to say about her collage:

"I read page 140 twice and was impressed by the egos and self-absorption of the characters - each one seemingly the center of the universe and vying for the attention and adoration of the others. My collage is loosely based upon that impression of three entities: two obviously female and one male and the aesthetic of upper class textiles. I loved working with immediacy - similar to a gesture drawing where the information is captured in a fleeting moment. Thank you for inviting me to join in the project - I would enjoy doing more if you have more pages to spare."

We certainly have more pages to spare and so appreciate contributions from far-flung Team Tolstoy! -- Lola


Carol Odell
from page 287-288 of original text
collage, acrylic paint
made 7/7/10

Collage 139

And Princess Marya tried and was unable to be cordial with the new guest.

Lynn Waskelis

from page 285-286 of original text
collage, acrylic paint
made 6/25/10

Pevear/Volokhonsky translation pages 224-226

Collage 138

I remember being inspired by some of the collages Otto was making to work with a grid.

Lynn Waskelis
from page 283-284 of original text
collage, acrylic paint
made 6/25/10

Pevear/Volokhonsky translation pages 223-224

Collage 137

We are so pleased with Otto's contribution! He has taken us into the third dimension and also has made a youtube video to accompany his collage.

Here is the link to his video:

Otto's Instructions

This collage was inspired by the notion that places like the Rostov's Moscow house, their country estate Otradnoe, and Bald Hills, the estate where Andrei Bolkonsky's father and sister live almost come across as minor characters in War and Peace. Tolstoy brings the reader back to these homes again and again. These homes are not always happy or even safe, but they are strong and constant presences in the book. This page is set at Bald Hills, the place where Prince Andrei's son is born and where his wife and father die, and to which Marya returns for the happy end of the book.

The little house that can be built with my collage - a peasant's cottage, perhaps? - symbolizes the idea of a home: A permanent shelter surrounded by cultivated land, vegetable plots, paths and terraces; a place where people grow and develop; a place that has many stories to tell. -- Otto

Otto Mayr
from page 281-282 of original text
collage, acrylic paint
made 6/25/10
Berlin, Germany