Rose City Planners
On this day, August 30, 2018, I found, Rose City Planners, a International Company that will pull together the best team of City Planners – possible! During the Great Depression many artists were funded by the WPA to produce civic works of art. Today, our cities have been forever enriched by the work of these magnificent artists who were not out to become famous. They gave way more that they received. Their historic contributions can be added on to, if their common philosophy is understood – and harnessed! These men considered themselves Bohemians.
Many city planners and city governments understand that We The People want our downtowns to have a Bohemian flavor and look. This is the recipe that attracts people. Unfortunately, many city governments are hiring outsiders, Bohemian pretenders, who put the Capitalist Quick Buck Masters at the top, and the artist down at the bottom next to Vegetable Stands. These frauds keep saying they are protecting our city history and founding fathers, but – they lie! When my company gets off the ground we will do a through research to see how much history, and Bohemian Culture was bulldozed into the ground. Much can still be saved – if you know how!
Rose City Planners will reach out to foreign cities, and establish a Cultural Exchange. I am looking for Japanese Investors, and backers for ‘The Royal Janitor’. I founded ‘The Wandering Star Studios. I am poised to take over the work of J.R. Tolkien, also. I will relocate my company to Portland Oregon.
John Presco 007
On the my last day in Vancouver I heard there is a plan to tear down the last freeway in that city. Here is a video of the Hippie Museum that shows some Hippie fashions:
Here is another blog of mine where I honor Boho fashion.
Here is the statue Pacifica being blown-up by the Navy:
Ina Coolbrith gave Joaquin Miller his look that he took to England where he read his poems to the Queen. The Pre-Raphaelite Artists took him in. Miller was a friend of my grandmother. The original hippies of the Bay Area were influence by Miller, Ina, London, and Sterling. Miller made a life-size statue of my kin, John Fremont, who looks west from the heights of Oakland. El Capitan looks like Gandalf.
Peter photographed my kindred, Elizabeth Rosemond Taylor for LIFE magazine, and Errol Flynn. who my mother and aunt dated. Ralph was good friends Diego Rivera and his artistic wife. These creative Bohemian souls were the compatriots of David Weston and his Muses. Ralph did a painting of Tina Modotti wearing pearls. David is the model for Frank Rosefish. Errol Flynn is a model for Don Roscoe.
Thomas Hart Benton did lithographs and a painting for John Steinbeck’s ‘Grapes of Wrath’. This is huge! This puts a Literary Giant in the Benton Family Creative Tree. How could the three Rosamond biographers have missed this? Here’s a huge clue?
I am overwhelmed by the History I appear to be the Caretaker of. For this reason I am founding Royal Rosamond College, and am seeking funding.
There are two world famous artists with the last name BENTON. Thomas Hart Benton, and Christine Rosamond Benton. Not one of the three authors that were blessed by attorney Sydney Morris to publish Rosamond’s biography, put these two artists together in their lying biographies that humiliated Christine, her mothers, and her teacher.
Above is a photograph of a man humiliating one of Thomas’ works of art. People all over the world express their outrage. Wait till they read about Faulkner’s ‘Dunkin The Frog’ that was going to put into the public domain as a Rosamond. Not only is this Art Forgery, it is a direct attack on the Creative Language that Artists speak to each other with – for free!
In two of the three works of art above, we see artists who were members of the Synchromism movement. Stanton Macdonald-Wright did ‘Yin Synchrom’ in 1925, and Thomas Hart Benton did ‘The Rape of Persephone’ in 1939. Is Benton sending a message to Stanton, saying he is beholding to his influence, or, did it just turn out this way in what Carl Jung titled synchronicity? Stanton included Gloria Stuart in one of his murals. Is Stuart’s painting of a nude – with tiger – part of this messaging? Is she saying;
“Don’t leave me out, don’t forget about me – you Bohemian good ol boys!”
On this day, July 6, 2018, I give new life to The Wandering Star Studio. I am now seeking backers for WSS in China, Japan, Canada, France, and England. I am going to ask David Lynch if he will represent my studio.
The United States of America, before it became a Nations, was made up of diverse peoples from all over the world. The Constitution does not describe a certain race of peoples as owners of this Freedom Land. It belongs to all citizens. The laws for being a citizen, and becoming a citizen have been established. However, there is always room for improvement.
It is becoming evident, that many people who voted for Donald Trump, did so believing he would grant them a special citizenship that is not mentioned in the U.S. Constitution. This idea is creating Disunity that grows each day, because it is being nurtured by propaganda. This propaganda is being spread to the rest of the world in Trump’s Trade Wars that no U.S. Citizen voted for, or, expected.
It is the mission of Wandering Star Studio to show how it took many diverse people to make up this great country of ours. Most of these people were not indigenous. they came here from all over the world, following a…………….Wandering Star!
Trade Wars are creating a very destruction Isolationtionism that will stifle our economy and our people. We will lose our creative edge that blossoms from open minds, verses closed minds. American and World Culture needs to explore new ways to work and create together so we may all own a Universal Culture that betters the lives of all people.
Macdonald-Wright was a significant presence and a charismatic personality in the Los Angeles art scene for the next several decades. He was the director of the Southern California division of the Works Project Administration Federal Art Project from 1935 to 1943, and personally completed several major civic art projects, including the murals in Santa Monica City Hall. After World War II, MacDonald-Wright became interested in Japanese art and culture, which led to the renewal of synchromist elements in his work. He taught art for many years at UCLA and also kept studios in Kyoto and Florence.
In 1965 I attended a party at the Zorthian Ranch with my childhood friend, Nancy Hamren (whose grandmother owned the recipe for Nancy’s Yogurt) and Barry and Seyburn Zorthian, the daughter’s of the artist, Jirayr H. Zorthian, who was influenced by Thomas Hart Benton. Thomas is the cousin of the muralist, Garth Benton who married my late sister, the world famous artist, Christine Rosamond Benton. These four women and myself would live in a commune in San Fancisco, our rent paid by Betty Zorthian, the heiress of the William’s Shave fortune. Seyburn is an artist.Zorthian and I discussed art up in his studio while beautiful young L.A. Godesses soared on the trampoline to ‘Gloria’.
Royal Rosamond Press was founded in 1997 as a newspaper dedicated to the protection, and the preservation of The Arts. The attack upon the Rosamond-Benton Creative Legacy began minutes after my late sister, Christine Rosamond Benton, was pronounced dead. My un-talented brother and sister kept me from the meeting that was held in my famous sister’s house in Pebble Beach. They got behind a Art Forger and her biography that another ghost writer completed. Not once is the world-famous artist Thomas Hart Benton, mentioned in their book if lies.
Today, I announce I am the protector and preserver of Thomas’ artistic legacy, and guardian-caretaker of the Lost Synchromism Movement co-founded by Stanton MacDonald Wright. This movement is under attack by Oscar de la Torre and AIM.
Today I saw our black President give a speech for the 150th Anniversry of the Emancipation of Slaves. However, my kindred, Jessie Benton, and her husband, John Fremont, emancipated the slaves of Missouri several years before.
“Latino activist Oscar de la Torre declared war on the 74-year-old art work last week and vowed to launch a campaign to “take this mural down”
Calling it “the Santa Monica confederate flag,” De la Torre said the mural is an insult to Native Americans because it shows them “bowing down to the Spaniards who came and oppressed and murdered and committed genocide in the Americas.”
When you look to the source of the water from which the people drink you see a waterfall that is rendered in the style of Chinese and Japanese paintings. This is deliberate. Is Stanton recognizing the Asian roots of Native Americans? Yes. He is not re-routing these roots to men of the cross as Oscar claims. I think he came to demonstrate at the Santa Monica City Hall, where he, or someone pointed out Stanton’s mural, and, how it could be used to keep funding for Oscar’s cause.
I believe Oscar then contacted the American Indian Movement to bring more pressure on the elected officials. What is truly Synchromistic is that Stanton’s interest in Asia gives come credence to the establishment of Japantown in the Sawtelle, where proponents used terms like “our ancestors”.
“It’s a broad-based, historical commemoration of our ancestors settling Sawtelle 100 years ago,” said the 76-year-old Tanaka.”
“In 1998, Governor Wilson signed senate bill SB 1956. The Bill, introduced by Senator Tom Hayden, required the California Department of Parks and Recreation to, “seek to establish a permanent cultural and ecological site at the Gabrielino/Tongva Springs”, and called for the creation of a task force created by University High School’s administration, “in consultation with the Gabrielino/Tongva Springs Foundation and the Los Angeles Unified School District”. The bill appropriated $50,000 to the department to be spent on a local assistance grant to the task force, “to plan for the preservation of the Gabrielino/Tongva Springs, and property adjacent thereto…in order to enhance environmental, cultural, and educational opportunities.”
Here are the ancestors of my niece, Drew Benton, taking California.
Here are the ancestors of my friend Virginia, who once owned the Louisiana Territory.
ISIS is destroying priceless art treasures as activists for a radical brand of Islam. What they don’t destroy, they sell in order to purchase weapons that are used to murder men who protect their wives and daughters from evil men who would capture them and sell them into slavery.
Here is the hand of Thomas Benton throwing a lasso. He is trying to capture The Dragon of Sychromism. I believe I have a tiger and the end of my rope! I truly own something that is immortal – after I returned to the source, the well of my inspiration, to my first Muse, Marilyn Reed. It is my hope to establish ‘Little Bohemia’ in the Sawtelle where I had my first art show at the New Balladeer, where my late friend, Bryan McLean, played in 1964. This was the beginning of a New Sound and Age of Free-forming Colors that established a Revolution that continues to flow to the sea.
Synchromism was founded by Stanton MacDonald Wright (Fig. 1) and Morgan Russell, while they were in Paris during 1912. Together they created the first official works, produced anywhere, which were considered ‘nonrepresentational’. Simply put, Synchromism was a method of painting that set itself apart by using fractured forms and rich colors ; based on using the color theories of Tudor Hart along with the sculptural qualities of Michelangelo.
Synchronicity is a concept first explained by psychiatrist Carl Jung, which holds that events are “meaningful coincidences” if they occur with no causal relationship, yet seem to be meaningfully related. During his career, Jung furnished several slightly different definitions of it.
Jung variously defined synchronicity as an “acausal connecting (togetherness) principle,” “meaningful coincidence”, and “acausal parallelism.” He introduced the concept as early as the 1920s but gave a full statement of it only in 1951 in an Eranos lecture.
Benton initially met Wright in the winter of 1909, and immersed himself in the Synchromistic methods. Unfortunately, the only way we can now examine the influence of this time period had on his work is by drawing conclusions from his later work, as much of the work created from 1914-1917 was destroyed in a fire at his home in Neosho Missouri in 1917.
Macdonald-Wright was one of the first of many muralists working in the 1930’s to slant his historical presentation to local achievements. He set noted Santa Monicans, actors Gloria Stuart (b. 1910) and Leo Carrillo (1880-1961), before a backdrop that is a glorious panorama of Santa Monica Bay. Motion pictures not only represented a hometown industry to Macdonald-Wright but also related to his life-long experiments with film and color. Other autobiographical elements appear in other panels. The lariat thrower is his friend, artist Thomas Hart Benton; the dog in the prologue is his own; and the painter at an easel is his father, to whom the mural is dedicated.
“It’s a broad-based, historical commemoration of our ancestors settling Sawtelle 100 years ago,” said the 76-year-old Tanaka, who told us he was born and raised in the community. “It’s in recognition of the fact that they were some of the first settlers to Sawtelle Boulevard. My dad was one of those who came to Fourth Street, or Sawtelle Boulevard, when it was a dirt road.”
Today’s official boundaries include Santa Monica Boulevard to the north (it could be argued that Ohio Avenue or even Wilshire Boulevard would be more apropos, given the historic community structures north of Santa Monica, including University High School and the Veterans Affairs’ West Los Angeles Medical Center), Pico Boulevard to the south, Centinela Avenue to the west and the 405 freeway to the east.
At the turn of the century, Japanese immigrants settled there because other communities, including Westwood, Bel-Air and Brentwood, excluded minorities. A letter written by local City Councilman Mike Bonin supports the name change and notes the following:
Japanese-Americans began arriving in Los Angeles in the 1890s, with many fleeing anti-Asian persecution in San Francisco. … In the 1920s, cultural, community and religious organizations like the Japanese Institute of Sawtelle, West Los Angeles Buddhist Temple and United Methodist Church formed to support this vital community.
Contrary to the typically European-centered attitudes of most American muralists of the time, Macdonald-Wright’s interests were wide-ranging. He was as well versed in Asian philosophy as he was in Western modern painting, appreciating various cultures with equal passion. Indeed, it was in the 1930’s that he began seriously exploring the arts and religious beliefs of Asia through reading and travel. In his painted history of humanity’s accomplishments, he balanced emblems from the West with those of the East. His choice of personalities (both actual and mythical) demonstrated his multicultural perspective: from Aristotle and Socrates to Confucius, Buddha and LaoTzu.
In conclusion, the link between Thomas Hart Benton and the Synchromist movement, Is one that stands not to be forgotten. For no person lives in a vacuum, but are influenced of by their surroundings. Even a ‘good ol’ boy’ from Missouri who dared to break away from his traditional art training, and jump from the safe edge into the unknown. Yet after we look at the examples above, the influence of Synchromism can not be denied. One can not see it them merely as coincidence, but rather something much more that should be examined and acknowledged.(Fig. 2, 3)
Eventually Benton’s work with the Synchromists was shown in the highly selective New York, ‘Forum Exhibit’ of 1916. His works, in his own words were…’created using the Tudor Hart’s color system’ Following the Synchromist practice at the time. I based the composition of these pictures on Michelangelo sculpture. However, as the multiple-figure composition was again occupying my thoughts. I selected Michelangelo’s early relief the ‘Battle of the Centaurs,’ rather than a single figure to serve as a model for my k
Throughout Benton’s career Michelangelo’s work continued to be a major influence. Intrigued with the three dimensional form, Benton began creating sculptures and began to make dioramas (or miniature scene) of intended two dimensional works. He would begin by forming clay models, which were somewhat like a relief sculpture (projecting slightly from the surface). He would then create numerous drawings from the models, if the idea presented did not translate well to two dimensions, he would rework it until it did.
Benton’s work expresses the influence of the Synchromists in his choice of color palette and composition, particularly in his early work titled ‘Bubbles’. (Fig. 5) ‘Bubbles’ was created by Benton during 1916, during his direct involvement with the Synchromists, and is visually similar to the work of Stanton MacDonald Wright (fig. 6) This similarly can be seen by the use of the composition , and the circular shapes used to contrast the angular ones, along with the hues used throughout. The similarities can be seen in the upper and lower left corner, where the space is broken up in a similar fashion with curvilinear lines created with circular shapes that help to draw your eye throughout the composition. In many of Benton’s work there is a triad color scheme, again the physical rhythm of the human form that ties his work to Michelangelo, and the familiar color theme of red, yellow, blue.
Finally lets reexamine a few of his abstract work to help us see the correlation between then and his later work. In ‘Constructionist Still Life’, created in 1917-1918 (fig 10) there again is a triad color scheme, geometric shapes which later would be replaced by the human form. For instance in his work ‘Rita and T.P.’ (fig 11), although the colors differ, due to the central vortex, each composition is very similar and are easily interchange
Later, Benton was to claim he dropped the Synchromistic palette and focused his work on single figures and groups. Eventually the abstracted qualities become secondary and Benton would try and eliminate many of the abstract devices. In ‘Self portrait with Rita’ created in 1922, (fig 12) one can once again see the use of a triadic color scheme based on red, yellow, blue.
If one compares the work to ‘Bubbles’ created in 1916 the eye is following the same path throughout the image (fig 13), with the eye again following the curve of the letter ‘J’ up through the upper right of the image.
In 1948 two of the works created by Benton continued to carry on these same two characteristics previously shown in his work. In both ‘The Apple of Discord’ (Fig. 14) and ‘Poker Night’ (Fig. 15) the female is presented in a traditional Renaissance Michelangelo style. Once again the viewer is observing a red, yellow, blue color theme, as seen in his work while with the Sychromist. (Fig. 16 and 17)
In conclusion, the link between Thomas Hart Benton and the Synchromist movement, Is one that stands not to be forgotten. For no person lives in a vacuum, but are influenced of by their surroundings. Even a ‘good ol’ boy’ from Missouri who dared to break away from his traditional art training, and jump from the safe edge into the unknown. Yet after we look at the examples above, the influence of Synchromism can not be denied. One can not see it them merely as coincidence, but rather something much more that should be examined and acknowledged.