America grows older yet stays focused on its young. Whatever hill we try to climb, we're "over" it by fifty and should that hill involve entertainment or athletics we're finished long before. But if younger is better, it doesn't appear that youngest is best: we want our teachers, doctors, generals, and presidents to have reached a certain age. In context after context and contest after contest, we're more than a little conflicted about elders of the tribe; when is it right to honor them, and when to say "step aside"? In LASTINGNESS, Nicholas Delbanco, one of America's most celebrated men of letters, profiles great geniuses in the fields of visual art, literature, and music-Monet, Verdi, O'Keeffe, Yeats, among others - searching for the answers to why some artists' work diminishes with age, while others' reaches its peak. Both an intellectual inquiry into the essence of aging and creativity and a personal journey of discovery, this is a brilliant exploration of what determines what one needs to do to keep the habits of creation and achievement alive.
The Vintage Years refers to this time in life, when according to Francine Toder, Ph.D. whose research into the factors that increase brain, body and psychological fitness, tells us that our health and our lives can be supercharged through the fine arts.
Recent discoveries in neuroscience confirm that the brain, even beyond age sixty, if it’s fed a diet of complexity, newness and problem solving can flower and bloom. Engaging in fine arts addresses all three factors. Whether writing short stories, learning to play music, or painting landscapes—which are only a few among the many fine arts options—the brain benefits and continues to develop. Ironically, natural changes in brain and hormonal functioning beyond sixty actually facilitates mastery of the fine arts in ways not available to younger people.
Dr. Toder’s new book, The Vintage Years: Finding Your Inner Artist (Writer, Musician, Visual Artist) After Sixty (285 pages, hard cover) explains these new findings in neuroscience while also glancing into the lives of more than twenty late-blooming artists who first took up the violin, memoir writing, or other artistic pursuits after they turned sixty. While some were motivated by curiosity, others desired to realize a previously unmet dream. Their stories inspire and validate Toder’s research. The book includes bibliographical references and index.
Francine Toder, Ph.D., is an emeritus faculty member of California State University Sacramento and is a clinical psychologist recently retired from private practice. She is also the author of When Your Child Is Gone: Learning to Live Again (Ballantine, 1986) and Your Kids Are Grown: Moving On With and Without Them (Plenum Press, 1996) both critically acclaimed. Her extensive writing on diverse topics has appeared in magazines, professional journals, and edited-book chapters. She resides with her husband in the San Francisco area where she practices the cello daily.
For the senior citizen who wants a new, rewarding pastime--this lighthearted guide offers offers senior-specific subject matter The aged may feel it is hard to draw another breath, much less a still life, but this handy guide will show the way, giving seniors something useful to do beyond looking forward to the next cup of tea. Packed with invaluable information from the basic principles of drawing to creating still lifes and even cartoons, it covers materials, basic skills like composition and perspective, and it even features wrinkly-specific subject matter in a chapter entitled "Drawing Memory Lane"--from sketching old photographs to converting distant memories into self-drawn souvenirs. This guide has a style that taps into the attitudes, opinions, and interests of even the most dyed-in-wool wrinkly, and readers will be skilled with pencil and crayons in no time.
Mary Delany was seventy-two years old when she noticed a petal drop from a geranium. In a flash of inspiration, she picked up her scissors and cut out a paper replica of the petal, inventing the art of collage. It was the summer of 1772, in England. During the next ten years she completed nearly a thousand cut-paper botanicals (which she called mosaicks) so accurate that botanists still refer to them. Poet-biographer Molly Peacock uses close-ups of these brilliant collages in The Paper Garden to track the extraordinary life of Delany, friend of Swift, Handel, Hogarth, and even Queen Charlotte and King George III. How did this remarkable role model for late blooming manage it? After a disastrous teenage marriage to a drunken sixty-one-year-old squire, she took control of her own life, pursuing creative projects, spurning suitors, and gaining friends. At forty-three, she married Jonathan Swift's friend Dr. Patrick Delany, and lived in Ireland in a true expression of midlife love. But after twenty-five years and a terrible lawsuit, her husband died. Sent into a netherland of mourning, Mrs. Delany was rescued by her friend, the fabulously wealthy Duchess of Portland. The Duchess introduced Delany to the botanical adventurers of the day and a bonanza of exotic plants from Captain Cook's voyage, which became the inspiration for her art. Peacock herself first saw Mrs. Delany's work more than twenty years before she wrote The Paper Garden, but "like a book you know is too old for you," she put the thought of the old woman away. She went on to marry and cherish the happiness of her own midlife, in a parallel to Mrs. Delany, and by chance rediscovered the mosaicks decades later. This encounter confronted the poet with her own aging and gave her-and her readers-a blueprint for late-life flexibility, creativity, and change.
American artist Catherine Lee (born 1950) works with formal permutation and repetition in materials ranging from stone to canvas. Produced in conjunction with the West Texas Triangle (a collaboration of 5 art museums), this publication presents selections from a wide array of the artist's abstract sculpture, paintings, prints and ceramic works.
"Grandma Moses and her paintings first came to public attention in 1940, when she was 80 years old. Her folk art, down-home personality, and background as a farmer and homemaker charmed the American public. By the time she died at the age of 101, she had completed over 1600 works of art and had established an international reputation. The work of "the white-haired girl," a self-taught artist who was a regular news feature for two decades, remained enormously popular at home and abroad even in the years after her death." "For this reevaluation of the work of Grandma Moses, Jane Kallir contributes an authoritative introduction and presents a catalogue that illustrates 87 of Moses' most important works. Kallir traces Moses' development as an artist from the first embroidered landscapes to the glorious paintings of her "old-age style." The Grandma Moses myth is tackled from various perspectives. Roger Cardinal examines the artist's working methods, exploring the relationship between the actual regional landscape and her interpretation of the area. Michael D. Hall places Moses within the context of contemporary artistic and social movements of the 1940s and 1950s. Lynda Roscoe Hartigan reveals how memory and imagination merge in the paintings. And Judith E. Stein discusses the role of gender in shaping the artist's reputation in the postwar years."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved