Posts Tagged ‘Renaissance portraits

03
Jan
12

Exhibition: ‘Caravaggio and His Followers in Rome’ at the Kimbell Art Museum, Fort Worth, Texas

Exhibition dates: 16th October 2011 – 8th January 2012

 

Simon Vouet. 'The Fortune Teller' c. 1620

 

Simon Vouet (French, 1590-1649)
The Fortune Teller
c. 1620
Oil on canvas
National Gallery of Canada, Ottawa

 

 

Observe if you will:

  1. The treatment of the background behind Boy Bitten by a Lizard (1594-96)
  2. The tension of the hands in this painting
  3. The pallor of the skin of Sick Bacchus (1593-94)
  4. The colour of the bunch of grapes in the same painting
  5. The critical distance between the two apricots and the bowed sash resting on the pediment in the same painting
  6. The youthful innocence of the dupe in The Cardsharps (c. 1595)
  7. The deep, foreboding shadows under the eyes of Saint John the Baptist in the Wilderness (1604-5)
  8. The astonishingly beautiful skin tones in Gerrit van Honthorst’s Saint Sebastian (c. 1623) and how the blood from the leg wound at left runs in two directions: one direction when Saint Sebastian was standing up, one when he has slumped down. Inspired.

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Dr Marcus Bunyan

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Many thankx to the Kimbell Museum of Art for allowing me to publish the artwork in the posting. Please click on the photographs for a larger version of the image.

 

 

One of the most influential figures in the history of art, Caravaggio (1571-1610) overturned the artistic conventions of the day and created stunningly dramatic paintings, both sacred and secular. This ambitious exhibition explores the profound impact of his work on the wide range of painters of Italian, French, Dutch, Flemish, and Spanish origin who resided in Rome. Arranged by theme, it includes over 50 paintings, with Caravaggio’s compelling images juxtaposed with those he inspired. This is the second largest display of his paintings in North America and only the third Caravaggio exhibition to be held in the United States.

 

Music and Youth

Many of Caravaggio’s early paintings feature handsome youths, whether singly or in groups. He seems to have used the same favorite models repeatedly – and sometimes his own features, which a contemporary tells us he studied in a mirror. The origins of these novel paintings lay in the types of pictures – portraits, still lifes, and allegories – that were painted in a realistic style in the artist’s native Lombardy, in the north of Italy, although he blurred the boundaries between genres to suggest real-life scenes. Caravaggio’s paintings of musicians would have appealed to Roman collectors who were passionate patrons of music, and likely were created to decorate rooms used for performances. They have a dreamy, slightly melancholy air. If the songs are about love, as we can assume they are, they are surely about the painful side of love rather than its joys. Caravaggio’s early paintings of youths are usually scenes of sensual pleasure but with a built-in warning against indulgence, as when a youth has his finger bitten by a lizard lurking in some fruit. He brings us close to his figures, often having them make eye contact with us, and includes lovingly observed still-life details that enhance the naturalism and immediacy of the scene. Even when there is a visitation from the beyond, like the winged Cupid in The Musicians, he treats this in a matter-of-fact way, attentive always to breaking down the boundaries between the painted world and our own. Caravaggio’s musical paintings caught on throughout Europe in the work of his followers, who brought their own innovations to the genre.

 

Caravaggio. 'The Musicians' c. 1595

 

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
The Musicians
c. 1595
Oil on canvas
36 1/4 x 46 5/8 in (92.1 x 118.4 cm)
The Metropolitan Museum of Art, New York. Rogers Fund, 1952

 

 

In this scene, Caravaggio shows some young musicians preparing for a concert. We are brought very close to the figures, as if we share the same space. Caravaggio breaks down the boundaries between art and life, and our reality and the painted world become entwined. The instruments are modern, but the musicians wear antique-inspired dress. The lute player tunes his instrument, and the horn player (possibly a self-portrait) catches our gaze. Another youth studies the musical score; it is no longer legible, but doubtless featured love madrigals. The winged Cupid with a quiver of arrows who is handling some grapes makes explicit the bond between music and love. Wine, like music, makes the spirits light. This painting belonged to Cardinal Francesco Maria del Monte, who hosted concerts at his palace and invited musicians to live in his household, along with artists like Caravaggio.

 

Theodoor Rombouts. 'A Lute Player' c. 1620

 

Theodoor Rombouts (Flemish, 1597-1637)
A Lute Player
c. 1620
Oil on canvas
43 7/8 x 39 1/4 in (111.1 x 99.7 cm)
Philadelphia Museum of Art. John G. Johnson Collection, 1917

 

 

Caravaggio’s paintings of musicians inspired Rombouts’s depiction of a musician tuning his lute. His intense expression suggests that he is both listening to the sound and sizing up the viewer, his audience. The vividly described carpet and still-life objects on the table recall Caravaggio’s similar close-up presentations. However, the colourful treatment of the costume and the robust delineation of the objects place Rombouts’s work within traditions of Flemish and Dutch painting. The still life, like ephemeral music, serves to remind us of the pleasures of life, but also that pleasure is fleeting. The artist also alludes to the five senses: hearing (the lute), taste (the tankard), smell (the pipe), sight (the musical scores), and touch (the knife).

 

Caravaggio. 'Boy Bitten by a Lizard' 1594–96

 

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Boy Bitten by a Lizard
1594-96
Oil on canvas
25 5/8 x 20 1/2 in (65 x 52 cm)
Fondazione di Studi di Storia dell’Arte Roberto Longhi, Florence

 

 

One of Caravaggio’s biographers wrote that “he also painted a boy bitten by a lizard emerging from flowers and fruits; you could almost hear the boy scream, and it was done meticulously.” The picture has suggested various interpretations. As an allegory of touch, it provides the basis for a study of how emotion is expressed physically, and arguably Caravaggio alludes to all the five senses (flowers as smell and so on). With the still life of fruits and roses, common emblems of love, he invokes age-old adages – pain can follow pleasure, and love is a rose with thorns that prick. Poets from Petrarch onward played on the similarity of the Italian words for “love” and “bitter” – amore and amaro – to which Caravaggio adds ramarro (lizard), ingeniously enlarging the joke.

 

Caravaggio. 'Sick Bacchus' 1593–94

 

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Sick Bacchus
1593-94
Oil on canvas
Galleria Borghese, Rome

 

 

Cardsharps and Fortune Tellers

The young Caravaggio introduced another new kind of painting to the Roman art world with his scenes from the seamy side of life, its frauds and ruses. He painted these works on a large scale with half-length figures, and they were among his most widely imitated creations. His followers played countless variations on the same themes, trying various levels of subtlety and buffoonery in the humour and facial expressions. These highly animated compositions conjure up an underworld of wily cardsharps, soldiers of fortune, foolish dupes, sensuous and deceitful gypsy women, pickpockets, and thugs. They are based partly on everyday observations in the streets, partly on the stock characters and improvised comedies of the commedia dell’arte, partly on sheer fantasy. In such works, Caravaggio and his followers developed ingenious ways of involving us in the action. We read these amusingly moralising pictures through gestures and expressions – but to unravel the trickery takes time. Despite being frozen in a static image, the story seems to unfold before our eyes like one of the popular plays that were its inspiration. The artist extends the theme of deception by painting his subjects with such a high level of naturalism that the viewer is duped and astounded by his artistry.

 

Caravaggio. 'The Cardsharps' c. 1595

 

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
The Cardsharps
c. 1595
Oil on canvas
37 1/8 x 51 5/8 in (94.2 x 130.9 cm)
Kimbell Art Museum, Fort Worth

 

 

The players are engaged in a game of primero, a forerunner of poker. Engrossed in his cards, the dupe is unaware that the older cardsharp signals his accomplice, who reaches to pull a hidden card from his breeches. The fingertips of the cheat’s gloved hand are exposed to better feel marked cards. According to an early biographer, Cardinal Francesco Maria del Monte, a great patron of the arts, took the young Caravaggio into his household soon after purchasing this picture. It hung along with The Gypsy Fortune Teller in his palace. Together they would surely have reminded the cardinal and his guests of the story of the prodigal son, warning about the perils of greed and fraud. Caravaggio has treated this subject not as a caricature of vice but in a fresh way, in which the interaction of gesture and glance evokes the drama of deception and lost innocence in the most human of terms. He structures the picture to allow us to witness everything, implicating us in the trickery.

 

Saints

Caravaggio grounded his saints in everyday reality, indicating their spiritual states by means of natural phenomena, especially light. In his early painting of Saint Francis, he shows the saint’s ecstasy – his mystic identification with Christ – by directing a strong light upon his figure and the consoling angel. God’s grace is signalled by light in other images of the saints, such as the scene of Mary Magdalene’s conversion from her former life of sin. In paintings of Saints Matthew and Jerome in their studies, much emulated in Caravaggio’s circle, light is a metaphor of divine inspiration. Generally the saints seem to be emerging from darkness into light, which adds drama, symbolism, and also a sense of mass – as if they were sculpted, not merely painted. In a break from Roman and Florentine traditions, Caravaggio rejected the practice of refining his composition through drawings before he began to paint and instead worked directly from a live model in the studio, preserving that model’s particular appearance, never making the features or body conform to an ideal of beauty. The effect, central to Caravaggio’s art and that of many of his followers, was startling. At this time, many people believed that the painting of sacred personages such as saints called for a special, elevated style that set them apart from the mundane reality of the here and now. Caravaggio’s radical departure from this principle brought him much harsh criticism. He was accused of merely copying and so failing to capture a higher truth. But others recognised in his work a new kind of religious art that directly engaged the faithful and made old subjects new and alive.

 

Caravaggio. 'Saint John the Baptist in the Wilderness' 1604

 

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Saint John the Baptist in the Wilderness
1604-5
Oil on canvas
68 x 52 in (172.7 x 132.1 cm)
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase William Rockhill Nelson Trust

 

 

Caravaggio’s practice of painting a live model in his studio brings this young, brooding saint to life – as if his image were inhabited by the model’s being. Ottavio Costa, a Roman banker, commissioned this painting for a chapel on a pilgrimage route in the countryside outside of Genoa, where his family had its origins. We can imagine what a powerful experience it would have been to encounter the image of the scarlet-robed saint there, dramatically emerging from the shadows into a strong light. When Caravaggio delivered the painting, Costa decided to keep it and placed a copy in the chapel. But even the copy proved inspiring. An early guide described how it “moves not only the members of the brotherhood but also visitors to penitence.”

 

Gerrit van Honthorst. 'Saint Sebastian' c. 1623

 

Gerrit van Honthorst (Dutch, 1592-1656)
Saint Sebastian
c. 1623
Oil on canvas
The National Gallery, London

 

 

The Sacred Narrative

Caravaggio was a masterful storyteller who could bring home the drama and significance of a biblical event with tremendous power. In his scenes from the Old and New Testaments, he created a new kind of painting – dramatic, even theatrical, yet grounded in the observation of ordinary reality – and it proved infectious among his contemporaries in Rome. His approach was to make the scene clear and simple, with the main actors in the drama seen close-up and caught in midaction at a decisive moment, embodying the whole meaning of the event. He played down the setting, sometimes to the point that it is a mere pool of darkness from which the figures emerge. It was the actions and states of mind of the characters in the story that counted, and Caravaggio presented these with sometimes shocking directness and intensity, breaking all the rules of decorum that restrained more conventional painters. He mastered the art of concealing art, re-creating a scene with such a flavour of reality that it comes across as an eyewitness account. It was his power to draw viewers into the emotion and importance of a scene that made his work an essential object of study, even for such an independent genius as the great Peter Paul Rubens.

 

Caravaggio. 'Martha and Mary Magdalene' c. 1598

 

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Martha and Mary Magdalene
c. 1598
Oil and tempera on canvas
38 1/2 x 52 1/4 in (97.8 x 132.7 cm)
Detroit Institute of Arts. Gift of the Kresge Foundation and Mrs. Edsel B. Ford

 

 

Martha’s expressive hands, intensely illuminated, underscore her attempt to convert her sister Mary Magdalene from a life of worldly pleasures to one of spirituality. Several details recall Mary’s life of indulgence: the elegant dress, the ivory comb, the alabaster cosmetic jar. The mirror, a powerful symbol of vanity, becomes here an instrument reflecting the divine light that is penetrating Mary’s soul. Martha’s words seem to have been convincing, and her open mouth signals her amazement as she witnesses Mary’s transformation. The orange blossom in Mary’s right hand and the ring on her left indicate her new status as the blessed bride of Christ.

 

Caravaggio. 'Sacrifice of Isaac' 1602–3

 

Michelangelo Merisi da Caravaggio (Italian, 1571-1610)
Sacrifice of Isaac
1602-3
Oil on canvas
41 x 53 1/8 in (104 x 135 cm)
Galleria degli Uffizi, Florence

 

 

Kimbell Art Museum
3333 Camp Bowie Boulevard,
Fort Worth, TX 76107

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Fridays, noon – 8pm
Sundays, noon – 5pm
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17
Nov
11

Exhibition: ‘Renaissance Faces. Masterpieces of Italian Portraiture’
 at the 
Bode Museum, Berlin

Exhibition dates: 25th August – 20th November 2011

 

 

Filippo Lippi (Italian, 1406-1469)
Portrait of a Man and a Woman at a Casement
c. 1440
New York, Metropolitan Museum of Art
© Metropolitan Museum of Art, New York

 

 

The Legend of the Surface, the Facies

Facies simultaneously signifies the singular air of a face, the particularity of its aspect, as well as the genre or species under which this aspect should be subsumed. The facies would thus be a face fixed to a synthetic combination of the universal and the singular: the visage fixed to the regime of representation, in a Helgian sense.

Why the face? – Because in the face the corporeal surface makes visible something of the movements of the soul, ideally.”

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Georges Didi-Huberman 1

 

Many thankx to the Bode Museum for allowing me to publish the artwork in the posting. Please click on the images for a larger version.

  1. Didi-Huberman, Georges. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpetriere (trans. Alisa Hartz). Cambridge, Mass.: MIT Press, 2003, p. 49

 

 

Antonio del Pollaiuolo (Italian, 1429-1498)
Portrait of a Young Lady
c. 1465
Berlin, National Museums in Berlin, Gemäldegalerie
© National Museums in Berlin, Jörg P. Anders

 

 

Antonio del Pollaiuolo (Italian, 1429-1498)
Portrait of a Young Woman
c. 1465-70
© Museo Poldi Pezzoli, Milan

 

 

Sandro Botticelli (Italian, 1445-1520)
Profile Portrait of a Young Lady (Simonetta Vespucci?)
c. 1476
Berlin, National Museums in Berlin, Gemäldegalerie
© National Museums in Berlin, Jörg P. Anders

 

 

Alessandro di Mariano di Vanni Filipepi (c.  1445 – May 17, 1510), known as Sandro Botticelli, was an Italian painter of the Early Renaissance. He belonged to the Florentine School under the patronage of Lorenzo de’ Medici, a movement that Giorgio Vasari would characterise less than a hundred years later in his Vita of Botticelli as a “golden age”. Botticelli’s posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.

 

 

Leonardo da Vinci (Italian, 1452-1519)
Lady with an Ermine (portrait of Cecilia Gallerani)
1489-90
Kraków, owned by Princes Czartoryski Foundation, at the National Museum
© bpk / Scala

 

 

Leonardo di ser Piero da Vinci,known as Leonardo da Vinci , was an Italian polymath of the Renaissance whose areas of interest included invention, drawing, painting, sculpture, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, paleontology, and cartography. He has been variously called the father of palaeontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time (despite perhaps only 15 of his paintings having survived).

 

 

The Gemäldegalerie – National Museums in Berlin and the Metropolitan Museum of Art, New York, have joined forces in organising a major exhibition on the genesis of the Italian portrait. For Berlin, the Bode Museum presents itself as the ideal location to hold such an exhibition: on its opening in 1904, it was conceived by its founder, Wilhelm von Bode, as a ‘Renaissance Museum’ on the Museum Island. The Bode Museum will host the first stage of the exhibition, running from 25 August to 20 November 2011, before it subsequently goes on show at the Metropolitan Museum of Art in New York, from 19 December 2011 to 18 March 2012.

More than 150 key works, including paintings, drawings, medals and busts, are about to go on display for the first time together. The more than 50 lenders include the Uffizi in Florence, the Louvre in Paris and the National Gallery in London. Among the exhibition’s many highlights is Leonardo da Vinci’s Lady with an Ermine from the Czartoryski Collection, Cracow.

The exhibition highlights depictions of the appearance and personality of real people. Portraits of feminine beauty vie with portraits of generals, princes and humanists, offering us a fascinating insight into the age of the early Renaissance.

At the heart of the exhibition stands the Italian Renaissance portrait. The Italian art of portraiture evolved under the influence of antique models. However, it was equally shaped by the innovations of the great Netherlandish painters. The history of the art of portraiture, from Pisanello up to Verrocchio, Botticelli, Bellini and Leonardo, is retold in a selection of magnificent and sensational key works, including paintings, sculptures, medals and drawings. The exhibition focuses both on the art produced at the Italian courts, as well as the development of the portrait in Florence and Venice.

A unique architectural and lighting concept, especially designed for the exhibition, takes into account the individual qualities of each exhibit in its presentation. Of crucial importance here is the aesthetic experience, both of the quality of the artworks and of the materials used in creating them.

The artistic diversity evident in these early portraits, the various roles the images served and their historical contexts all resonate with suspense. The Gemäldegalerie – National Museums in Berlin and the Metropolitan Museum of Art in New York embarked on an intense collaboration to present this to the general public. Masterpieces from New York and the rich collections of the National Museums in Berlin, not just from the Gemäldegalerie itself but also from the Sculpture Collection, Kupferstichkabinett and Numismatic Collection, offer visitors an unprecedented insight into this epoch. Furthermore, for the first time the show in the Bode Museum also encompasses all media of Italian Renaissance portraiture – medals, drawings, sculptures and panel paintings.

Portraits – either in the form of a painting, photograph and less often a medal – have become commonplace today, but between the 5th and 15th century independent portraits of individual people were rare and the exclusive reserve of rulers and historic figures. Only in the 15th century did it again become customary for artists on both sides of the Alps to produce independent portraits of men and women. Today’s exhibition Renaissance Faces pays homage to Italy’s contribution to this first great age of European portraiture and conveys a sense of the innovative ways in which artists responded to the challenge of creating individual portraits and how they explored questions of identity that arose as a result.

When selecting the exhibits, the organisers’ chief aim was to highlight the prevailing conventions and decisive innovations in a period spanning more than eight decades. Set against the backdrop of Italy’s geographical, political and cultural complexities in the 15th century, the exhibition is divided into three clearly outlined thematic sections. The first of these is Florence, as it was here that the independent portrait first appeared on a significant scale. The visitor’s gaze is then directed to the courts of Ferrara, Mantua, Bologna, Milan, Urbino, Naples and finally papal Rome. The circle is then completed in Venice, where a portrait tradition only established itself remarkably late in the century. In each section, works in all media are juxtaposed with each other to give visitors the chance to see for themselves how the various art forms mutually influenced each other with their own unique qualities.

In a society dominated by family descent and social hierarchies, conventions were binding. And it is precisely these conventions that are depicted in profile portraits from 15th-century Italy. Profile portraits were equally popular as reliefs or paintings. Compared with the far more naturalistic art produced north of the Alps, which people in 15th-century Italy were definitely familiar with, this form of portrait seems at first a little surprising, as the Italian artists present the sitters in a soft light and at a slight angle to the picture plane. The sitters are seen standing either at a window or behind a parapet and gaze at the viewer. Sometimes a hand is seen resting on the edge of the painted frame. When looking at these images, it is clear that Italian portraits are not primarily concerned with achieving an accurate likeness, at least not in the conventional sense. Italian portraits do not so much reveal personality, rather convey social conventions and cultural identity.

The profile portrait was frequently given such exceptional importance in Italy, because it largely drew from Roman coins and reliefs for inspiration. But the profile portrait has always been the most elementary form of capturing someone’s likeness. Informal, direct and frontal views have become so familiar to us in portraits today thanks to photography that we first have to be resensitised to the unique possibilities inherent in the profile portrait. For one, it makes it possible to objectify a person’s outer appearance and allows physiognomies to convey cultural meaning. The pleasing aspect of a high forehead, the refinement or contemptuousness expressed in a raised brow, the aristocratic curve of a nose and the severity or gentleness of a chin and jawline – all these are physiognomical characteristics that come to stand as emblems for beauty, rank and power.

Press release from the Bode Museum website quoting the exhibition catalogue

 

 

Pisanello (Antonio Pisano) (Italian, 1395-1455)
Portrait of Leonello d’Este
c. 1444
Bergamo, Accademia Carrara
© Accademia Carrara, Bergamo

 

 

Pisanello (c. 1395 – c. 1455), known professionally as Antonio di Puccio Pisano or Antonio di Puccio da Cereto, also erroneously called Vittore Pisano by Giorgio Vasari, was one of the most distinguished painters of the early Italian Renaissance and Quattrocento. He was acclaimed by poets such as Guarino da Verona and praised by humanists of his time, who compared him to such illustrious names as Cimabue, Phidias and Praxiteles.

 

 

Sandro Botticelli (Italian, 1445-1520)
Portrait of Giuliano de’ Medici
c. 1478
Washington, National Gallery of Art
© Art Resource, New York

 

 

Andrea Mantegna (Italian, 1431-1506)
Portrait of Cardinal Ludovico Trevisano
c. 1459
Berlin, National Museums in Berlin, Gemäldegalerie
© National Museums in Berlin, Jörg P. Anders

 

 

Andrea Mantegna (c.  1431 – September 13, 1506) was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini. Like other artists of the time, Mantegna experimented with perspective, e.g. by lowering the horizon in order to create a sense of greater monumentality. His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the leading producer of prints in Venice before 1500.

 

 

Antonello da Messina (Italian, 1430-1479)
Portrait of a Young Man
1478
Berlin, National Museums in Berlin, Gemäldegalerie
© National Museums in Berlin, Jörg P. Anders

 

 

Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicised as Anthony of Messina (c. 1430 – February 1479), was an Italian painter from Messina, Sicily, active during the Early Italian Renaissance. His work shows strong influences from Early Netherlandish painting although there is no documentary evidence that he ever travelled beyond Italy. Giorgio Vasari credited him with the introduction of oil painting into Italy. Unusually for a south Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice.

 

 

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Sleep/Wound’ 1995-96


Marcus Bunyan black and white archive: 'Sleep/Wound' 1995-96 *PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF MALE NUDITY - IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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