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December 30, 2011


Filed under: wassily kandinsky — Tags: — jherzlinger @ 4:13 pm

I was in the Guggenheim the other week, and was so adoring the Kandinskys, that I thought  it would be great to learn more about him.  I never understood the references to the musical instruments, I just always knew his work and style.  so in learning about him, was fascinating.

I hope you like the post!




“Of all the arts, abstract painting  is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colours, and that you be a true poet. This last is essential.” — Wassily Kandinsky

Wassily Kandinsky is  considered to be the originator of abstract art, and believed that art could visually express musical compositions. Merry Structure by Wassily Kandinsky,

Kandinsky, himself an accomplished musician, once said “Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” The concept that color and musical harmony are linked has a long history,

intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound’s character), hue with pitch, and saturation with the volume of sound. He even claimed that when he saw color he heard music.

December 28, 2011


Filed under: Uncategorized — Tags: — jherzlinger @ 4:44 pm

I saw the most amazing bag from Dior! who, in Paris, always has amazingly sometimes really cutting edge clothing.  Well, the new bag which is camouflage is by none other then ANSELM REYLE!  Talk about a bad boy artist, who likes to

deliberately push the boundaries knowing all well he can

make the viewer uncomfortable, keeps at it! My kind of artist!

So, today’s post, is on his fabulous work!

Berlin artist Anselm Reyle, who was inspired early in his career by the agitprop of eighties punk graphics, understands the power of provocation. His best work—collected by art and fashion heavyweights like Charles Saatchi and Peter Marino—

is knowingly over-the-top, existing somewhere between

über kitsch and the sublime: hard-edge striped canvases made in glossy auto paint and glitter; monumental assemblages of silver foil, pulsating LEDs, and flashy fluorescent drips. “I like the idea of bringing stereotypical and sometimes banal forms into new contexts,” says Reyle, who lately has been producing

neon paint-by-number pieces of ponies and kittens. “I am interested in irritating the viewer’s eye.”

Irritating or not, his art certainly caught the attention of Delphine Arnault, Dior’s deputy general manager, who, after seeing some of his pieces at the Almine Rech Gallery in Paris, tapped Reyle to collaborate with the fashion house.

December 21, 2011


Filed under: man ray — Tags: — jherzlinger @ 12:55 pm

I would have to say that MAN RAY has been one of my favorite photographers for many years.  And any chance I have to see some of his work I run to it! His life history is really wonderful and the influences he experienced quite fascinating.  I hope you enjoy his work, as I am sure many of you have seen it before.




Man Ray is foremost known as a fashion photographer, but he actually had a successful career as an artist as well. His politely avant-garde photographs for Vogue and other magazines make up the brunt of his notoriety in within the mainstream world. Yet, in the overall chronology of his artistic career the commissioned

photography of his later career seems like a second  (much less important) career.

Man Ray first came on to the radar when he began to associate with Marcel Duchamp in New York. A Jewish-American, he was born in Brooklyn in 1890. They met in 1915, when Duchamp made one of his many visits there from his stomping ground, Paris. The young artist’s first introduction to the art of the moment came in 1913 in the

form of the Armory show, at which the most subversive European artists including Duchamp and Francis Picabia (and less impressive American) exhibited their work. Two years, Man Ray became Duchamp’s right-hand man in launching the short-lived Dada movement in New York.

Duchamp’s influence became key in Man Ray’s development as an artist. Man Ray became Duchamp’s first (and only, until the Post-Modernist movement) follower when he produced his own readymade sculpture in the vein of Duchamp’s Fountain. In 1921 Man Ray came to Paris to officially become part of the European Dadaists.

He settled in Montparnasse, and was introduced to the Paris collective by Duchamp.

Perhaps Man Ray’s most enduring photograph, a visual analogy likening the shape of a woman’s backside to that of a violin.

Man Ray slowly made the transition from sculpture and painting to photography. It began to emerge as his true passion even in the 1910s, but Man Ray did not make it his sole pursuit until the late 1930s. In the transition he made several decidedly-Surrealist works.

Man Ray gained repertoire quickly, and was unceremoniously accepted by the Paris Dadaists/Surrealists, a group with exorbitant admission standards. His notoriety allowed him the privilege to photograph many of the key artists of the time, such as Marcel Duchamp and Andre Beton (the leader of the Surrealist movement).

In 1934 he had a liaison with Meret Oppenheim of the fur tea-cup fame, and photographed her nude in a classic artist-and-muse scenario.

From the time he began attracting attention as an artist until his death more than sixty years later, Man Ray allowed little of his early life or family background to be known to the public, even refusing to acknowledge that he ever had a name other than Man Ray.

Man Ray was born Emmanuel Radnitzky in South Philadelphia,Pennsylvania USA in 1890, the eldest child of recent Russian Jewish immigrants. The family would eventually include another son and two daughters, the youngest born shortly after they settled in the Willaimsburg section of Brooklyn, New York in 1897. In early 1912,

the Radnitzky family changed their surname to Ray, a name selected by Man Ray’s brother, in reaction to the ethnic discrimination and anti-Semitism prevalent at that time. Emmanuel, who was called “Manny” as a nickname, changed his first name to Man at this time, and gradually began to use Man Ray as his combined single name.

Man Ray’s father was a garment factory worker who also ran a small tailoring business out of the family home, enlisting his children from an early age. Man Ray’s mother enjoyed making the family’s clothes from her own designs and inventing patchwork items from scraps of fabric.[ Despite Man Ray’s desire to disassociate himself from his family background,

this experience left an enduring mark on his art. Tailor’s dummies, flat irons, sewing machines, needles, pins, threads, swatches of fabric, and other items related to clothing and sewing appear at every stage of his work and in almost every medium. Art historians have also noted similarity in his collage and painting techniques to those used in making clothing.

December 17, 2011

Irish Themed Dinner! FOR SATURDAY SUPPER!

Filed under: SATURDAY SUPPER — Tags: — jherzlinger @ 1:29 pm

Even though it’s not St. Patrick’s Day, I can not wait until March to cook one of my favorite meals! To start, brown scones, corned beef cabbage with parsley-mustard sauce, followed by chocolate-stout cake with Guinness ice cream


2 1/4 cups all-purpose flour

3/4 cup whole-wheat flour

3 tablespoon kosher salt

2 tablespoons plus 2 teaspoons baking powder

9 tablespoons unslated butter, chilled and cut into small cubes

1 cup plus 2 tablespoons buttermilk

Preheat the oven to 375 degree Fahrenheit

Place the flours, sugar, and baking powder in a food processor, and process 30 seconds, until well combined.

Add the butter and pulse about 10 times, until the mixture is a coarse meal.

With the machine running, quickly pour in 1 cup of the buttermilk. Stop the machine as soon as the dough comes together. It’s important not to overwork the dough.

Turn the dough onto a lightly floured work surface and bring it together with your hands into a large ball. Divide the dough into three pieces, and shape each of them into 5-inch-wide disc. Cut each disc into quarters.

Brush the tops of the scones with a little buttermilk. Place on a lightly buttered baking sheet and bake 25 minutes, until the scones are golden brown.


One 6-pound corned-beef brisket

2 onions

4 whole cloves

2 bay leaves, preferably fresh

1/2 bunch thyme

2 chiles de arbol

6 small carrots

9 golf ball-sized turnips

1 1/4 pounds yellow potatoes, peeled

1 medium green cabbage (about 2 pounds)

Parsley-mustard sauce (recipe follows)

*NOTE: timing is important aspect of this meal. While the meat is resting, finish cooking the vegetables. Though you can prep the vegetables in advance, it’s the best to wait and cook them at the last moment.

Preheat the oven to 325 degrees F

Place the coned beef in a large deep pot and cover with water by 6 inches. Bring to a boil over medium heat.

Cut the onions in half lengthwise, peel them, and poke one clove into each half.

When the water comes to a boil, turn off the heat and add the onions, bay leaves, thyme, and chilies. Cover the pot with plastic wrap (yes, it can go in the oven), aluminum foil, and a tight-fitting lid if you have one.

Cook the corned beef in the oven 4 to 4 1/2 hours, until it’s fork-tender. (Carefully remove the foil and plastic and pierce the meat with a fork. If the fork doesn’t penetrate easily, the corned beef is not ready.)

While the beef is cooking, peel the carrots, leaving 1/2 inch of stem. Cut the carrots in half lengthwise. Trim the turnip tops, leaving 1/2 inch of stem attached. Cut the turnips in half through the stems. Cut the potatoes into 1-inch chunks. Remove any tough outer leaves from the cabbage and slice it in half through the core. Cut each cabbage half into three wedges, leaving the core intact to hold the leaves together.

When it’s done, remove the meat from the oven, let it cool in a few minutes, and transfer it to a baking sheet.

Turn the oven up to 375 degree F.

Return the meat to the oven for about 15 minutes, until it browns and crisps on top. Let the corned beef rest 10 to 15 minutes before slicing it. Meanwhile, skim the fat from the broth. (There probably won’t be very much.) Taste the broth. If it tastes good-not too salty but nicely seasoned and meaty-set half of the liquid aside in a medium saucepan. If the broth is salty, add a little water before setting half of it aside.

Add water to the broth in the large corned-beef cooking pot until you have enough liquid to poach the vegetables. Bring to a boil over high heat, then turn the heat down to medium, and add the potatoes to the pot. Simmer 5 minutes and then add the cabage, turnips, and carrots. (If your pot is not big enough, divide the broth into two pots, adding more water if needed.) Simmer over low heat 15-20 minutes, until the vegetables are very tender. Test each type of vegetable occasionally, and if one is ready before the others, use tongs or a slotted spoon to take the vegetables out of the broth.

Taste the reserved broth and the vegetable-cooking broth. Combine them to your taste. If the vegetable broth tastes best, use it for the finished broth. If the vegetable broth is watery but has good flavor, add a little of it to the reserve broth, to you liking. Or, if you like the meat broth best, use it by itself.

Place the cabbage on a large warm platter. Slice the corned beef against the grain into 1/4-inch thick slices. Arrange the meat over the cabbage. Scatter the other vegetables over and around the platter. Pour over a good quantity of your chosen broth, and drizzle with the parsley-mustard sauce. Pass the extra broth and sauce at the table.


Place the shallots, vinegar, and 1/4 teaspoon salt in a small bowl, and let sit 5 minutes. Pound the parsely with a mortar and pestle and add it to the shallots. Whisk in the mustard and olive oil, and season with a squeeze of lemon juice, a pinch of pepper and a pinch more salt, if you like. Be careful not to over season, since the corned beef may be on the salty side.


2 cups all-purpose flour

3/4 cup unsweetened cocoa powder

1 1/2 teaspoon ground cloves

1/2 teaspoon ground cinnamon

1/2 teaspoon freshly ground nutmeg

1 cup Guinness stout

1 cup molasses

1 1/2 teaspoons baking soda

3 extra-large eggs

1/2 cup dark-brown sugar

1/2 cup granulated sugar

1 cup vegetable oil

1 teaspoon unsalted butter, softened

Guiness ice cream  (recipe follows)

Preheat the oven to 350 degree F

Sift the flour, cocoa powder, cloves, cinnamon, and nutmeg together into a large mixing bowl.

Pour the beer and molasses into a medium pot, whisk together, and bring to a boil over medium-high heat. Remove from the heat, and whisk in the baking soda. Don’t be surprised when it foams up.

In another bowl, whisk together the eggs and both sugars, mixing well to combine. Whisk in the oil, and then the beer mixture.

Make a well in the center of the dry ingredients. Pour in the liquid ingredients, whisking slowly until just incorporated. Be careful not to overmix or the cake will be tough.

Pour batter into a lightly buttered Bundt pan and bake 30 minutes. The cake is done when it begins to pull away from the sides of the pan and the top surface is just starting to crack. When you insert a skewer into the center, it should come out mostly clean. To kepp the cake moist, cover it with a dry kitchen towel as it cools. After 30 minutes, invert the cake onto a platter.

Serve slices of the cake with scoops of the Guinness ice cream.


1/2 vanilla bean

1 cup whole milk

1 cup heavy cream

2/3 cup Guimmess stout

2 tablespoons plus 2 teaspoons molasses

3 extra large egg yolks

1/3 cup granulated sugar

1/2 teaspoon pure vanilla extract

Split the vanilla bean in halt lengthwise. Using a paring knife, scrape the seeds and pulp into a medium saucepan. Add the vanilla pod, milk, and cream, and bring to a boil over medium heat. Turn off the heat, cover and allow the flavors to infuse for 30 minutes.

While the cream is infusing, whisk the beer and molasses together in a small saucepan, bring to a boil, and then turn off the heat.

Whisk the egg yolks, sugar, and vanilla extract together in a bowl. Whisk a few tablespoons of the warm cream mixture into the yolks to temper them. Slowly, add another 1/4 cup or so of the warm cream, whisking continuously. At this point you can add the rest of the cream mixture in a slow, steady stream, whisking continuously. Pour the mixture back into the pot, and return to the stove.

Stir the beer mixture into the cream and cook the custard over medium heat, 6 to 8 minutes, stirring frequently with a rubber spatula and scraping the bottom and sides of the pan. The custard will thicken and when it’s done wil the coat the back of the spatula. Strain the mixture, and chill at least 2 hours in the refrigerator. When the custard is very cold, process it in an ice cream maker according to the manufacturer’s instructions.

December 16, 2011


Filed under: greta magnusson grossman — Tags: — jherzlinger @ 12:31 pm

The time period of the 1950′s has never been my thing so to speak.  I understand the industrial and understand the functional aspect as well as the utility aspect, but for me the sexy lines and feminine aspect were never there. BUT-there are some fabulous lines of iconic pieces that I totally appreciate, so today’s post is on a brilliant woman, artist and style setter.  GRETA MAGNUSSON GROSSMAN

I hope you enjoy this post and have a great day!

Much Love,


Greta Magnusson Grossman (1906-1999) maintained a prolific forty-year career on two continents, Europe and North America, with achievements in industrial design, interior design and architecture.

The unique approach to Swedish modernism that she brought with her when she moved from Stockholm proved to be incredibly popular in the United States. She opened a much-publicized shop in Beverly Hills in 1940 selling her own designs billed on her business card as “Swedish modern furniture, rugs, lamps and other home furnishings.

” She attracted celebrity clients such as Greta Garbo, Joan Fontaine and Gracie Allen and began making connections that would lead to a number of projects both from her own shop and from Barker Brothers’ Modern Shop launched in 1947, for whom she was designing exclusive pieces and taking interior design commissions.

In the late 1940s Grossman designed a groundbreaking and successful line of lamps for Barker Brothers, later produced by Ralph O. Smith. These were among the first lamps to employ bullet shaped, directional shades and flexible arms. These lamps were included in the “GoodDesign” exhibition at the Museum of Modern Art in New York City ,

as was a chair she designed for Glenn of California.

December 8, 2011


Filed under: Uncategorized — Tags: — jherzlinger @ 2:15 pm

I have always been a fan, as you know of abstract expressionism and my love for FRANKENTHALER’S work has been for quite some time!  If you are not familiar with her work you are in for a treat, as she is truly one of the world’s greatest women artists!   Her freedom of expression, the use of the colors and the muted tones, the romance and reflection! I aspire to have one of her paintings on day!

I hope you enjoy this post! Have a great day!

Much Love,


Born in New York in 1928, Helen Frankenthaler first studied withRuffino Tamayo  at the Dalton School. At Bennington College, Vermont, 1945-49, she received a disciplined grounding in Cubism from Paul Feeley, though her own instincts lay closer to the linear freedom

of Arshile Gorky and the color improvisations of Wassily Kadinsky early work.

In 1950 the critic Clement Greenberg introduced her to contemporary painting. During that summer, she studied with Hans Hofmann in Provincetown, Massachusetts. In 1951 Adolph Gottlieb selected her for an important New Talent exhibition, and she had her first one

person show in New York later that year.

The work of Jackson Pollack proved the decisive catalyst to the development of her style. Immediately appreciating the potential, not fully developed by Pollock, of pouring paint directly onto raw unprimed canvas, she thinned her paint with turpentine to allow the diluted color to penetrate quickly into the fabric,

rather than build up on the surface.

This revolutionary soak-stain approach not only permitted the spontaneous generation of complex forms but also made any separation of figure from background impossible since the two became virtually fused a technique that was an important influence on the work of other painters, particularly

Morris Louis and Kenneth Noland.

December 7, 2011

http://www.nicolecohenart.com/ -MY NEWEST FAVORITE ART CRUSH!!

Filed under: nicole cohen — Tags: — jherzlinger @ 1:05 pm

A year and a half ago, when I started to really learn about social media, I came across a blog I fell in love with! The blogs name is SKETCH42.  Nicole Cohen is the woman behind this gorgeous blog! We became fast friends as her style and sense of chic is over the top and very au currant.

In getting to know Nicole, I found out that she is this incredible artist!  On top of being a beautiful young woman with two gorgeous children and a wonderful husband! My favorite women artists have always been helen Frankenthaler and Joan Mitchell.  I am telling you,

Nicole’s talent and vision is of these two women!

I am printing images that are for sale and her link to her art.

I am a champion of Nicole’s talent, as it is rare to meet an artist that truly is a s gifted as she.

Enjoy this emerging artist!

Much love,                                                                                                                                                    


December 3, 2011


Filed under: SATURDAY SUPPER — jherzlinger @ 9:29 am

I have had a mad craving for ITALIAN food, something not really great in the Southwest! BUT I love cooking it! Tonight I am throwing an impromptu dinner party and wine tasting to celebrate a great week! I have friends coming over and we’re sampling three fabulous Italian white wines. How good does that sound?

So today’s menu I know you will love! It is really simple and fantastic! Let me know what you think and how it turned out!












First things first, the wine tasting! Set up wines (chilled of course) with plenty of glasses so guests can sip throughout the evening. I recommend a selection that includes La Scolca Gavi di Gavi Black Label (my favorite!), Antinori Cervaro Della Sala and Livio Felluga, Pinot Grigio.











Serves 4

12 (1/2 inch thick) slices from a long Italian loaf (3 inches wide)

3 1/2 tablespoons extra-virgin olive oil

2 (6 1/2 ounce) jars marinated artichoke hearts, drained, rinsed well and patted dry

2 tablespoons heavy cream

1/2 cup tablespoons chopped pitted green olives

3 tablespoons finely chopped red onion

*Preheat broiler and arrange bread slices in 1 layer on a baking sheet and brush tops with 1 1/2 tablespoons oil. Broil 4 to 6 inches from heat until golden on top, about 30 seconds, turn toasts over and broil until golden, about 30 seconds more. Transfer toasts to a rack to cool.

*Pulse artichokes with cream in a food processor until finely chopped. Transfer mixture to a bowl and stir in salt and pepper to taste.

*Stir together olives, onion and 1/2 tablespoon oil in a small bowl. Spread toasts evenly with artichoke cream and top with olive mixture. Drizzle with remaining 1 1/2 tablespoons oil just before serving.









Makes 24 hors d’ oeuvres

12 slices firm white sandwich bread

1/4 cup drained bottled capers (chopped)

6 oz fresh mozzarella cut into 1/4 inch thick slices at room temperature

1/4 cup all purpose flour

2 large eggs

2 tablespoons milk

1 tablespoon unsalted butter

2 tablespoons olive oil

*Divide capers among 12 bread slices and spread evenly. Divide mozzarella among 6 slices and sprinkle with pepper to taste. Make into 6 sandwiches then cut off and discard crusts to form 3 in squares.

*Coat sandwiches with flour, knocking off excess. Beat together eggs, milk and a pinch of salt and pepper in another small, shallow bowl. Heat 1/2 tablespoon butter with 1 tablespoon oil in a 10-inch heavy skillet over moderate heat until foam subsides. Meanwhile, coat 3 sandwiches with egg mixture.

*Fry, turning over once until golden brown then drain on paper towels. Coat and fry remaining 3 sandwiches in the same manner. Cut sandwiches into squares and serve immediately.








Serves 4

3 oz mâche (butter lettuce or watercress can be substituted)

1/2 teaspoon fine sea salt

1/4 teaspoon black pepper

*2 to 3 tablespoons extra-virgin olive oil

*Gently toss together mâche, sea salt, pepper and 1 tablespoon oil. Mound salad on plates and drizzle with remaining olive oil.











Serves 4

5 tablespoons unsalted butter cut into tablespoon pieces

12 oz dried egg fettuccine

1/4 teaspoon salt

1 cup finely grated Parmigiano-Reggiano

*Preheat oven to 250 degrees. Melt butter in a heatproof serving bowl in middle of oven for about 5 minutes.

*Cook fettuccine in a 6 to 8 quart pot of boiling salted water until al dente.

*Reserve 1/2 cup pasta cooking water then drain fettuccine in a colander. Immediately toss fettuccine with butter and salt in bowl then slowly add 3/4 cup cheese tossing constantly and adding enough cooking water to keep pasta moist.

*Season with salt and pepper to taste then sprinkle with remaining cheese.









1 large egg

3 tablespoons granulated sugar

1/2 teaspoon finely grated fresh orange zest

1/2 teaspoon fresh orange juice

1/2 cup whole milk ricotta

1/3 cup all purpose flour

1/8 teaspoon salt

1 cup olive oil

Confectioners sugar for dusting

*Whisk together egg and granulated sugar then whisk in zest, juice, ricotta, flour and salt until combined. Heat oil in a 10 inch heavy skilled over moderately high heat until hot but not smoking.

*Working in batches of 4, spoon 1 tablespoon of batter per fritter into oil and fry, turning over once until golden on both sides (about 2 minutes). Transfer with a slotted spoon to paper towels to drain and cool slightly.

*Dust fritters with confectioners sugar and serve immediately.

Kick dessert up a notch and pop open a bottle of Mionetto Il Prosecco Sparking Wine. Pairs perfectly with the Fritters and is a light treat after dinner.

Enjoy and have a wonderful weekend! Love, Jamie

December 2, 2011


Filed under: suzani — Tags: — jherzlinger @ 6:49 am

I was in a wonderful hotel recently, very much influenced by  Moroccan style, and noticed that a lot of the upholstered pieces were made with what appeared to be beautiful weavings, brightly colored and very inspiring! I a not one to usually gravitate toward things that are more arts and crafts, but I can tell you that I absolutely fell in love with these weavings!

And they are actually a great compliment to the BOHO cHIC design trend that I am so in love with!

The weavings are called SUZANI!  SUZANI means needlework, but  to most collectors the word is

synonymous with the embroideries of Uzbekistan, in Central Asia.  

In the nineteenth century, Uzbek women produced fabulous embroidered hangings, bed covers, wrapping cloths, table covers and prayer mats for their household and their daughter’s dowries.  As the Soviet Era ended and westerners became more familiar with the finest old Uzbek pieces, prices for antique examples escalated wildly.

The pieces that I saw I have come to understand are new Suzanis that are currently on the market, and the range of quality appears very varied.  there are some stunning exapmles of the new ones, as evidenced but what I saw.

I adore this style and will definitely be using it to do upholstered headboards in the beach house I am working on!

Have a great weekend!



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