A brisk 2.9 mile walk (yes, 2.9 miles) in mildly drizzly weather from The Swan Hotel door back to the breakfast room set up a perfect day.
Drove to Blenheim Palace and arrived at the 10:00 am opening time. Gorgeous grounds and gated entrance.
Famed Italian Artist Mauricio Cattelan was featured throughout the Palace and grounds which added to the spectacle.
We entered the palace at 10:30 and were swept up in an amazing tour of the Duke of Marlborough’s residence.
The audio tour was very informative and kept your interest in every room.
Cattelan’s very humorous exhibits were meant to convey the very accidental and interactive nature life and art, with the aim of softening the imposing feel of the castle. Amazing.
The Winston Churchill exhibits at the end were spectacular in breadth and scope.
We left at 1:00 and drove to Broadway and a walk of the very polished town, full of art galleries, custom shops and elite hotels. 
A great sandwich and salad at a deli on the Main Street was followed by a drive to the Broadway Tower.
We headed back to Bibury and a glass of Rose in the small park in front of The Swan Hotel.
But there is nothing quite like the mind-bending spectacle now on display at dusk in the hills of Paso Robles here, a popular wine destination. That is the witching hour when thousands of solar-powered glass orbs on stems, created by the artist Bruce Munro, enfold visitors in an earthbound aurora borealis of shifting hues.
The works on view illustrate how Klee responded to his personal difficulties and the broader social realities of the time through imagery that is at turns political, solemn, playful, humorous, and poetic. Ranging in subject matter, the works all testify to Klee’s restless drive to experiment with his forms and materials, which include adhesive, grease, oil, chalk, and watercolor, among others, resulting in surfaces that are not only visually striking, but also highly tactile and original. The novelty and ingenuity of Klee’s late works informed the art of the generation of artists that emerged after World War II, and they continue to hold relevance and allure for artists and viewers alike today.
This focused installation features pastels by four artists whose work was shown in the Impressionist exhibitions: Mary Cassatt, Edgar Degas, Eva Gonzalès, and Berthe Morisot. Their subjects range from scenes of modern life, such as ballet performers and a woman working in a hat shop, to depictions of intimate moments of bathing and women with children.
Pastel, a medium used to draw on paper or, less often, on canvas, is made by combining dry pigment with a sticky binder. Once artists have applied the pastel to the surface, they can either blend it, leave their markings visible, or layer different colors to create texture and tone. Pastel portraits had previously gained popularity in France and England in the 18th century, but fell out of fashion with critics when pastel was deemed too feminine; not only was it used by women artists, but it had a powdery consistency similar to women’s makeup. The Impressionists rejected this bias and instead embraced the medium’s ability to impart immediacy, boldness, and radiance.
In some cases, Wyeth’s images bore into memory as sharply as the books they illuminate. I’m thankful I never saw Wyeth’s “Captain Nemo” (1918) while steeping myself in Jules Verne’s “The Mysterious Island” (1874): I would never have been able to shed the image Wyeth created of this white-haired, secretive, dying man, surrounded by allusions to his exotic past, his skin seeming bleached, we learn here, by the electrical lighting of his submarine.
Boomers Daily 