Keep It Simple, Stupid

Although Valentine’s Day is not in the near future, it appears that love is in the air. Last Saturday, 6 July, the UK celebrated its National Kissing Day.

As an American, can you imagine my surprise to learn that Brits dedicate an entire day to snogging (that’s British for kissing)? For my fellow non-Brits who don’t know how to celebrate this holiday, I browsed the Internet for helpful tips, and I compiled a list of what apparently are the worst kisses:

1. The Chicken Peck: attack of the little pecks, no further action


2. The Washing Machine: tongue rolls around uncontrollably like a spin cycle


3. The Biter: when the other person bites you so much, that you walk away with bloody and pained lips

Un amor de película

La historia del arte está llena de anécdotas que hoy entrarían sin problema en la crónica rosa de los programas de televisión más vistos de la hora de la siesta. Hay historias de amistad, odio, pasión, envidia, codicia y, cómo no, también amor. En esta última categoría, el arte moderno tiene pocas historias más de película que la que vivieron la pintora Georgia O’Keeffe y el fotógrafo Alfred Stieglitz.

Alfred Stieglitz y Georgia O'Keeffe, 1929.
Yale Collection of American Literature, New Haven, CT.

Se enamoraron perdidamente después de conocerse en la galería de arte de vanguardia que Stieglitz regentaba en Nueva York, la mítica 291. Ella, que llegaría a ser la primera mujer en tener una retrospetiva en el MoMA, era entonces una desconocida.

Liebe ist...

Einerseits ein tief verankertes, menschliches Grundbedürfnis, das uns alle vereint,und andererseits eines der wohl rätselhaftesten und unerklärlichsten Phänomene im Universum. Die Auffassungen darüber, was wir unter Liebe verstehen dürfen, könnten kaum weiter auseinander gehen. Dies mag nicht zuletzt an den vielfältigen Ausprägungen liegen, in denen uns diese auf geistiger, körperlicherund seelischer Anziehung beruhende Emotion begegnet. Denn die Annahme, dass sich Liebe allein auf zwischenmenschliche Gefühlsbeziehungen beschränkt, ist weit gefehlt. Das Spektrum an potentiellen Adressaten für den Überschuss an persönlicher Zuneigung ist schier unbegrenzt. Wussten Sie beispielsweise, dass Agalmatophilie als wissenschaftlicher Fachbegriff die starke Affinität und sexuelle Anziehung zu (überwiegend nackten) Statuen bezeichnet? Oder dass auch die Liebe zu Teddybären, die so genannte Arktophilie, als psychologisches Phänomen eingehend erforscht ist? Auch Papier (Paperphilie), der Papst (Papaphilie), Friedhöfe und Todesriten (Taphophilie) sowie Duschen und Vollbäder (Taphophilie) können Auslöser für emotionale Hingabe oder sexuelle Erregung sein.

Das Mysterium Liebe in seinen unterschiedlichen Facetten zu beleuchten, haben sich auch die Kuratoren der Ausstellung „All You Need Is LOVE“, die noch bis 1. September 2013 im Mori Art Museum in Tokio zu sehen ist, zum Ziel gesetzt. Die Sonderausstellung findet anlässlich des zehnjährigen Jubiläums des Museums statt und umfasst über 200 Werke aus unterschiedlichen Epochen und Kunststilen.

Jean-Honoré Fragonard, Der gestohlene Kuss, um 1780
Öl auf Leinwand, 45 x 55 cm.
Eremitage, St. Petersburg.

Amor es más

Pensamos en amor y lo primero que nos viene a la mente es una pareja, amantes, novios, matrimonio,... Y no nos damos cuenta de lo estrecho de nuestro pensamiento. Porque en realidad ¿qué es el amor? Parece que en la sociedad de hoy este concepto se ha reducido a su vertiente romántica, dejando a un lado el amor a los amigos, a la familia, a una divinidad (o varias, a gusto del lector), a otras personas por el mero hecho de ser humanas, a los animales, amor a las artes, al buen tiempo (un día de primavera en el parque), a la naturaleza, incluso a las cosas.

Gustav Klimt, El beso, 1907-1908.
Óleo sobre lienzo, 180x180 cm.
Österreichische Galerie, Viena.

What is Love?

Love.

Love is, waking up late on the weekend.

Love is, frosty, autumn mornings, breath fogging the air.

Love is, smelling the cut grass on a hot summer’s day.

Love is, feeling the steam rise off the ground after a tropical rain storm.

Love is, laughter.

“Who knows how to make love stay?”*

You’re tired. You want to go home and sleep off this week of relentless deadlines, but your friends insist that dancing will be much more effective. You go, you dance, you laugh, you still think about your pillows. There, across the room, their eyes catch yours and smiles slowly spread across your faces. You’ve never met before, but surely something so familiar couldn’t be imagined. You talk, you feel shy, you feel emboldened; you exchange phone numbers. You fall asleep before your head hits the pillow, but they left a smile on your lips.

Gertard ter Borch the Younger, Dancing Couple, 1600.
Oil on canvas, 76 x 68 cm.
Polesden Lacey, Surrey.

You date. You have the important things in common

Verkopfte Romanze

Es ist, was es ist, sagt die Liebe. Allein der Versuch, sie in Worte zu fassen, scheint zwangsläufig zum Scheitern verurteilt. Lastwagenladungen voller Romane, Filme, Kunstwerke und wissenschaftlicher Arbeiten haben es nicht geschafft, zu ergründen, was passiert, wenn jemand in unserem Umfeld eine absolut irrationale Entscheidung trifft, dabei lediglich lächelnd mit den Schultern zuckt und meint: „Es ist eben Liebe.“



Angelica Mestiti, Rapture (silent anthem), 2009 (Filmstill).
HD-Video, Farbe, ohne Ton, 10:10 min

„Aber ist es tatsächlich so einfach?“ wird sich der Realist fragen, und der Zyniker kann dazu nur müde den Kopf schütteln. Spätestens nach zwei, drei in die Brüche gegangenen Romanzen beginnen wir enttäuscht zu überlegen, ob das Herz nicht in Wirklichkeit doch nur ein Muskel ist und das Gehirn endlich die volle Verantwortung für unsere Taten übernehmen sollte. In wen verlieben wir uns wirklich - in eine Person oder in die Idee, die wir von ihr haben? Wo genau sitzt unser „Bauchgefühl“ und wie geht es ihm bei einer Magenverstimmung? Was passiert, wenn uns das Herz in die Hose rutscht - und wer holt es dort wieder heraus?

Fragen wie diese werden Künstler und Otto Normalverbraucher wohl noch ein paar Jahrhunderte lang um den Schlaf bringen – und bieten vor allem Ersteren schier endlose Möglichkeiten zur gestalterischen Umsetzung.



David Rosetzky, How to feel, 2011 (Filmstill).
HD Video, Farbe, Ton, 148:39 min.

Man könnte meinen, ein derart universelles Thema wie die einzigartige, die ganz große Liebe, sollte in einer Ausstellung wahrscheinlich leicht zu kuratieren sein – doch We used to talk about love in der Art Gallery NSW in Sydney macht es sich alles andere als einfach. Von linkischen Annäherungsversuchen bei der ersten Begegnung, der Euphorie bei der Eroberung des Objekts der Begierde bis hin zum gebrochenen Herzen reicht die Spannweite der Emotionen, die ein liebeswilliger Mensch durchleben muss – und We used to talk about love versucht genau diese Höhen und Tiefen in all ihren Facetten zu präsentieren.

Und so ist es vielleicht sogar ganz erfreulich, dass sich die Mysterien der Liebe wohl nie ganz entzaubern lassen werden – denn sonst hätten die Künstler nichts mehr zu tun - und wir nichts mehr zu sehen.

Falls sie der schier unerklärlichen Liebe dennoch auf die Spur kommen wollen, finden Sie jede Menge Anregungen in Jp. A. Calosses „Love“ vom Verlag Parkstone International. Weiterführendes Expertenwissen können Sie sich außerdem mithilfe des „Kamasutra“ von Klaus H. Carl aneignen.

T.Lachner

A Letter A Day Keeps The Divorce Lawyer At Bay?

Let’s forget about art for a second, and let’s talk about letters. Perhaps you might think it’s an odd subject choice, but bear with me here. Back in the days of yesteryear (yep, your grandparents’, great-grandparents’...perhaps even as recently as your parents’), how did people communicate when they weren’t directly next-door neighbours? Sure phones were around, and eventually even email. However, the letter was the method of communication which could truly enchant. There is a reason why it’s called a ‘love letter’ after all.



Malick Sidibé
Nuit de Nöel
Photograph
Courtesy of the artist and Jack Shainman Gallery, NY
The Menil Collection, Houston

As I write this in the lead-up to Valentine’s Day, the cynic inside me cannot help but think of the number of failed relationships that haunt us, both individually, and society as a whole. Of course, there are a number of factors why this could be the case now: easier to get divorced, more rushing into what used to be a lifelong commitment, less inclination to put effort into to make something work (it’s a fact that we are a lazier generation), etc.

But, imagine if all relationships were to start with letter-writing? A good few months of writing letters and I reckon that you will know each other far better than if you stuck to texting, thereby laying a stronger foundation for a relationship. When you sit down to write a letter, you’re giving a commitment of time. The act of putting pen to paper is not just about communicating a message, but it also requires thought. I would say that there is much more thought and precision put into writing a letter than, most certainly, a text, and, most probably, an email. Noah (aka Ryan Gosling) would agree with me I’m sure. It did win him Allie in the end! (Sorry for any spoilers non-Notebook people.)

 



Francesco Hayez
The Kiss, 1859
Oil on canvas, 90 x 112 cm
Pinacoteca di Brera, Milan

So, the next time you are stuck for something to do, why not sit down and write someone a letter? It doesn’t have to be to your special someone, but whoever you write a letter to, their day is guaranteed to be made. That’s just how letter-writing works.

 

The Menil Collection, Houston, is currently hosting an exhibit entitled The Progress of Love. An interesting and touching look at how love is displayed and how it changes and wanes across cultures, it is sure to be of interest to romantics and cynics alike. The exhibit will run until the 27^th March, so if you are in the Houston area, be sure and visit! During your trip, ask yourself: would these relationships have dissolved as easily if the couple had started with letters? Perhaps... but then again, perhaps not! For a classical look at love, just in time for Valentine’s Day, check out Jp. A. Calosse’s work: Love.

A Life Most Solitary?

The place: Mexico.  The year: Post-1910. Viva la revolución!  Mexico was on the verge of change.  Political instability, the blight of dictatorship, a peasants’ revolt.  If Margaret Mitchell had penned a novel in the midst of such a setting, surely a turbulent love story to equal that of ‘Gone with the Wind’ would have ensued.

We need only look to those well-known Mexican painters Frida Kahlo and Diego Rivera for reference.  I could argue that with events such as the Mexican Revolution fresh in everyone’s minds, passions must have run high.  Actions were no longer as restrained.  The freedoms of speech and desire were rife.

Despite the volatile relationship shared by the painters (both of whom had several extra-marital affairs during their time together), I’m going to go out on a limb and say that Kahlo lived in an isolated world.  A pain-filled existence was all she ever knew from the age of 6, when she contracted polio, leaving her left leg crippled. At 18 she was left with life-long injuries following a severe bus accident, including a perforated abdomen and uterus, which led to three terminated pregnancies in later life.

These experiences, and the pain that followed, must undoubtedly have trapped her in a separate universe from her contemporaries.  What solace she may have been looking for in her relationships and affairs, she truly found in her art.  In her art, she was able to express herself.  In her art, she was able to share her suffering.  In her art, she was able to heal.

 


The Two Fridas, 1939. Oil on canvas, 173.5 x 173 cm, Museo de Arte Moderno, Mexico City 



Many of her paintings are self-portraits, symbolising the solitude that she felt; her own figure and visage being the one that she was most familiar with.  However, in several of her paintings she also references Diego, either as a symbol of love or of pain.

One painting which perhaps best characterises the depth of her feelings for Rivera is ‘The two Fridas’.  A double portrait of herself, it shows the Frida that was rejected by Diego at the time of their divorce.  Her heart has been broken, and is bleeding.  The Frida on the right is the Frida that Diego still loves; her heart is whole, and she is holding a small portrait of Diego in her hand.

Amongst her self-portraits, monkeys are a common feature.  In Mexico, the monkey is a symbol of lust.  Kahlo transformed this conception into one of tenderness.  In her painting ‘Self-portrait with monkeys’ she places four monkeys directly around herself, all with tender expression. Two of the monkeys have their paws over her heart.  We may be able to interpret this as her desire for love, not lust.  She is expressing heartache and a desire for a single commitment of love, most probably from Diego, as this was painted during her second marriage to the artist.


Self-Portrait with Monkeys, 1943. Oil on canvas, 81.5 x 63 cm, Jacques and Natasha Gelman Collection, Mexico City

Whilst perhaps it is a good thing that not all scorned, lovesick, hurting women are artists, or have the ability to pen songs – hello, Taylor Swift – (the world would be left reeling at the amount of pent up angst unleashed!),  I for one am grateful for the artistic talents of Frida Kahlo.  Her honesty is touching, her emotions relatable, and her story compelling.  I read it as inspirational that the solitary pain of one woman has the potential ability to affect and heal the lives of others; through her art, it is possible to understand and come to terms with the realms of human emotion.

 

For a closer look at the turbulent life of Kahlo and Rivera in painting, Canadians rejoice!  The Art Gallery of Ontario, Toronto is hosting an exhibition of their works, as well as several photographs of the couple, from the 20^th October 2012 – 20^th January 2013.  As well as showing their lives together, these combined works also reflect the couple’s interest in the changing values of post-revolutionary Mexico.  For those living a little too far away from the Canadian border, these paintings can also be found in the works by Gerry Souter: Frida Kahlo and Rivera. 

Bernini: The Beauty and The Beast

Gian Lorenzo Bernini, Fontana della Barcaccia. c. 1623. Marble. Piazza di Spagna, Rome, Italy

Rome is the city of light, certainly, but it is also the city of water. Tourists may visit for the city’s celebrated history and architecture, but they leave entranced by the babbling fountains which dot the city like stars. What most don’t realize is that most of those fountains were designed by the same man: the astoundingly talented Gian Lorenzo Bernini.

Immortalized in countless great works of cinema, from Frederico Felini’s La Dolce Vita to Woody Allen’s To Rome With Love, Bernini’s fountains are essential to the character of this most romantic of cities. His Fontana della Barcaccia on the Spanish Steps even provided the backdrop for Gregory Peck and Audry Hepburn to meet cute in Roman Holiday, and has been photographed by countless tourists attempting capture a uniquely Italian image. In many ways, modern Rome is the city Bernini built.

Still, as influential as he is today, Bernini’s path to artistic immortality was not smooth. In the seventeenth century when he was a young man he was quite a controversial figure, his artistic genius at times overshadowed by the scandals that surrounded him.


Gian Lorenzo Bernini, Self-Portrait as a Young Man. c. 1623. Oil on canvas, 62x46 cm. Galleria Borghese, Rome, Italy

Bernini was the darling of the art world from the age of eight, when Pope Paul V boasted that the child would be “The Michelangelo of his century.” And as he grew up, and his skills increased, so did his social success. Beloved by the wealthiest families in Italy, and a favourite of the church, Bernini led a charmed life. At least, until he met Constanza Buanerelli.

Constanza was the wife of Bernini’s assistant Matteo, a young and lovely woman whose freshness and charm immediately won over the artist. He was inspired by her sensuality, and she quickly became his muse, her post-coital rumple immortalized in stone in one of his most celebrated busts.


Gian Lorenzo Bernini, Bust of Constanza Buonarelli. c. 1635. Marble, 72 cm. Museo Nazionale del Bargello, Florence, Italy

Alas, their happiness was brief. Bernini was an extremely jealous lover, infuriated that he was forced to share Constanza with her husband. He repeatedly insulted the hapless Matteo to such a great extent that his affair with Constanza became a matter of common knowledge, and she was jailed for adultery. Protected by his powerful friends, Bernini himself got off scot free.

Constanza, tired of her lover’s covetousness, took her revenge by beginning an affair with his brother. Enraged, Bernini followed the pair to the steps of St. Peter’s basilica, the Pope’s seat of power, whose interior he had so masterfully designed years before. He beat his brother half to death with an iron rod, and bribed a servant to slash Constanza’s face with a razor, destroying the beauty that had once captivated him.

Pope Urban VIII used his power to get Bernini out of trouble, even excusing the 3000 scudi fee the court leveled against him. But the pope was tired of helping the bad boy artist out of romantic scrapes, and this time his help came with a price. He forced Bernini to marry a virtuous woman of the church’s choosing, a union that was by all accounts a happy one, lasting decades and producing eleven children.

Still, Bernini never sculpted his wife. Maybe he had learned his lesson with Constanza, his great love and his muse, whose faithless beauty he so fatally immortalized.

Those of you lucky enough to be in New York should make sure to check out Bernini: Sculpting in Clay at the world famous Metropolitan Museum of Art from October 3, 2012 to January 6, 2013. Or to follow along at home, and get critical insight into Bernini’s controversial life and work, check out our ebooks on Sculpture and Baroque Art, both written by celebrated art historian Victoria Charles.

-George Kostrowitzky

Klimt, to love him, or leave him alone

Don’t get me wrong, Gustav Klimt was inherently remarkable at all of his accomplishments and I am fond of his work as well as those he influenced (even if they were on the brink of lunacy, Egon Schiele). However, to be quite honest, I’d never heard of him until approximately seventeen months ago – his impact on art history itself was miniscule in comparison with more notable greats. But suddenly he was all I read about and pieces of his art were unexpectedly in the strangest places. In celebration of his 150^th birthday (this past Saturday, to be exact), museums the world over are head-over-feet presenting his works to the public. Who is this man and why can’t I get away from him?

Not the first, and certainly not the last, truly erotic painter, I often find myself entranced by his pieces. The bright, glittery gold and patterns that would normally do in my neutral and solid coloured brain are unforgettable. Nevertheless, I find it difficult to separate the artist in the smock/robe/dress/thing from the philanderer (he had fourteen children, two also named Gustav, by different women!) who seems to have been in love with his muse. That he could be so lucky for her to love him back! Did she?


Gustav Klimt, The Kiss, 1907-1908.
Oil, silver, and gold on canvas, 180 x 180 cm.
Österreichische Galerie Belvedere, Vienna.


Gustav Klimt, Portrait of Emilie Flöge, 1902.
Oil on canvas, 181 x 84 cm.
Historisches Museum, Vienna.

What woman wouldn’t love a man that painted beautiful, timeless portraits of her? That referred to her as his treasure and life? The fact of the matter is that unless science finds some way to bring people back from the dead, not that I think Emilie Flöge and Gustav Klimt would be first on the list, her secret is dead and buried. I hope I have enough wherewithal to destroy all of my love letters before I die – it seems she’s certainly more interesting to talk about because of it, rather than women whose names I can’t pull from the recesses of my brain that wrote for pages and days of their undying love for their own philanderers. Thank you for being a role model for young women everywhere, Emilie; I hope you were happy.

If celebrating birthdays of long-dead people is something you’re in to, go to the Neue Galerie before 27 August to see Gustav Klimt: 150^th Anniversary, they are pulling out all of the stops – cakes AND cufflinks! But if you’re more like me and find celebrating the birth of a dead person morbid and disconcerting, enjoy his work in the privacy of your own home with these print and ebook collections: Klimt and Gustav Klimt. (I won’t judge you too harshly if you toast to him, I promise.)

-Le Lorrain Andrews

Liebe und Leidenschaft

Liebe, Angst, Trauer, Freude und Lust sind Gefühle, mit denen wohl jeder schon einmal konfrontiert worden ist. Resultierend aus Emotionen, die wiederum eine Folge aus verschiedenen im Körper ablaufenden chemischen Reaktionen sind, die dann im Gehirn zu einem dieser Gefühle verarbeitet werden und anschließend in der Kontraktion verschiedener, die Gestik und Mimik beeinflussender Muskeln für unsere Umwelt sichtbar werden.

Die Rationalität eines Gefühls und seiner Entstehung erscheint in der Selbsterfahrung jedoch häufig irrational, und so ist es auch für den Menschenkenner nicht immer ein Leichtes, verschiedene Gefühlsregungen seines Gegenüber richtig zu deuten. Das mit oder über jemanden Lachen, kann ähnlich missverstanden werden wie das Weinen vor Freude, Wut oder Trauer.

Während die Deutung der Gestik und Mimik eines Gegenüber mitunter schon schwierig sein kann, sehen wir uns ebenso mit dem Versuch konfrontiert, die Empfindungen einer Mona Lisa, eines Pygmalion oder einer geraubten Europa, gelegentlich fast verzweifelnd, nachzuempfinden.


Dante Gabriel Rossetti, Paolo and Francesca da Rimini, 1867.
Aquarell, Gouache und arabischer Gummi über Bleistift auf zwei Blättern Papier, 43,7 x 36,1 cm.
National Gallery of Victoria, Melbourne.

Selbst der auf den ersten Blick recht unmissverständlich erscheinende Kuss ist nicht nur Ausdruck der Lust, der puren Leidenschaft oder gar der Liebe, er kann ebenso nur freundschaftlicher Natur sein oder verräterisch.

Besonders faszinierend ist das seit Jahrhunderten sichtbare Interesse der Künstler an der Darstellung der menschlichen Empfindungen, in ihrer Schönheit und gesamten Differenziertheit. Die Herausarbeitung von Gestik und Mimik sowie die Einbettung in eine das Gefühl widerspiegelnde Bildatmosphäre mit flirrenden Farben, dunklen Räumen oder abstrakten Formen geben dem Betrachter die Möglichkeit, die Liebe, Wut, Angst und Freude nachzuvollziehen, garantieren aber nicht immer eine ultimative Antwort. So verlangt auch der romantische Kuss häufig nach der Geschichte der Liebenden, um ihn besser verstehen zu können.


Francesco Hayez, Der Kuss, 1859.
Öl auf Leinwand, 110 x 88 cm.
Pinacoteca di Brera, Milan.

Vielleicht ist es aber gerade diese kleine, bis zuletzt offen gehaltene und übrig bleibende Unklarheit über das Gefühl, die die Magie der Darstellungen ausmacht.

Noch bis zum 12. August 2012 können Sie im schwedischen Nationalmuseum in Stockholm in der Ausstellung Passions – Five Centuries of Art and the Emotions Künstler auf ihrer Entdeckungsreise des menschlichen Gefühls begleiten oder sich mit diesem wunderschön illustrierten Buch Love im handlichen Geschenkformat die Liebe zumindest visuell schon einmal nach Hause holen.

 

Wenn Sie sich mehr für den physischen Aspekt der Liebe und zwischenmenschlichen Beziehung interessieren, sollten Sie unbedingt einen Blick in unsere Bildbände Erotische Kunst, Encyclopædia Erotica und Das erotische Foto werfen.

Love and Passion in Their Time and Place

What is your least favourite thing about Facebook – the most popular social networking tool in existence? I would have to say, just barely beating the 12 engagements a week which are really just a reminder of how lonely I might be someday, it is undoubtedly the mushy, gushy, self-taken photos of a lip-locked couple. That’s nice, I’m happy for you, but do you really need to plaster it all over my newsfeed?

But when did a couple in love start to produce this shuttering, nearly vomit inducing feeling? Certainly artists from the 15^th century and beyond were able to find beauty and romance in such imagery. How many of us have fawned over Rodin’s Eternal Idol (1889), Canova’s Psyche Revived by Cupid’s Kiss (1787-1793), and basically any reproduction of Paolo and Francesca (I’m so glad those two crazy kids got together even if their tryst put them in Dante’s second circle of Hell)?


Dante Gabriel Rossetti, Paolo and Francesca da Rimini, 1867.
Watercolour, gouache, and gum Arabic over pencil on two sheets of paper, 43.7 x 36.1 cm.
National Gallery of Victoria, Melbourne.

Looking at Rosetti’s Paolo and Francesca, I am both happy and nervous for them. I know Gianciotto is just waiting to catch them and that their lives will be cut short. But I feel the passion of their stolen kiss, the desire in their intertwined hands.


Francesco Hayez, The Kiss, 1859.
Oil on canvas, 110 x 88 cm.
Pinacoteca di Brera, Milan.

This Risorgimento patriot says goodbye to his wife before going to war, they cannot be sure to see each other again. I want to look away, not because it makes me sick, but because I feel as though I’m intruding on a beautiful, tender moment shared between lovers.

Head over to the Nationalmuseum’s exhibition of Passions – Five Centuries of Art and the Emotions, on through 12 Aug 2012, to see romance at its best. And while you’re at it, pick up Love so the next time you feel the need to display your affection publicly you can first make sure it lives up to the standards of the greatest love imagery there is.

 

If physical passion is more your forte, check out these titles: The Encyclopaedia of Erotica, Erotic Fantasy, and In Praise of the Backside – all guaranteed to stir your imagination and tickle fancy.

-Le Lorrain Andrews