This picture posted on Flickr inspired me for the outdoor dining space. Of course, I don’t have enough room for all of those beautiful umbrellas, and Raju might kill me if I paint the side of the house (ala one of those HGTV shows we watched once upon a time, of course, she also cut away part of the deck; damn did her hubby need that margarita maker they won when he came home). So I’m paring down a bit and going with what seems to be leaning more toward a French feel with the red and blue and the Tolix chairs. Either way, it will be better than what it is today.

what it is today: clean slate or barren waste land? cup half full or half empty?

Of course, we’ll need more plants, and brighter colored planters than are in the mock above. Shortcuts – I just wanted some greenery in the picture.

The current plan is to put in the tall, skinny evergreens, similar to the ones in this photo from Florence (center of the pic) in a row down the fence. That should give us some privacy and kill some of the ambient road noise. So I guess we’re bringing a little Italy back in. Maybe I can call this “Euroblend”?

Filed under:
Domestic Life, Florence, Influences, Italy by Courtney

I’ve been on a bit of a consumption binge lately. Needing to consume – purchasing, consuming movies, books, knowledge. Just trying to break out of my rut, watching the same Family Guy episode for the umpteenth time while glazed over.

This weekend I watched Summertime, a movie from the 50s starring Katharine Hepburn. I’m not sure that I have ever seen one of Hepburn’s movies before, but I decided I really don’t care for her. At all.

However, the movie itself was good. It had technicolor on its side, and it was set in Venice which made me long for another trip there. It’s already being planned in my head. Heavy wine drinkers need apply.

One of the things that struck me about this movie was Hepburn’s character – she arrives in Venice, and she carries this film camera with her everywhere, capturing every moment, preserving it on film. She doesn’t really experience anything – the only contact she really has at this point is with the other tourists at the hotel. A hot blonde and her artist boyfriend, the proprietor of the hotel (who offers her some fine Italian drink, which she decides to mix with bourbon), and some tourist-old-couple she met on the water taxi.

Then she meets a man – the man. He sets her heart (or something else) aflutter, but she spends the next half hour acting like an ass instead of enjoying the moment. Then she gives in, and the camera disappears. She begins to experience Venice, experience love and life, and the camera is no where in sight for the rest of the movie. Of course, I guess she should have acted like an ass – turns out he is married. But that is beside the point.

I have to wonder if the obsolete camera is intentional as she begins to experience Venice. Does this mean David Lean felt the same way I do? That the camera somehow abstracts you from reality, from the moment, even though it is capturing that moment for a lifetime or more? That the camera interferes with your ability to experience by placing a mechanical device and a lens between you and life?

Filed under:
Italy, Movies, Observances, Others Art, venice by Courtney

House on a Hill, Rome

There’s something about this photo that reminds me of Arbus’s similarly titled photo – A House on a Hill, Hollywood. It’s one of my two favorite photos of hers (the other being the Disneyland castle), and the dialogue generally surrounding these photos is how atypical it is for her to have taken more of a landscape photograph, as she normally works in portraiture. Thus, there’s a lot of discussion on what this means – photographing a house on a hill, photographing a castle at a theme park. Most often, the thought is she is photographing what is not there – i.e. the content of the house is missing in Hollywood; it’s just a shell (read what you will into that). Things aren’t always what they seem.

A House on a Hill, Hollywood, by Diane Arbus

The mood of the two photos feel the same to me. Somewhat gray (though in Arbus’s work this is achieved via B&W), clouds in the sky, perspective, and what’s not there. It’s obvious in Rome what is left is a piece of magnificent architecture, and what’s left hints at what once was, but is no longer. Whether that be as simple as part of the house is missing, or a great society that has come and gone… well, I’ll leave that to you to read into.

Filed under:
Italy, My Art, Others Art, Rome by Courtney