intersection 10.19.11

Walking Off the Big Apple

Queenie Takes Manhattan follows the adventures of New Yorker Meg Blocker—childhood nickname: Queenie—focusing, though not exclusively, on the city's food and restaurants.

City Atlas is "a round up and reflection of the good work that New Yorkers are already doing to move our city towards a more sustainable future."

We can all agree that the DUMBO BID has TOO MANY CAPS. Still, their beautifully designed site reflects the newly-energized neighborhood.

At this Etsy storefront, there are dozens of Vintage Postcards featuring NYC scenes, suitable for framing. $4-5 each. Pictured at top:
The Little Church Around the Corner (How it got its name)

It's not updated any more, but Watercourses is an interesting source to get into the weeds of the city's lost streams, rivers, kills, ponds, springs, and brooks. Pictured: Tibbet's Brook as it exists today,
under Van Cortlandt Park.

It Happened Here gets no points for design (a few demerits, actually), though we love the idea that iPhone and Android users, for $2.99, can get location-aware history, movies, crime, and scandal info. [Photo: hibino]

Dutch-born, NY-based photographer Richard Koek keeps a blog of his images shot around the city. Superb work.

Cultural and literary notes, plus self-guided walks, courtesy of Walking Off the Big Apple, a strolling guide to New York City.

The Revolution Inside the Morgan

Surely one of the timeliest art exhibitions currently on display in New York must be David, Delacroix, and Revolutionary France: Drawings from the Louvre at the Morgan Library & Museum. Given the general state of occupation, just how did the likes of artists Jacques-Louis David, Jean-Auguste-Dominique Ingres, Eugéne Delacroix, and Thèodore Gèricault manage to sneak in so close to the private library of powerful Wall Street investment banker John Pierpont Morgan (1837-1913)? Well, we can thank the Louvre for the current occupation of eighty excellent drawings by these revolutionary artists, a reciprocal gesture for the Morgan loaning the Louvre a hundred fine drawings during the 1990s.

Beyond the storming of the Bastille, the French Revolution unleashed a creative fervor in France, one that rippled through the nineteenth century. Even before the first wave of revolutionary engagement, artists were sweeping away the wretched excess of the royal Rococo in favor of classical models in order to illustrate the useful parallel lessons from Imperial Rome. The orderly structure of reason then gave way to the Romantic's fondness for feelings, emotion, and subjectivity. The revolution may have begun in an orderly assembly, but in time, after the collective exhaustion following civic unrest, imperial power, and a reconstituted monarchy, individuals occasionally drifted off to find themselves in Nature. This story is apparent in the sequence of drawings in the exhibition.



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