Al Young Studios Updates

New Painting By Elspeth Features A Daughter of Ishmael

Mon, 01 Apr 2013 14:30:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on April 1, 2013 - 2:30:00pm

I Will Go Before Your Face
(A Daughter of Ishmael)
By Elspeth Young

I Will Go Before Your Face (A Daughter Of Ishmael) is the newest oil painting to be added to the Book of Mormon Art Collection of original artworks from Al Young Studios. Thirty five fine-art print styles and sizes of this new image are now available at www.alyoung.com, ranging in price from $4.20 (4x6 poster print) to $367 (full-sized reproduction giclee canvas).

Click here to see a larger copy of the new painting, read the artist's commentary, and look at the selection of available prints.

This painting celebrates the sacrifice and heroism of the daughters of Ishmael, who, in their devoted discipleship, left riches and comforts behind during a perilous, eight-year desert journey to a Land of Promise. The rich detail of her costuming is a visual reminder of the worldly wealth and privilege she willingly abandoned in her native land. Her face reflects a small degree of wistful uncertainty, but the light which shines in and around her expresses the peace and strength bestowed on all who faithfully step into the unknown to carry out the Lord's will.

I Will Go Before Your Face is the 13th original artwork in the Studios Book of Mormon Art Collection, and the 152nd image in the Studios commercially available fine-art portfolio.

The 35 open-edition prints of this new painting bring to 2,137 the number of prints and giclee canvases available at www.alyoung.com -- exclusive retail outlet for all of the artworks produced by the artists of Al Young Studios.

New Painting By Elspeth Features A Daughter of Ishmael

Fri, 29 Mar 2013 18:16:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on March 29, 2013 - 6:16:00pm

I Will Go Before Your Face
(A Daughter Of Ishmael)
by Elspeth Young

New Painting by Elspeth Again Features Mary Elizabeth Rollins

Fri, 29 Mar 2013 14:41:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on March 29, 2013 - 2:41:00pm

The Treasure
(Mary Elizabeth Rollins)
by Elspeth Young

The Treasure (Mary Elizabeth Rollins) is the newest oil painting to be added to the Pioneers of the American West Collection of original artworks from Al Young Studios. Thirty seven fine-art print styles and sizes of this new image are now available at www.alyoung.com, ranging in price from $4.10 (4x5.5 poster print) to $367 (full-sized reproduction giclee canvas).

Click here to see a larger copy of the new painting, read the artist's commentary, and look at the selection of available prints.

In 1830, with the morning sunlight of the latter-day restoration of the gospel filtering in through the windows of the home of her Uncle Sidney Gilbert, 12-year-old Mary Elizabeth Rollins devours the pages of the first printing of the Book of Mormon. The night before the morning depicted here, Mary had convinced a reluctant Isaac Morely to lend her his brand-new copy of the Book of Mormon--the "only one in that part of the country."

The Treasure is the 6th original artwork in the Studios Pioneers of the American West Collection, and the 151st image in the Studios commercially available fine-art portfolio.

The 37 open-edition prints of this new painting bring to 2,102 the number of prints and giclee canvases available at www.alyoung.com -- exclusive retail outlet for all of the artworks produced by the artists of Al Young Studios.

On the Easel: The faith and courage of Drusilla Dorris Hendricks

Sat, 09 Feb 2013 17:07:00 MST

From the Art Techniques and Studio Practices Blog - Posted on February 9, 2013 - 5:07:00pm

Detail from In Every Time of Trouble by Elspeth Young (In Progress)

Since April of 2012, Elspeth has studied the life of Drusilla Dorris Hendricks (1810-1881), western pioneer and wife of James Hendricks. In August of last year, Elspeth began a painting of Drusilla Hendricks, portraying one of the most anguished moments in Drusilla's courageous life.

In the autumn of 1838, religious persecution in Missouri erupted into mob violence. In the midst of the devastation of burned and trampled crops and murderous attacks by mobsters, Drusilla recounted that neighbor children brought word that her husband had been shot. "I went to the field to give vent to my feelings . . . My husband was shot in the neck where it cut off all feeling of the body. It is of no use for me to try and tell how I felt for that is impossible . . ." ¹

Drusilla nursed her husband as mob violence escalated. They were driven from their home and suffered starvation. Despite the crushing physical and emotional burdens that strained her every nerve, Drusilla did not give up, but trusted in the assurance that whispered to her mind and heart: "Hold on, for the Lord will provide." ²

It is that ability to hearken to the whisperings and peace of the Spirit with which this painting is concerned. The most succinct statement of the painting's theme is found in the reassurance of the Lord's own words, given not only to those who endured the dreadful persecutions and hardships of the 1830s, but to the faithful of all time, that He will extend His arm and support his people against all the fiery darts of the adversary; and be with them in every time of trouble (Doctrine and Covenants 3:8).

Drusilla's ability to wait upon the Lord did, indeed, renew her strength and the strength of her family (see Isaiah 40:31). Through the power of the Priesthood, her husband was eventually healed of his paralysis, and Drusilla and her family arrived safely in the Salt Lake Valley on October 4, 1847, where they dwelt in peace for the remainder of their days.

When writing her memoirs in 1877, Drusilla concluded: "The Gospel is true. I have rejoiced in it through[out] all my trials, for the Spirit of the Lord has buoyed me up, or I should Have failed." ³

The model for the painting is Drusilla's 4th great-granddaughter, whose countenance bears a remarkable likeness to that of her pioneer progenitor. The entire painting measures 30 x 40 inches and will be the 7th painting in Al Young Studios' Pioneers of the American West Collection.

¹ From Hendricks, Drusilla Dorris. The Historical Sketch of James Hendricks and Drusilla Hendricks. MS SC 2409, L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University, Provo, Utah.

² Ibid.

³ Ibid.

Last days to order from the Studios for Christmas 2012

Fri, 30 Nov 2012 14:11:00 MST

From the Art Techniques and Studio Practices Blog - Posted on November 30, 2012 - 2:11:00pm

The following deadlines for the Studios' receipt of orders intended for Christmas are presented for the convenience of our customers.

Domestic Orders presents order deadlines for each product-type listed. The table for International Orders presents (by country or region) the number of total days (including weekdays and weekends) to subtract from the date of the product-type deadlines listed in the Domestic table to ensure timely delivery before Christmas.

Domestic Orders

Product Type	Economy Shipping	Priority Shipping	Express Shipping	In-store pickup
Books	Fri. Dec. 21^st 2:30pm MST	Same as Economy	Sat. Dec. 22^nd 2:30pm MST	Mon. Dec. 24^th 2:30pm MST
Calendars & Diaries	Wed. Dec. 19^th 2:30pm MST	Same as Economy	Thu. Dec. 20^th 2:30pm MST	Fri. Dec. 21^st 2:30pm MST
Magazines & Novellas	Mon. Dec. 17^th 2:30pm MST	Tue. Dec. 18^th 2:30pm MST	Wed. Dec. 19^th 2:30pm MST	Thu. Dec. 20^th 2:30pm MST
Paper/Poster Art Prints	Mon. Dec. 17^th 2:30pm MST	Tue. Dec. 18^th 2:30pm MST	Wed. Dec. 19^th 2:30pm MST	Thu. Dec. 20^th 2:30pm MST
Giclée Art Prints	Wed. Dec. 12^th 2:30pm MST	Thu. Dec. 13^th 2:30pm MST	Fri. Dec. 14^th 2:30pm MST	Mon. Dec. 17^th 2:30pm MST

International Orders*

Use the following to modify dates in the foregoing table. For example, a magazine sent to Africa by First Class International Mail would need to be ordered on Friday Nov 30^th, 18 days before the Dec. 17th deadline for the United States to ensure delivery by Christmas.

Country/Region	Extra days for First Class International Shipping	Extra days for Priority International Shipping	Extra days for Express International Shipping
Africa	18	19	12
Asia & Pacific Rim	11	12	8
Australia & New Zealand	11	12	8
Canada	9	9	8
Carribean	9	9	10
Central & South America	18	19	12
Mexico	11	12	8
Europe	9	9	8
The Middle East	9	9	8

* We can ship using the USPS Global Express Guarantee (GXG) Service, which can reduce shipping time by 4 to 7 days. Because logistics vary dramatically between products and regions, please call or email the Studios for pricing quotes and estimated dates of availability.

Paintings featured in annual religious art exhibit

Mon, 26 Nov 2012 12:30:00 MST

From the Art Techniques and Studio Practices Blog - Posted on November 26, 2012 - 12:30:00pm

A Damsel
Came To
Hearken (Rhoda)
by Ashton Young

Three artworks from the artists of Al Young Studios are featured in the 27th Annual Spiritual and Religious Art of Utah Exhibition. The exhibit is open to the public through January 18, 2013.

She Worketh Willingly
With Her Hands (Lydia)
by Elspeth Young

Elspeth's painting of Lydia received the Second Place Award for the exhibit. Ashton's painting of Rhoda received an Award of Merit.

Hosted by the Springville Museum of Art, the juried exhibit features 166 art works selected from 318 works submitted.

Frames for the artworks were prepared by Al Young Studios.

We Heard Him
Pray For Us
(The Messiah)
by Al R. Young

Custom framing available from Al Young Studios

Tue, 20 Nov 2012 15:21:00 MST

From the Art Techniques and Studio Practices Blog - Posted on November 20, 2012 - 3:21:00pm

Custom framing services -- for original oil paintings and giclee canvas-reproductions sold by Al Young Studios -- are now presented on the Studios' Frame Shop blog page.

We have been framing our own artworks for more than 25 years, and during that time have provided these services to customers upon request. This new blog page provides a convenient source of information on the custom framing available from the Studios.

Works on paper (limited edition and open edition fine art prints) are not included in these services, however, because of the many design considerations as well as the fragility and high shipping costs associated with framing works on paper.

Spiral-bound art diary now for sale

Sat, 17 Nov 2012 11:32:00 MST

From the Art Techniques and Studio Practices Blog - Posted on November 17, 2012 - 11:32:00am

This spiral-bound diary sells for $27 (plus shipping) direct from Al Young Studios.

Derived from the Studios' 2012 Calendar, this full-color personal journal features 157 images, including 60 original artworks by Al R. Young, Elspeth Young, and Ashton Young; as well as 42 works by other artists that have inspired the artists of Al Young Studios.

Opposite each of these illustrated pages are 53 ruled pages that can be used throughout the year as a personal journal or diary. The ruled pages feature 55 sketches by Ashton that appear as watermarks.

Printed in full color on heavy paper. Bound with black plastic spiral that rests flat when open.

New painting by Elspeth features Mary Elizabeth Rollins

Sat, 17 Nov 2012 10:58:00 MST

From the Art Techniques and Studio Practices Blog - Posted on November 17, 2012 - 10:58:00am

Growing Light
(Mary Elizabeth Rollins)
by Elspeth Young

Growing Light (Mary Elizabeth Rollins) is the newest oil painting to be added to the Pioneers of the American West Collection of original artworks from Al Young Studios. Forty four fine-art print styles and sizes of this new image are now available at www.alyoung.com, ranging in price from $3.95 (4x4.75 poster print) to $800 (full-sized reproduction giclee canvas).

Click here to see a larger copy of the new painting, read the artist's commentary, and look at the selection of available prints.

In 1830, with the morning sunlight of the latter-day restoration of the gospel filtering in through the windows of the home of her Uncle Sidney Gilbert, 12-year-old Mary Elizabeth Rollins devours the pages of the first printing of the Book of Mormon. The night before the morning depicted here, Mary had convinced a reluctant Isaac Morely to lend her his brand-new copy of the Book of Mormon--the "only one in that part of the country."

Growing Light is the 5th original artwork in the Studios Pioneers of the American West Collection, and the 150th image in the Studios commercially available fine-art portfolio.

The 44 open-edition prints of this new painting bring to 2,065 the number of prints and giclee canvases available at www.alyoung.com -- exclusive retail outlet for all of the artworks produced by the artists of Al Young Studios.

2013 art calendar now for sale

Sat, 17 Nov 2012 10:20:00 MST

From the Art Techniques and Studio Practices Blog - Posted on November 17, 2012 - 10:20:00am

The Studios' 2013 engagement calendar/journal is now available for $27 (plus shipping).

Entitled At Home, this edition of the calendar features 53 inspiring quotations about the making and keeping of home, drawn from the writings of Al R. Young.

The 128 artworks in this full-color printing feature 51 original oil paintings by Al R. Young, Elspeth Young, and Ashton Young. Augmenting these images are 45 limited-edition lithographs by Al and Ashton, nine pen and ink drawings and block prints by Ashton, as well as seven of Al's exquisitely crafted pencil drawings.

Twelve watercolors from Elspeth's private portfolio are also featured as watermarks on the date pages throughout this edition.

Printed on heavy paper, the book is bound with black plastic spiral and rests flat when open.

Each week in the calendar is accompanied by the kind of artwork and writing appearing in the sample pages, at right.

This is the 8th edition of the Studios' annual art calendar.

Early Winter Pleasures

Fri, 09 Nov 2012 17:27:00 MST

From the The Storybook Home Journal Blog - Posted on November 9, 2012 - 5:27:00pm

Photographs by Elspeth Young

At "The Violent Study Club," one of Betsy's planned poetry readings on a snowy night was James Russell Lowell's The First Snowfall (Betsy refers to it by it's first line in Betsy's Wedding). It's a lovely, touching poem, and we include the first four stanzas here not only in salute to Betsy and Lowell, but to the first major snowfall of the season that's been "heaping field and highway" since about noon today. (It arrived a little early for the gloaming part, however.)

Also now part of our frost-chilled, late-autumn mornings is nice, warming cereal for breakfast, from which any leftovers are always welcome as enrichments for dark, rich wholegrain breads and comforting cakes. One of our favorite treats-from-leftovers follows, and can use up anywhere from 1/4-cup to 1/2-cup of leftover farina (aka Cream of Wheat). I think the 1/4-cup makes a better cake, but either version is terrific.

The First Snowfall by James Russell Lowell

The snow had begun in the gloaming,
And busily all the night
Had been heaping field and highway
With a silence deep and white.

Every pine and fir and hemlock
Wore ermine too dear for an earl,
And the poorest twig on the elm-tree
Was ridged inch deep with pearl.

From sheds new-roofed with Carrara
Came Chanticleer's muffled crow,
The stiff rails were softened to swan's-down,
And still fluttered down the snow.

I stood and watched by the window
The noiseless work of the sky,
And the sudden flurries of snow-birds,
Like brown leaves whirling by.

Double Chocolate Farina Cake by Nancy Young

This recipe adapts to use up to ½ cup of leftover farina. The lesser amounts of whole wheat flour and cocoa are for the ¼-cup measurement, the greater amounts are for the ½ cup rendition. Of course, more cocoa can be used if a darker-chocolate cake is preferred—and white flour can be used instead of whole wheat, but you’ll need a bit more, perhaps 7/8 cup to 1¼ cups of all-purpose or unbleached. If you like (and we often do as you can see by the photograph), the cake can be topped with some nuts and sugar before baking.

½ cup butter

1 cup sugar

About ¼ to ½ cup cooked farina

2 eggs

1 teaspoon almond, vanilla or hazelnut flavoring or grated peel of 1 orange and 1 teaspoon vanilla

½ to ¾ cups cocoa

2 teaspoons baking powder

Pinch salt (optional)

¾ to 1 1/8 cups whole wheat flour

Up to ½ cup chocolate chips

Preheat oven to 350 degrees, and butter or pan spray any attractive cake form—round is probably best. Cream together the butter, sugar, and farina in the bowl of a heavy-duty mixer until light. Add eggs and choice of flavoring; mix well, add cocoa, and continue beating to a mousse-like consistency. Keep family members from trying to eat it up at this stage—you, of course, as the cook may do as you like (if using ½ cup farina it will never achieve mousse-dom, but will still make a great cake). Mix together baking powder, salt, if using, and flour, and beat lightly into mixture. Fold-in chocolate chips and spoon into prepared pan. Bake until cake tests clean—or almost clean, if you want a fudgier result— about 20 to 25 minutes for the smaller cake, 25 to 35 minutes for the larger mixture. Allow to cool on wire rack.

The Veranda: A Real-Life Betsy's Wedding

Fri, 26 Oct 2012 20:57:00 MDT

From the The Storybook Home Journal Blog - Posted on October 26, 2012 - 8:57:00pm

Daniel and Antoinette Kelly on their honeymoon

Vol 12 No 6 - Betsy's Wedding

As our Betsy's Wedding issue shipped October 16th, we thought our readers would enjoy this real-life Edwardian wedding of Dan and his beautiful bride, Nettie, with her Tacy-like coronet braids (coincidentally their surname, like Tacy's, was Kelly); a wedding which took place just four years before Betsy and Joe tied the knot. Excerpts from Nettie's wedding book are shared here by her granddaughter, Toni Langlais. We met Toni, twelve years ago, just as our maiden issue of The Storybook Home Journal was coming out, and her correspondence has delighted us ever since.

by Toni Langlais

My favorite season is here! Guarded predictions for a good leaf-peeping season have those in the tourist industry keeping their fingers crossed. I'm enjoying the cooler temperatures and briskness in the air. As yet the maple outside our window is the only tree with real color showing in our yard. Leaves are not changing as rapidly as the early ones in August hinted, but that’s alright. Anticipation is part of the pleasure.

And speaking of anticipation, I’m looking forward to your issue featuring Betsy’s Wedding. My paternal grandmother would have been just a couple years older than Betsy Ray, so many references in the Betsy-Tacy books remind me of her. My grandparents, Antoinette Pearson and Daniel C. Kelly married in 1911, just a few years before Betsy.

My Aunt Vera gave me her mother’s wedding book a few years ago. Like Maud Hart Lovelace, my grandmother records descriptions of the dresses she wore for events around the wedding. She described all her new wardrobe in the book. (Her “Miss Mix” was actually a cousin of her future husband).

On her wedding day

Here is Nettie’s Trousseau:

“One of my favorite dresses is a tan soft silk, embroidered very heavy with delicate blue Hyacinths, made princess.

Another one is pink veiling with silver braid trimmings, made empire style.

My first black dress is a black chiffon with a tiny black satin stripe, full of double ruffles, rows of them, and just one red flower at the waist.

A plain little dress I like so well is a light blue flowered silk, trimmed with plain blue around the neck, down one side of the front and around short sleeves.

A tan linen peplum dress

A pink fine lawn with narrow ruffles from the hem to the hips.

The dress I’ll wear away is a light tan taffeta, made princess, with a coat of the same, a white hat with chiffon trimming.

A light brown heavy silk, with a pink pleated panel (hand painted rose buds) at front of waist and petticoat, dress is made princess with a real full split skirt, with the full pink petticoat showing.

One of Dan’s favorites is a light blue corded silk with a big pointed shawl collar, made princess with a pleated flounce and from the flounce to the neck are blue and silver buttons, all up the back.

Photograph by Elspeth Young

A rose colored silk poplin made princess with a yoke, long sleeves of white fine net and a coat of the rose poplin, a rose colored hat with large white rose. (she wore the dress with “a velvet band of rose around my hair” at the reception the night before the wedding)

Another neat dress is a fine white lawn with a wide panel of heavy embroidery of padded wild roses and a beading with pale narrow ribbon run through. With it I wear a hat of white horse hair, faced with pale blue satin and trimmed with blue maline [transparent silk netting] and small white roses.

A pale gray broad cloth dress with a heavy lace collar.

A fine black straw hat with pink roses falling over the edge at the right side of the back, black velvet ribbon.”

In the wedding book my grandmother describes their wedding dinner "in a rustic summer house, all gay with colored lanterns and flowers and after a very glorious sunset, there is music and dancing."

Tucked into the book is the following newspaper clipping:

On Tuesday morning at 8 o’clock at the church of St. Francis Xavier, a pretty wedding was that of Miss Antoinette Eva Pearson, youngest daughter of Mr. and Mrs. Wm. A Pearson of Fleming avenue, and Mr. Daniel C. Kelly, son of Mr. and Mrs. M. J. Kelly. The ceremony was performed by the Rev. Chas. Coyne. Miss Mae Pearson was her sister’s maid of honor and Mr. Chas. McDermott of Dubois, was best man. The bride’s gown was very girlish, of white mull, trimmed in lace and silver spangled mantilla. Her hair ornament was white tulle, auto cap fashion. She carried bride’s roses, her only ornament being a rope of pearls. The honor maid’s gown was pale pink silk mull and panels of lace. Her flowers were bridesmaid roses in pink. Only the immediate members of both families were present at the wedding breakfast which was served at the bride’s home. Immediately afterwards the young couple left for West Virginia where they will be guests at a wedding reception.

On the bottom of the page listing her trousseau my grandmother wrote "I don't want my lovely dresses to ever wear out." What lovely way to preserve them—through The Storybook Home! My grandmother would be thrilled.

On the Easel: A Daughter of Ishmael

Sat, 13 Oct 2012 19:49:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on October 13, 2012 - 7:49:00pm

Elspeth has several oil paintings in progress at the moment, but is nearing completion of another addition to the Studios' Book of Mormon Art Collection.

This painting celebrates the sacrifice and heroism of the daughters of Ishmael, who, in their devoted discipleship, left riches and comforts behind during a perilous eight-year desert journey to a Land of Promise. Nephi described their experiences simply and poignantly: "We had suffered many afflictions and much difficulty, yea, even so much that we cannot write them all" (1 Nephi 17:20); nevertheless, he concluded:

" . . . so great were the blessings of the Lord upon us, that while we did live upon raw meat in the wilderness, our women . . . were strong, yea, even like unto the men; and they began to bear their journeyings without murmurings. And thus we see that . . . if it so be that the children of men keep the commandments of God he doth nourish them, and strengthen them, and provide means whereby they can accomplish the thing which he has commanded them; wherefore, he did provide means for us while we did sojourn in the wilderness (1 Nephi 17:2-3).

Accordingly, this painting symbolizes the hope that springs from doing the will of the Lord--a reminder that "sacrifice brings forth the blessings of Heaven" (Hymns, no. 27). Indeed, as the Lord promises all who journey through mortality: "I will go before your face. I will be on your right hand and on your left, and my Spirit shall be in your hearts, and mine angels round about you, to bear you up" (D&C 84:88). The young woman depicted has an expression of peace and hope, borne of the Spirit and her faith in Christ.

Betsy-Tib

Thu, 27 Sep 2012 10:48:00 MDT

From the The Storybook Home Journal Blog - Posted on September 27, 2012 - 10:48:00am

Irene Castle

Irene Castle, c. 1917

By Elspeth Young

Betsy-Tacy (and Tib). And since it’s always in that order, Tib seems to be a parenthetical. Even though the chocolate-colored house joined the Hill Street duo early on, it always stands a little aloof: it's on a different street; its stateliness almost makes it unapproachable; and its child occupant—little bewitching beauty, Tib Mueller—seems to suffer from a bit of the same problem. Tib is not Betsy’s first confidant; not the secondo in the Cat duet; not the first companion of choice.

Perhaps that’s one of the reasons I like Betsy’s Wedding so much. It, of all the Betsy-Tacy series, could really be called Betsy-Tib. When I was a child, Tib’s blonde moppet of picturesque hair, her daintiness on any dance floor, and her slight, affected German accent (to say nothing of her high school inability to readily understand all the jokes) didn’t fully appeal to me; but Tib is an absolute favorite now. Perhaps it’s her artistic temperament, her independent spirit, her not-willing-to-settle-for-a-Lausbub'n-ness, her resourceful and admirable creativity, her staunch patriotism and love of family—or all of these—which draws me to her now that I’m older. And so I enjoy the starring role Tib plays in this final chapter of the Deep Valley canon—the place where Tib steps into the limelight for one final, delightful performance.

And speaking of performances, it’s the dance floor that is Tib’s real stage. “Your tango is a poem,” Betsy tells her. Even though Mr. Bagshaw isn’t Mr. Right, at least he’s still useful for dancing. Rocky isn’t Mr. Right either—but we all knew that as soon as he demeaned dancing as an activity not worth the gray cells, he wasn't going to be useful for anything—and we recognized Jack Dunhill for just what he was as soon as he stepped on the scene. He's young, dashing, and a dancer. After all, dancing and Tib have been synonymous since she first wore her “white accordion-pleated dress” and danced the “Baby Dance” while little more than a baby, herself.

And so the Music Box in our new Fall issue featuring Betsy’s Wedding, is all about Tib. But there simply won’t be room inside the issue for everything I found, so we thought we’d share a little bit here, hoping to whet your appetite for what’s coming next.

The Castles

Vernon and Irene Castle, alluded to by both Betsy and Mr. Bagshaw in the pages of Betsy’s Wedding, are a dreamy success story—the greatest success being, perhaps, that success did not spoil them. Being the toast of London, Paris, and New York didn’t alter their youthful innocence, and only enhanced their love for each other. When Vernon went to war, he left all his heart with his beloved Irene. His letters home are a taste of true love; her book about him is just the same. After his tragic—and heroic—death in 1918, Irene penned the following poem:

Vernon and Irene Castle, "Such A Little While"

How short a while it seems since we were glad;
And danced; or laughed together at a play!
Nor did we ever think of Life as sad;
It seemed so sweet to us — just yesterday.

Together we had drunk our cup of Fame
And, side by side, had loved, and worked, and played
And Life to us seemed but a happy game;
We met our fortunes laughing — unafraid.

And then — the War! Its meaning well we knew;
Hushed were our hearts; we dared not speak of Life.
Our haunting fears in each swift moment grew
Beneath the darkening shadow of the strife.

One day in silence, dear, you went away—
In silence braver than brave words; I know
You felt I would never have you stay,
However hard it was to let you go.

Yet now it only seems but yesterday
That you were here, and smiled and talked of war
As children do, who with tin soldiers play;
How hard to think you gone forevermore!

And now you lie quite still! You laugh no more;
Those lips, that loved Life well, are mute to-day.
And so the lights are dimmed, the dance is o'er.
The music hushed — the laughter dies away.

With a pseudonym coined by fellow actor Lawrence Grossmith—inspired by Vernon’s native Britain and Windsor Castle—the then nineteen-year-old Vernon Blyth became Vernon Castle: comedy actor. Something of an eccentric who liked to collect forlorn (and even unusual) animals—his last pet was a Rhesus monkey—this soft-hearted, dashing young man was not thought to be more than second-fiddle (and poster boy for the new--disdained--English wrist-watch). But a few short years later, star-struck Irene Foote, who was anxious for anything theater, met him at a swimming party, and begged his help getting an audition. “He was very nice about it,” Irene mused later, “but, as I remember, he showed no particular enthusiasm. At that time I did not understand how much and how thoroughly the amateur can bore the professional, especially when he wants help.” But, she continued, “Always considerate, as I came to know so well later on, he promised me that he would talk to Lew Fields about me . . . my agitation was, of course, very great. I had come in from new Rochelle with a pianist, who feebly accompanied me in the huge dark theater. I danced with castanets a sort of Spanish tarantella. Later in the Fields’ production of “The Summer Widowers” in Brooklyn, I appeared for the time in public."

Fashion photograph, right, by Elizabeth Lippman for The New York Times

About their ensuing courtship, Irene is modestly quiet, but Vernon’s interest soon turned to love, and the two became engaged—despite some fatherly objections to the acting business and an international marriage (to a Brit!)—but Vernon’s goodness won over everyone’s hearts, and the two embarked on a halcyon few years of toil, fame, and fortune. Ironically, though their names were to become synonymous with the art of ballroom dance, Vernon and Irene never danced together in the days before their marriage—not even at parties. “Necessity made us dancers,” Irene wrote, “and it was not until we got to Paris that necessity urged us,” but, she continued, “our teamwork could not be touched.” She was right.

The two transformed all that was odious in early ragtime dancing into legendary grace. Vernon wrote, “Dancing should be the poetry of motion; the steps are mere incidents . . . . A beautiful dancer is a beautiful picture.” And so they were. Irene’s beauty—both on and off the stage—was celebrated everywhere in fashion photography. (We were pleasantly surprised to see Ralph Lauren’s newest runway designs—whether knowingly or not—picking up the grace and chic of Irene’s pre-war poses, pictured right.)

The Fox-Trot

Vernon’s book on Modern Dance does not walk his audiences through the fox-trot, though the Castle Fox-Trot was another translation from overplayed into graceful made famous. But Vernon’s war-time letters to Irene give a little window onto their enjoyment of this timeless number:

“How is the show going, and how much longer do you stay out? Be sure and tell me all the news, dear. Oh if you only knew how miserable I feel sometimes you would feel very sorry for me. Sometimes the orchestras play your number, "Dancing-teacher, show me how to do the fox-trot," and I feel so homesick. Everything seems so very long ago, as though it were in a different life. I am expecting any day to be called to duty, but haven't heard yet. I tried on my uniform which is not quite finished. I'll have my photo taken when it is done and send it to you. I'm simply crazy about the little poem you sent me. I wish I could send you one, but somehow my words don't rhyme. . . .” (Norwich, 1916)

“I am happy again for the very first time in weeks. When I got back very early this morning I found seven sweet letters here, waiting for me. I’ve got an appalling lot of work waiting for me here in the Squadron, also some rather bad news; four of my friends in the flight have been killed since I’ve been away, two were brought down by "Archie" guns, and two were shot down by a flock of German machines. It's darned hard luck, and they were four of the nicest boys in the Squadron . . . I do so long to have a little house, or flat or something, darling. I would give up my Merry Christmas willingly, just to have you with me for more than a week. Darling, there is something I want you to bring me from New York, and that is a pair of Binoculars with a Zeiss lens. The Zeiss is the best lens in the world, and as it's German we can't get any, but I'm sure you could buy them in America. Strong field glasses are tremendously useful to us out here. I also want a Victor record called "Walking the Dog," fox-trot. Will you send it to me, dear? I'm so pleased you have got some more pretty clothes, sweetheart; won't it be wonderful when we are in London. I shall be so proud of you…” (France, 1916)

“The officers have been making me teach them the Fox-trot, etc., and now every evening they have dances, and dance with one another. When you know that every one of them is a real man, and faces death pretty nearly every day, it doesn’t seem at all out of place that they should dance, and they welcome me as a Godsend.” (Aviation Field, France, undated)

Fred and Adele Astaire, 1915

Fred and Adele

Adele Astaire, 1919

While Tib and her younger brother, Fred, graced the dances of Fred’s college fraternity, a real-life Tib and Fred were an up-and-coming dancing act on Vaudeville that was about to become an international item. Though no one needs an introduction to Fred and Ginger, Fred and his slightly older sister, Adele, tend to be more of a mystery. But, in fact, the Astaires were a New York-London rage in the 1920s, rounding out a tremendously successful season lasting 25 years. Rather Tib-like in beauty, class, and unexpected whimsy, Adele was the toast of London and admired by many of its elite—everyone from Noel Coward to J. M. Barrie to A. A. Milne and Somerset Maughan, to name a few. Adele is credited with training Fred in his winning ability to treat his dance partners as goddesses of the dance floor—to elegantly celebrate his female foil, making the stage a platform to perfection.

Back to School, Back to Football, Back to Film: Trouble Along the Way & The Happiest Days of Your Life

Fri, 14 Sep 2012 16:00:00 MDT

From the The Storybook Home Journal Blog - Posted on September 14, 2012 - 4:00:00pm

By Nancy Young

Some days your brain needs a rest. If you’re in a workaday world or a school-a-day one, that time may be Friday night, the longest possible respite from the end of the work week and the ever advancing Monday morning. There may be homework or yard-work coming Saturday morning, social engagements Saturday night, and church services on Sunday, but on Friday night, you may be able to go at least a couple of hours without thinking a whole lot—making these two films are a perfect Friday fit—especially at the beginning of a new school year and a fresh football season.

Trouble Along the Way

I have a hard time thinking of a Charles Coburn film I don’t like. I’m sure there must be some—but I really don’t want to think too hard about it. Coburn was such a pleasing blend of classy and comical, irascible and loveable and seems to crop up in film after film that I love already—and then love more for what he in particular adds. He seems to have played every part from confidence trickster to wealthy businessman (yes, there can be a difference) to social-climbing aristocrat to police inspector. In Trouble Along the Way, he portrays Father Matthew William Burke, the comfortable, comforting, slightly curmudgeonly dean of a New York City Catholic college, St. Anthony’s, that’s failing to pull its financial weight. Believing a great football season would be just the ticket to solve his solvency woes, he begins to pull together a dream schedule for a yet-to-materialize dream team.

If it was 1953 and anyone needed a leading man with the bravado and brawn to solve such a problem, the solution, of course, would be John Wayne, starring here in one of his rare roles where he isn’t a cowboy, a Calvary officer or a combat soldier—instead he’s a coach named Steve Williams who’s not over-nice about his ethics and therefore is currently out of work. He’s also the custodial parent of his daughter, Carole, played by child-star Sherry Jackson, who owns no dresses and is way-too-familiar with veer splits and assorted methods of ducking grade school. Of course for every custodial father, it follows there must be a non-custodial mother. And in a mid-twentieth century film with a caring, but somewhat roguish, best-friend- father, the mother’s bound to be more concerned with chattels than children. Marie Windsor gets that role as Wayne’s ex-wife, a woman who left husband and daughter to successfully climb the social ladder, but now wants not only to eat her Park Avenue piece of cake, but have Wayne around to serve it up to her. With all the scruples of a well-coiffed black widow, she involves a vulnerable young social worker, Donna Reed, to prove Wayne’s unfitness as a parent so she can use her daughter as a bargaining chip with which to restore Wayne’s attentions. And the “trouble along the way” hasn’t even fully begun yet. Keep in mind, however, that for all the Peyton Place portents this is, after all, a comedy, so sit back, don’t think too hard and just enjoy.

The Happiest Days of Your Life

I once read an article—I think it was in TV Guide—that indicated the real way to tell the difference between men and women is the ability to remain in the room while a Three Stooges film is being re-run on television. (Purportedly men sit down to watch—women swiftly escape.) Less readily recognized is why some people adore British comedies and others simply don’t perceive much to laugh at. We happen to be Anglophiles particularly when it comes to humor (as well as whodunits)—and this archly witty film improves for our family with every watch.
Though Charles Coburn often headlined films, it was always shared glory with some stunning leading lady and her striking lad. Only in a British film made prior to 1960 could you find a male lead whose good looks are strictly a matter of his rumpled distinctiveness and a female lead that could scarcely fit her arm into the waist of any size 2 article of clothing. But in this film the pretty people enjoy modest roles and the wonky ones get nearly all of the attention and all of the best lines.

Weatherby Pond (Alastair Sim) is the headmaster of Nutbourne College for boys, but is hopeful of a similar position at a more prestigious Eton-esque prep school and is putting his staff on alert for a visit from the trustees of the grander college as he wishes to make as fine an impression as possible. It’s the beginning of the new school term and as the boys are about to return, the luggage of another prep school’s returning students is delivered, followed by a letter announcing the addition of a second academy, St. Swithin’s, with about as many students and faculty as Nutbourne. Sim sees it as an opportunity to astound the coming trustees with his facility for managing the unexpected and welcomes the addition—at least until he discovers that the interlopers are all female.

Muriel Whitchurch (Margaret Rutherford) as the headmistress of the girl’s school is equally appalled; but of course The Ministry of Education who created the kerfuffle—and is the only agency that can undo the damage—is on hiatus and so Rutherford tries to make the best of the situation setting her inexperienced domestic science students to cook and commandeering Sim’s quarters and office. In a grudging alliance between Sim and Rutherford, the error is kept a secret by both schools anticipating both a quick resolution to the problem as well as widespread parental shock and disapproval if it’s revealed—but the shock is much swifter in coming than the resolution (and when it does come there’s an even greater shock.) Wonderful Joyce Grenfell—who always managed to make any role, however small, a delight—plays an awkward P.E. teacher; and Richard Wattis is particularly fine as a sardonic Chemistry professor busy pitching out quips while evading Grenfell’s lovelorn pitches. A precursor of the popular St. Trinian school comedies, there’s a naïve zaniness and lots of rapid repartee here that’s just plain fun and easy on the gray cells.

Parental Precautions:

Both Trouble Along the Way and The Happiest Days of Your Life have a bit of mild sexual innuendo that arises from the situations of their comedy. In addition Trouble Along the Way does stumble a bit on some sexist stereotypes. It’s more redeeming aspect, however, is that deviousness—even on the part of the hero—is punished rather than rewarded, and even blinded naïveté ultimately finds correction as well.

Goodbye Summer! Back to School

Mon, 03 Sep 2012 17:49:00 MDT

From the The Storybook Home Journal Blog - Posted on September 3, 2012 - 5:49:00pm

Painting by Winslow Homer

Painting by Helen Allingham

Kate Douglas Wiggin and her sister, Nora Archibald Smith, have been our companions all summer long. While reading Kate’s autobiography, My Garden of Memory and Nora’s biography Kate Douglas Wiggin As Her Sister Knew Her, our home has been filled with dinner-table stories of Kate’s early sallies into the Kindergarten movement, community theater at Quillcote’s Barn, or her chance meeting with Charles Dickens on a New England train. We’ve quoted their quips and read long sections aloud to any passerby—quite as besotted with Kate and Nora as they were with Dickens. And we’re about to engage in the same behaviors once more as we close out summer (though going back to school, whether home or abroad, however, couldn’t be better than going in the company of Kate’s characters—from the Carey children to Rebecca Randall and Emma Jane Perkins to Marm Lisa.) Here, however, we settle for a few “back to school” observations from Kate and Nora.

When speaking of Kate’s childhood diary—so like Rebecca’s in New Chronicles of Rebecca—Nora described it as flowing, adding young Kate “knew where to begin and left off when she had nothing more to say;” (an ability many high school English teachers wished their students possessed) “she had a sense of form and structure and she had, she really had, a style, if style, in the literary sense, means individual expression, a manner of saying and writing things which is one's own and gives a touch of personality to the printed page,” and then this, though Nora herself was a lifelong educator: “You say that this would be impossible for a child not yet in her teens, but there you are mistaken. It is the years that smooth out our individuality as we are turned in the mangle of the schools; it is grown-people who are like one another, never babies.”

A possibly painful “ouch” for anyone headed back to nine more months in “the mangle,” though perhaps very salutary to the home-schooler!

Kate also observed concerning childhood “Those are the years that count the most. We learn much afterwards, and much of our originality is lost in the process…but the first ten years… do more for us than all the rest.”

Kate and Nora, however, were constant learners whether in or out of a classroom and at any age. Kate cited one of her teachers at the Gorham Female Seminary (suspiciously like Wareham Female Seminary in the Rebecca books), Miss Mary Smith, (suspiciously like Miss Emily Maxwell also in the Rebecca books) as one of the four “great friendships that counted” in her life. Kate wrote in her autobiography that “under Miss Smith’s tutelage my eyes saw new beauty on every side; she developed my natural love of books and taught me discrimination, gave me a fresh sense of harmony in words and opened my ear to poetry. I can tell very surely when I am being ‘lifted up’ and shown a new and lasting vision, because I always feel a distinct sense of expansion. I believe that I grew under the influence of this dear friendship, although it lasted less than a year.” So any mother sending her children back into a traditional school setting need not despair; especially as Kate also reminds us that “God must be grateful” to the Miss Maxwells in education “for their mothering of the hundreds.”

Still, the true enrichment of education happens at home, whether after school or all day long. And a big part of that enrichment at our house—as equally delicious as a quotable quote—is the acquisition of some edible refinement. The very easy following recipe certainly moves to head of the luxuriant bit of that class, and, hopefully, isn’t too sophisticated for a kindergartner, though a college student might appreciate it most.

Photograph by Elspeth Young; c2012

The recipe grows from my childhood-acquired adoration of prune yogurt (a story in itself). There’s no sugar, unless in the form of a little drizzle or dollop of yogurt (continental yogurt for drizzle, Greek yogurt for dollop) which is totally dependent on personal taste—as is the amount of cinnamon, vanilla, and above all the choice of oil. I’m currently most in favor of chocolate-infused olive oil from Lucero, though their lemon oil is almost as nice. La Tourangelle’s roasted walnut or hazelnut oils are also happy ingredients. Of course, the water can be increased to ½ cup and the oil can be skipped—but there’s got to be more after-homework compensation than that, or why learn anything?

Afterschool Spread

1 cup pitted prunes
1/3 cup water
1 teaspoon pure vanilla extract
3 to 5 teaspoons flavored oil
A pinch to ¼ teaspoon cinnamon

Place prunes and water in a microwaveable bowl, and cook at high for 1½ to 2 minutes until quite soft, but not scorched. (Time will vary based on the power of the microwave oven and firmness of the prunes.) Toss the prunes and water into a blender or food processor along with the cinnamon and add 1 tablespoon (3 teaspoons) of oil, adding more oil if necessary to create a smooth spread.

Serve with really good bread or really good crackers. Top with a little vanilla or honey-enhanced yogurt, if desired.

Meanwhile, we’ll head on to Autumn in Milwaukee with the newlywed Willards, Kerrs, and Hutchinsons, and the unwavering Rays to be part of Betsy’s Wedding.

Highlights From Artistic Experience

Fri, 20 Jul 2012 11:08:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on July 20, 2012 - 11:08:00am

I Will Uphold Thee (Mary Elizabeth and Caroline Rollins)
by Elspeth Young

Today commemorates the 160th anniversary of the event this painting depicts. The two courageous young women represented in this image saved stacks of precious pages of sacred text from a bloodthirsty mob hundreds strong. In honor of the day (and with Pioneer Day coming shortly), we thought readers might enjoy just a few highlighted entries from Elspeth's extensive painting log kept during the painting process in 2011:

9 August.

I had a very successful photo shoot with the models for the Book of Commandments painting. I have never had such fearless, good-natured models before. They reminded me of Helaman's stripling warriors who "performed every word of command with exactness" no matter the personal cost. In stifling heat they wore heavy costuming and bravely rolled about in the dirt with ants crawling all over them, while [still] maintaining character, dignity, and grace. The research and pre-production work on this painting has already taken six months.

20 August.
I finally put my brush to the panel and began painting . . . I began by blocking-in the sky. I want it to express the mob. While they are not physically present in the painting, I felt a stormy scene would communicate [the mob's] influence and presence. While I was painting it, I realized it also reminds the viewer of the Lord's words to Joseph Smith in Liberty Jail: "Though the Heavens gather blackness . . . all these things shall give thee experience." The sky block-in went well.

8 September.
I took my first assay into painting the corn field--I see that many hours will be expended in this way. I'ts quite a yellow, green, blue, ochre, white, and gray labyrinth."

9 September.
This painting represents a great many "firsts" for me--today was the first time I ever painted a set-in sleeve--at least where the shoulder sleeve is visible. Small tucks and gathers are new (but exciting) terrain. Spent a great deal of time doing what I call "watching" my painting: close observation, trying to absorb what is good and what needs work. I've decided to forgo any pattern on Mary's dress, as I believe any pattern would be visually visceral. . . I've never painted a fabric which reflects so many colors!

20 September.
[Continues to be] more hours of corn torture. What a fractal puzzle!

10 October.
[These weeks] have been many more hours of--you guessed it--CORN. But at last, I am beginning to be able to glaze and scumble to increase contrast and space and lighting.

28 October.
Today I began working on the corn in the foreground. It is amazing what it does to draw the viewer into the painting, even though (technically speaking) it actually divides the viewer from the figures. It is as though the viewer has to push his/her own way through a little corn to get to the action. I must confess I am besotted with this painting. I can't take my eyes off it!

19 November.
I have been working on refining the corn to Mary's right, and redoing the bonnet laces at Mary's throat. I wasn't happy with the former positioning and so I tacked the ribbon arrangement I wanted to my easel, attached a golden reflector next to it to simulate the correct sunset lighting, and have painted from life. Edging ever closer!

24 November.
I have taken pains to work on lightening Carloine's complexion with light greens, yellows, and blues. (Previously, in my painting she was favoring the coloring of a lobster.) I also pulled out the galley page facsimiles I made and worked from life to add texture to Mary's pages. I imitated the texture which naturally resulted from the models' activity [during] the photo shoot. It gives a wonderful feeling of authenticity not to have the pages white and pristine. They feel much more as though a mob handled them first.

30 November.
Well, the palette is clean, the last brush has been washed, and the painting is complete. I signed it in the lower right corner, using my usual mixture of cad yellow and scarlet.

Catching Up

Tue, 10 Jul 2012 11:17:00 MDT

From the The Storybook Home Journal Blog - Posted on July 10, 2012 - 11:17:00am

Photographs by Elspeth Young

Though it's a month since the most recent issue of The Storybook Home Journal, Our Mutual Friend, wended its way through the US Posts, it's been way too long since we caught up posting sans that venerable institution, so here's what we hope will present a reasonably creditable reparation. We didn't have space to include Elspeth's water-colored label that we used in our own version of clearing Old John Harmon's mounds, so we send it in its easy-to-download form here for anyone's personal use--whether gardening is involved or not. Simply click on the thumbnail for the full-sized label.

The compost bins featured in the most recent Workshops article,and pictured here, are functioning marvelously by-the-way, and we've already gotten some gorgeous, black, crumbly stuff from them to improve the soil in which we've planted the irresistible marked-down plants that keep following us home almost as dependably as fruit and vegetables from roadside market stands.

Early July means two of the sweetest tasks of summer: harvesting lavender and picking apricots, so we've been bunching lavender, creating sachets, luxuriating in fresh apricots, baking apricot cakes and tarts and filling the freezer with all of the apricots that didn't get devoured as soon as they hit the kitchen. The too-far-gone lavender gets strewn on garden paths so that the fresh scent continues to welcome us as we weed, water or prune.

The overripe apricots, however, become the kind of rich preserves featured in last autumn's journal, Anne at School, and "Davy's Cake" from the same issue is also quick and scrumptious when made with apricots or the cherries that are the next fruit in line from the orchards in our area.

Stars and Stripes Forever - Piano Solo - Tanner Young (July 4, 2012)

Thu, 05 Jul 2012 15:38:48 MDT

From the Al Young Studios YouTube Channel - Posted on July 5, 2012 - 3:38:48pm

	Stars and Stripes Forever - Piano Solo - Tanner Young (July 4, 2012) Performed on July 4, 2012 at Al Young Studios. http://www.alyoung.com/	From: AlYoungStudios Views: 300 0 ratings
	Time: 03:47	More in Music

New painting by Al features Nephi's faith and resourcefulness

Fri, 15 Jun 2012 08:00:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on June 15, 2012 - 8:00:00am

Not Knowing Beforehand
The Things Which I Should Do
(Nephi the Patriarch)
by Al R. Young

Not Knowing Beforehand The Things Which I Should Do (Nephi the Patriarch) by Al R. Young is the newest oil painting to be added to the Book of Mormon Collection of original artworks from Al Young Studios. Forty five fine-art print styles and sizes of this new image are now available at www.alyoung.com, ranging in price from $4.15 (4x5.75 poster print) to $780 (full-sized reproduction giclee canvas).

The original oil painting sells for $11,500, and is also available at alyoung.com.

Click here to see a larger copy of the new painting, read the artist's commentary, and look at the selection of available prints.

The image depicts the great pattern of faith and resourcefulness in the life of Nephi, the son of Lehi. From his experience at the hands of his brothers in a cave on the outskirts of Jerusalem (1 Nephi 3 - 4) to the threat of starvation when his bow broke (1 Nephi 16), to time spent in the mountains learning how to build a ship (1 Nephi 17 - 18), to the threat of destruction upon the open sea, (1 Nephi 18), to his flight into the wilderness when he fled from the land of his people's first inheritance (2 Nephi 5), Nephi faced every wilderness of peril and personal weakness by praying as though everything depended on the Lord, and working as though it all depended on him.

Not Knowing Beforehand The Things Which I Should Do is the 12th original artwork in the Studios Book of Mormon Collection, and the 149th image in the Studios commercially available fine-art portfolio.

The 45 open-edition prints of this new painting bring to 2,021 the number of prints and giclee canvases available at www.alyoung.com -- exclusive retail outlet for all of the artworks produced by the artists of Al Young Studios.

The window is the view

Fri, 15 Jun 2012 06:00:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on June 15, 2012 - 6:00:00am

By Al R. Young

One piece of advice I received as a cub artist sounded quite savvy: "Paint to standard frame sizes. That way, you won't be out the expense of custom frames."

Savvy or not, the idea never worked for me. When I compose an image, I do so in terms of the way the visual elements and the image boundaries interact, the objective being that of creating a particular mood, which correlates with the way the eye moves over the image.

I suppose it is possible to start with a fixed size and proportion, but I choose not to be constrained in that manner because the constraint creates a preoccupation. Instead, I prefer to let the mood or the idea that wants expression in an image set its own bounds. After all, if I were a painting, that's the way I would want to be treated. At the very least, I would want the artist to know me better than I know myself, and, in setting bounds, ensure my happiness when I had come to know as much about myself as the artist knows.

The subject of composition, like the subject of eye movement, is wonderfully complex. I have never found, nor have I really wanted, a formula by which to compose my artworks. Composition is too creative, too much fun, to be formula-driven anyway.

The following series of photographs that I took many years ago (when composition and eye movement were much on my mind and much on my reading list) is perhaps the simplest way I can think of to introduce the kind of activity involved in letting the idea for an artwork set its own boundaries.

While it may be difficult to look at these images without being preoccupied with "What am I looking at?" the point is not to identify the content, but to observe your own reaction to the relationship between the frame and the configurations of the elements in the frame. (The scene is a naturally occurring land form in the very early twilight of a sunrise. The white dot is a street light.)

The following series of images presents the same kind of considerations, but with more readily recognizable content.

One of the most interesting discussions I ever encountered concerning the framing of visual art comes from the world of the comic strip. The author's comments opened my eyes to the fact that the size and proportion of the frames in a comic strip were manipulated according to the objectives of the artist who renders the images; that, like the manner in which a motion picture is edited, sequence, timing, and transition are paramount. (See, for example, The Art of the Comic Strip by Walter Herdeg and David Pascal, Zurich, The Graphis Press, 1972.)

The experience was like that of a friend of mine who, having spent several hours at the Louvre, said that after a while looking at innumerable paintings, he suddenly realized he had quit looking at the images and was, instead, looking at the frames. Of course, his point is not exactly the point, here, but it does accentuate the need to go back and forth in one's observations--while composing an image--in terms of the gestalt between the content of an image and its boundaries.

All of this bears directly upon the enormous task an artist faces in attempting to compress the experience of a motion picture, for example, into a single (gilded) frame.

Clever like a crab

Fri, 08 Jun 2012 06:00:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on June 8, 2012 - 6:00:00am

Nathanael Greene
by Charles Wilson Peale, 1783

By Al R. Young

General Nathanael Greene, the brilliant commander of colonial forces in the south during the closing years of America's War for Independence, used retreat as a road to victory.

His strategy actually made an ally of the earth itself, enlisting in his cause the topography, climate, vegetation, and other natural features of the countryside. Of his strategy for defeating the forces of Cornwallis, Greene wrote: "I run as fast backwards as forwards, to convince our enemy that we are like a crab. We can run in any direction, as long as it is away."

Pursuing Greene imposed a terrible toll upon his opponent, far more than would have been the case had Greene engaged his opponent in the traditional manner. And when Greene did engage, the British paid dearly for victory, so dearly that the victory was hollow.

Greene was not sidetracked by the desire to appear to be winning the war. Undoubtedly, many armchair generals would have volunteered advice, much of it ostensibly well meant, but all of it calculated primarily on alleviating armchair anxiety.

Instead of being diverted by such pressures, Greene remained focused not only on his objective, but the only way he could achieve it -- given the impossibility of his circumstances.

A battle-seasoned sergeant once explained the principle this way, when talking to a group of trainees: "The main thing is to keep the main thing the main thing. Otherwise, you die!"

Studios anniversary recalls summer of '97

Tue, 05 Jun 2012 06:00:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on June 5, 2012 - 6:00:00am

Annually, we celebrate two anniversaries associated with the founding of Al Young Studios. Today’s anniversary, the groundbreaking, commemorates the summer of 1997, which was our initial foray into work as a full-time studio artist.

We spent that summer working on a series of illustrations for Victoria Magazine. The three-part series, consisting of excerpts from The Country of the Pointed Firs, by Sarah Orne Jewett, appeared in the July, August, and September issues.

The series featured one of Al’s pencil drawings and 13 of his lithographs (many of which were created specifically for the project), as well as one of Ashton’s pencil drawings.

Today, the artworks are part of the High Valley Collection, the book continues to be a favorite, and, because of the people we worked with at Victoria, the experience of the summer remains an enduring treasure.

Platform added to $10 easel

Fri, 01 Jun 2012 06:00:00 MDT

From the Art Techniques and Studio Practices Blog - Posted on June 1, 2012 - 6:00:00am

One of the first major additions to the $10 easel, several years ago, was a retractable platform that serves as a step when the easel is used for a tall painting, and as a bench when we need more seating in the studio.

The platform rests on the top of the foot at the base of each side of the easel. The top of the track for the platform consists of a 2x2 (labeled "top of runner track" in the foregoing photograph). Note that the runner track shown, here, only allows the platform to be pulled out about 18 in., and that great care must be taken to ensure--before stepping onto the platform--that the back of each runner is inside the top of the track; otherwise, the platform gives way. Longer 2x2s would allow more of the platform to be exposed, but we chose not to install them.

In the foregoing photograph, the "platform ledge" is used only to hold the bottom of particularly tall paintings that are also narrow enough to fit inside the width of the platform runners. Most paintings can rest on a ledge clamped to the face of the easel.

The following photograph shows a little more detail from a side view of the platform.

The next photograph shows the extended platform from the top. The "horizontal runner brace (2x4) is the back of the platform. The "horizontal runner brace (2x6) near the middle of the platform is the cross-member to which the "platform ledge" is attached.

The last photograph shows the back of the platform from inside the easel.

Grabbers were used as fasteners. Furniture wax greatly enhances the action of the platform.

Memorial Day and Summer Picnics

Thu, 24 May 2012 08:00:00 MDT

From the The Storybook Home Journal Blog - Posted on May 24, 2012 - 8:00:00am

Photographs by Elspeth Young

" Putting down her pail, Emily thinned out the too lavish lilies of the valley. She raked the dead leaves, clipped the long grass, and dug a hole on each mound, into which she sank an empty jar. Taking her pail, she went to a nearby pump for water. She filled the jars and inserted the still dewy bouquets." Emily of Deep Valley

There are few books that capture the essence of Decoration Day (now Memorial Day) as endearingly as Maud Hart Lovelace's Emily of Deep Valley, which commences and ends with the sweet small town celebrations of the holiday. We loved creating the issue of the journal surrounding it, and also delight in returning to the book around Memorial Day to sense that same nostalgia, even while we work away at the upcoming issue of Charles Dickens' Our Mutual Friend.

But whether the festivities include a rainy day re-read of Emily, or a sunny picnic near the bandstand at the park, the following recipe for delectable "Barley Twists" breadsticks will make either tradition more memorable. The barley flour adds a satisfying richness that may make it a favorite, even without a holiday. We offer up the recipe a bit early so there's time to make a batch, watch them disappear, and make another batch in time for the family picnic.

Barley Twists

by Nancy Young

1¼ cups warm water
2 ½ teaspoons dried yeast
1 teaspoon sugar (optional)
1 cup barley flour
1 cup whole wheat flour
1-1½ cups unbleached flour
½ cup olive or canola oil
2 teaspoons salt

Additional Olive Oil and Sea Salt

Place warm water in the bowl of a heavy duty mixer and stir in yeast and sugar, if using. When yeast is proofed add the barley, whole wheat and 1 cup of the unbleached flour. Using the paddle attachment, stir the flours in lightly and add the oil, salt and enough additional unbleached flour to make a soft dough. Allow to rise until doubled—about an hour.
Divide dough into 2-ounce sections and roll the dough into long strands about the width of a pencil. Cut into two pieces to create long barley twists or four to make short ones. (Those shown, left, are of the long persuasion.) Place two strands side by side and overlap repeatedly to create twists. Place on parchment or silicone lined baking sheets about one inch apart, and preheat oven to 400 degrees. Allow twists to rise until about doubled, about 20 to 30 minutes. Brush with oil and sprinkle lightly with the sea salt. Bake until lightly golden brown—about 15 to 20 minutes. Cool on wire racks. Recipe makes about 22 long twists or 44 short ones.

Happy May Day

Wed, 02 May 2012 21:15:00 MDT

From the The Storybook Home Journal Blog - Posted on May 2, 2012 - 9:15:00pm

While men cultivate flowers below, God cultivates flowers above;

He takes charge of the parterres in the heavens . . .

~Henry David Thoreau

Our valiant and anonymous May Day phantom sent another luscious bouquet yesterday, and our sole means of thanks is to share their beauty with all of you. A happy and flower-filled May (of both the garden and heavenly variety) to all you from all of us at The Storybook Home Journal!

Tying Up Loose Ends

Fri, 20 Apr 2012 10:10:00 MDT

From the The Storybook Home Journal Blog - Posted on April 20, 2012 - 10:10:00am

The last while has left us a little frazzled and frayed at our too-busy fringes, and consequently blogging bereft, so we thought today to be an ideal time to smooth ourselves out, and tie up some needful loose ends. First and foremost, we wanted to acknowledge these kind notes from subscribers from upstate New York, the East Midlands in England, America's Deep South and the upper Pacific Coast: (Thanks so much, Flo, Rowena, Susana, and Mary Anne!)

"To all at The Studio, I just want to say I was talking to my best friend a few days ago and she had tried Nancy's recipe for "Wheaten Griddle Bread," and as soon as I could this afternoon, I made the recipe. I have to say it is the best thing ever--what a wonderful taste--thanks so much for doing such a great job. I love Rachel Ray. From a very happy customer, Flo Olden"

"I hadn't read Trollope for years, and Rachel Ray was new to me, but I'm enjoying it very much, and the Journal, as usual, is charming." ~Rowena Edlin-White"

"Our family just finished a reading of Greyfriars Bobby during our school-day meeting time, and we were sad to be finished with it. It gave our days a special, much-needed lift. The children still call me Mither now, and how long, I wonder, will they refer to sonsie things? . . . I thirst for inspiration in my home endeavors at any time, but never as much as during seasonal changes . . . I remembered I should pull out some "Springy" back issues of your Storybook Home. I have a nice pile on the kitchen sideboard now, spurring me on to finish my work today." ~Susana Cleveland

"I just got your lovely new issue of Storybook Home today, and it's whimsical and beautiful. Looking at The Garden, I just had to laugh because when we lived at Carton House--the big Irish estate--they had a ha-ha all around, instead of fencing, to keep the cows in the field. One day we were walking our little Cavalier King Charles Spaniel--as she ran ahead, she didn't see the ha-ha, and so went flying through the air, and landed in a bunch of soft grass at the bottom--it was so funny. And that's my story of a ha-ha!" ~Mary Anne Komar

Second, among the more fanciful sandwich shapes featured in the the Storybook Kitchen for the Mansfield Park issue of The Storybook Home Journal, we parked a more traditional one--a less playful tray-full of roast-beef-on-whole-grain-bow-knot sandwiches (page 13). Although most of you are probably dab-hands at the easy, yet elegant, bow knot, we wanted to provide some instructions for those who may not yet have been allowed to play sufficiently with their food. Further, sometimes those dapper bow knots are relegated only to the dinner roll basket and aren't treated as rightful sandwich fare, so we also wanted to add a brief pointer on calculating weight of dough to match type of sandwich:

1 to 1.5-ounce bow knots are perfect for small, tea-tray type sandwiches of the two-to-three-bite persuasion, such as those shown in Mansfield Park.
2 to 3-ounce bow knots work well for light luncheons, soup and sandwich meals, and grade school lunchboxes.
4 to 6-ounce bow knots can make a meal, when filled bounteously with meat, cheese and/or veg--or make memorable hamburger buns, withstanding even the outdoor barbecue test (i.e.hot and drippy off the grill) without wilting.

If Elspeth's snappy sketches, right, don't work as sufficient instruction--just tie a knot with a length of dough--but don't neglect to tie in the loose end!

(Yet one more loose end: we made these out of "Timothy Baker's Bread" featured in Summering in Sawrey with Beatrix Potter--it creates a wonderful sandwich texture and crust.)

Forgotten Films: "And Then There Were None" and "Green For Danger"

Sat, 24 Mar 2012 18:45:00 MDT

From the The Storybook Home Journal Blog - Posted on March 24, 2012 - 6:45:00pm

By Nancy Young
When I was very young my sister always won when we played Clue. She was invariably Miss Scarlett—pictured on our playing cards as a film-noir starlet—young, glamorous, and forever unattached. According to the rules, she always started first. I was always Mrs. Peacock—elderly, stern and indomitable—widowed because she probably killed her husband so she could spend his money on the queen-for-a-day tiara and blue earrings she wore. I always started last.

Of course there were the other suspects—Professor Plum who looked like Einstein after some serious time at the barber’s; Mrs. White who looked like Bessie-the-Cook at our elementary school; Colonel Mustard who suggested Clark Gable with his ears flattened; and Mr. Green who managed an appearance both nondescript and guilty. (On the rare occasions when we could get my older brothers to play, everyone shied away from being Mr. Green.)

It took a long time before I detected just how my sister always managed to solve the case in such short order. She was eight-years-old and I was four. She could read and I could not. She graciously marked my cards for me. Only two of us played. You do the math.

I’m not sure, but I believe my keen interest in the mystery genre began then. And while I appreciate why-dunits and how-dunits, I adore a good whodunit—one low on gore, but with an adequate stockpile of clues and an equivalent stash of suspects.

About the same time that Anthony Pratt was filing for a patent for his game Cluedo, (shortened to Clue when it arrived on our shores in the probably-all-too-accurate assumption that Americans wouldn’t grasp a pun based on Latin terminology) a game Pratt reputedly invented to literally kill time in WWII air raid shelters, two defining and campy whodunits were being produced: Rene Clair’s And Then There Were None (1945) and Sidney Gilliat’s Green For Danger (1946).

And Then There Were None, based on the Agatha Christie play and her novel, Ten Little Indians, is a whole lot like a game of Clue in that it takes place as part of a house-party, involves both guests and servants, has varied murder weapons and locations, and solutions to the mystery begin to emerge as one-by-one the suspects are eliminated. Unlike Clue, however, these suspects are eliminated permanently with the modus operandi following the children’s rhyme and song, “Ten Little Indians.” (Incidentally the tune to the song may beat in your brain for a day or two after watching.)

The film plays murder on the light side—a ploy that resonates through many subsequent whodunits—though a great deal of its cleverness derives from its canny casting. Instead of ten of the biggest stars in Hollywood to headline the film, its crew is mostly made of the finest character actors of the day— a cast more-or-less composed of best supporting actors. Louis Hayward and June Duprez technically fill the more traditional concept of leading roles, but are as lost at sea as the rest of the players—except, of course, for the always-two-jumps-ahead manipulating mastermind committing the murders, whose identity isn’t revealed until the very last moment.

And Then There Were None spends as much time poking the audience in the ribs as it does stabbing victims in the back, but there’s no doubt its mood includes the macabre —so little ones may want to grow a bit older before they join in the armchair detecting.

The same goes for Green For Danger, where there are enough moments of eerie suspense to earn it’s title as a thriller, and make it best for children who’ve made it beyond the scared-of-the-dark phase; but there’s also enough humor to make it a fine re-watch even after the mystery’s gone. The comedy grows out of Alastair Sim having way too much fun with his interpretation of Christianna Brand’s staple Scotland Yard sleuth, Inspector Cockrill.

The story is told as one long flashback after Cockrill has solved the case and is writing his report concerning three deaths at Heron’s Park Emergency Hospital during the final, weary year of WWII. The suspects are presented early—all doctors and nurses from one operating theater working tensely to save lives while doodlebug raids rain down upon them and the neighboring countryside. There are loves that have been, loves that are, loves that will be, and loves that are triangular, not to mention, of course, murders, amongst a very fine cast of British actors—Trevor Howard and Leo Genn (who incidentally was in the 1965 remake of Ten Little Indians) being the stars that most American audiences will recognize—though Meg Jenkins' long career will always be memorable if only for her delicious voice quality. But this is Alastair Sim’s show and he’s just plain fun to watch, and the movie left me, at least, wishing that there would have been more adaptations of Brand’s mystery novels for film with Sim in the lead. Green For Danger is blatantly the prototype for the best of British television mysteries—taut and intelligent with a laugh to relax suspense at all the right moments.

I suggest you will enjoy these films in your family room with a bag of hot-buttered popcorn. Can anyone prove me wrong?

When Life Hands You Sour Tangerines, Make This Cake

Sat, 10 Mar 2012 06:00:00 MST

From the The Storybook Home Journal Blog - Posted on March 10, 2012 - 6:00:00am

By Nancy Young

Photographs by Elspeth Young

John Frederick Peto

They were alluringly large and alluringly priced. I didn’t resist. Six pounds of sour, and never improving clemmies later, have me revisiting the Greyfriars’ Bobby issue for my marmalade recipe, and also making up this intensely flavorful concoction that wavers pleasingly between cake and confection, and lingers nicely on the tongue. When early spring snow flies, it provides a quick trip to Provence, Florence, or Torrance. It’s especially transporting teamed with the orange-mascarpone spread coming in the springtime Mansfield Park issue.

Parchment line a 12-inch or equivalent cake pan
Preheat oven to 375 degrees

4 large eggs, room temperature
1/3 teaspoon salt
1¼ cups unrefined cane sugar
1 cup whole wheat flour
1 teaspoon baking powder, optional
1 cup ground almonds
¼ chopped almonds
Grated rind of 3 to 4 clementines or grated rind of 2 large oranges
Juice of 1 to 2 clementines or 1 orange
½ cup toasted walnut oil or olive oil or ¼ cup of each

1/3 cup of dark chocolate coarsely chopped or dark chocolate chips
2 teaspoons walnut or olive oil

Place the eggs in the bowl of a heavy-duty mixer, and with the whisk attachment beat the eggs for one minute, add the salt and beat for another 3 to 4 minutes. Gradually beat in the sugar. At this point the eggs will gain a sense of their own importance and begin to thicken and lighten impressively—do nothing to discourage it (the realities of life will take care of it soon enough.) Stir the baking powder into the flour, if using, and set aside. (I’ve never been really sure why setting something aside needs its own directive, but...) When the eggs are very thick and light—about another 4 to 5 minutes, switch to the paddle attachment and gently add the flour, stirring for about 2 seconds until just incorporated. All the remaining ingredients will be folded in by hand, but since you’ve already dirtied the paddle—just use that for folding—and gently add the almonds, citrus juice and peel, and oil.
Pour the batter into the pan and bake for about 35 minutes. Cool on a wire rack. Meanwhile, melt the chocolate in the microwave or double boiler, stirring in the oil at the end. When cake is cooled drizzle with the chocolate (or better yet, have Elspeth do it), and allow it to set before cutting. Serves 12. Maybe.

The Veranda: Spectacular Speculaas

Tue, 06 Mar 2012 18:40:00 MST

From the The Storybook Home Journal Blog - Posted on March 6, 2012 - 6:40:00pm

"If you would live a beautiful life have a beautiful farm," though not a precise quote from the Shakers, is certainly a concept they would have empathized with. It is just as certainly a description of the world Carol Cordiale shares with her husband in their country acreage in historic upstate New York--as Carol describes it, situated "on a rise nestled between two hills with a brook flowing from East to West." Together they have long cultivated an herb and cottage flower garden, raised sheep and goats, and even opened a little wool shop where, for a few years, Carol could sell the yarns she spun from the wool she gathered from her Nubian and Angora goats, and her llama, "Tommy-Hawk."

Painting Copyright by Elspeth Young

Shortly after receiving her copy of Heidi's Christmas (featuring Nancy's recipe for Anisbrötli made in some of our traditional Swiss cookie molds pictured above), Carol--an ardent cook, herself--sent us these wonderful images, below, of gingerbreads created from her family's spectacular speculaas-board collection.

Though we didn't get to share them at Christmastime, we thought we'd show off Carol's beautiful handiwork as Easter approaches, since a captivating chicken like the one below would make as charming a centerpiece for an Easter buffet as it would have at a Christmas Day dinner or a New Year's Day brunch.

To read more about Carol, see p. 21 in our 2004 Spring issue inspired by Sarah Orne Jewett's The Country of the Pointed Firs.


Copyright by Carol Cordiale

Many Apologies for a Somewhat Distressing Emergency

Wed, 22 Feb 2012 14:00:00 MST

From the The Storybook Home Journal Blog - Posted on February 22, 2012 - 2:00:00pm

It has just been brought to our attention that our manufacturer inadvertently printed a proof copy of our Winter issue of The Storybook Home, instead of the completed, camera-ready version. We wish we could say that, as with stamps where the image is printed upside-down, that it will increase the value of the artifact in years to come and that you can put your great-grandchildren through Harvard on the proceeds; all we can say, however, is that we will ship all subscribers the correct copy of Rachel Ray within the week. We appreciate your patience in this matter, and wish to thank those of you who brought this mistake to our attention.

The painting, above, by Auguste Tolmouche, expresses our feelings at this time.

Our Winter Issue

Fri, 10 Feb 2012 12:53:00 MST

From the The Storybook Home Journal Blog - Posted on February 10, 2012 - 12:53:00pm

Our Winter issue featuring Anthony Trollope's endearing Victorian-Valentine-of-a-Romance, Rachel Ray, is on its way, speeding to subscribers' mailboxes. It features every "batter-cake"--from barley to buckwheat--the eccentricities and chic of an 1860s ballroom, how to be "clever in little comforts" like dear Rachel, herself, a new sheet music arrangement in honor of Trollope's heroine, a discussion of literature and home life, and much, much more. (Available for $5, plus shipping.)

Playing At "Miss Potter"

Sat, 04 Feb 2012 10:38:00 MST

From the The Storybook Home Journal Blog - Posted on February 4, 2012 - 10:38:00am

By Elspeth Young

Spending a "Sawrey Summer with Beatrix Potter" last year, inspired my pen. While working on that issue's Hearth article, I had the pleasurable experience of learning firsthand from the whimsey of Miss Potter's artistry and visual cleverness. The article featured a pen-and-ink and watercolor lesson encapsulating what I'd learned by studying her work--Peter Rabbit in particular. I little dreamed, however, that I'd be back at it again this year, creating my own original pen-and-ink productions for a new series of publications by my father which are soon-to-come, but so it is.

Subscribers and readers know all about Seymore Wainscott--colonial historian (and mouse)--the serialized "Writer's Garret" portion printed in the Journal since our Persuasion issue in 2006, but at last, Seymore is setting sail in his own volumes. Together with my father and brother, Ashton, I am privileged to add some artistic scribblings of my own to the myriad illustrations for the project. Below is a sneak peek of my latest work (Seymore, himself is pictured center, 17th century Dutch colonists, below). Click here for more about the Wainscott project.