In February, 1925, Rea Irvin, The New Yorker’s first art editor, designed the cover of the magazine’s inaugural issue. That cover’s central character, a dandy peering at a butterfly through a monocle, would come to be known as Eustace Tilley, and he has graced the cover of the magazine nearly every February in the ninety-five years since. This is all a matter of historical record—but Barry Blitt, in this year’s Anniversary Issue, tells a different origin story. We recently talked to Blitt about drawing a familiar face.
You’ve drawn many a Eustace Tilley. Is there something pleasing about revisiting familiar forms?
Well, certain familiar forms are probably traumatic to revisit, but Tilley is a joy to draw repeatedly. All the hard work has been done for you—it’s a beautifully designed image. Hard to make a mess of those shapes and colors, though I give it the old college try.
The lives and oeuvres of Impressionist pillars Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh are each explored in-depth in TASCHEN’s Basic Art series. Now, this volume combines all 10 monographs into one for the price of three.
by AMO, Koolhaas, with students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University, Netherlands; and the University of Nairobi. The exhibition will examine the modern conception of leisure, large-scale planning by political forces, climate change, migration, human and nonhuman ecosystems, market-driven preservation, artificial and organic coexistence, and other forms of radical experimentation that are altering landscapes across the world.
subsequently backed by the art dealer Paul Guillaume – and the Parisian cultural and literary circles will be highlighted as never before.
The exhibition thus comes into its own at the Musée de l’Orangerie alongside the figure of Paul Guillaume, the first art dealer to work with Giorgio de Chirico. On his return to Italy in 1915, he and his brother Savinio were sent to Ferrare for military reasons, where he continued his artistic research. This period (June 1915-December 1918) provided an opportunity for painters Carlo Carrà and Giorgio Morandi to get to know the two brothers, thus resulting in the creation of what was later to be known as the “metaphysical movement” which brings the exhibition to a close.
Prevention
Forman’s photo-paintings explore those liminal and in-between moments – of coming and leaving, innocence and confidence, shadow and light, night and day, absence and connection, loss and longing, and not quite the past and not yet the future. Portals, both real and metaphorical, frequent her layered, complex and often dreamlike images.
Her work is recognized for imbuing harmonious compositions and for her explosive use of color, light, and shadow.Forman’s images elicit emotions of desire, vulnerability, and a desperate longing for connections.
Hotel Torni (“Hotel Tower”) is a historical hotel located in Helsinki, Finland, and a part of the Sokos Hotels hotel chain. When opened in 1931, it became the tallest building in Finland, a position it maintained until the completion of the new Neste headquarters in neighboring Espoo in 1976. 
Boomers Daily 