Lo, in the east is a glamour and gleam, Like waves that lap on the shores of a dream, Or voice their lure in a poet's theme! - L.M. Montgomery
Maple Moonrise is a neo-goddess; Canadian born simultaneously on the Pacific beaches of British Columbia and Atlantic shores of Prince Edward Island.
Maple Moonrise throws her beams on the all of the arts: poetry, story telling, painting, drawing, music, dance, sculpture, and more.
She decrees – Make Art not War!
It is in this spirit of arts appreciation, and a desire for Peace on Earth, that she is dedicated to Rebecca Budd.
The Making Of
It began when I opened a gift box & found 4 massive lace curtains. From the colour, fabric & finish, I’d date it mid-late 70’s.
The box arrived while I was preparing the post – La Belle Époque .
The drawing of Rebecca I was working on came to mind. The fabric was draped over it, a pic was taken and an Art Gown idea was born.
As you can see, the fabric arrived after the sketch was done, but before the colour was added.
There were 4 panels, all the same. They were 56″ wide & at the deepest points 115′ long.
As you can see from the drawing of the panels, there are no cut ends, so these pieces were custom woven.
Selvages were woven into a geometric picot.
The ends were scalloped. The scallops were scalloped. The lace is a floral repeat pattern, not overall. There’s a mesh type drop out with 3 solid lines at about the 3/4 point.
The fabric was one sided. Although the pattern showed on both sides, when light hit – one side shone, the other died.
There were several pieces of older, varying in shades of white, acetate satin & one piece of nasty modern poly satin in the stash baskets.
Those were pinned to Judy and the lace was thrown on top.
Test shots were taken.
Sometimes the lace lit like various shades of maple syrup: a light golden to dark brown to shades of reddish brown.
The fabric of 3 panels was cut across the mesh drop out.. A skirt was draped from these. The scallops were used to trim the gown’s tail.
There’s nothing like a creative mess!
The last panel was cut up for the bussell, and the picot selvage was used to trim the bodice.
The tail is asymmetric due to the shape of the last large scrap of fabric. No waste here!
The left over satin became bows.
Her self adorned beauty …
… tried a small bow.
… and a Big Bow
Then a tassel got involved.
The bows and the tassel decided to work together
One bow said to the other bow, “at least we’re not tied up in knots! Even the tassel is hanging around.”
The tassel, dangling a truth, thought;”I’m so glad they’re ribbon each other, because they just drain the colour out of everything when they tangle.!”
Attempts at Novelty Shots & Outtakes
Front lit w/warm floor flood
Back lit w/warm floor flood
Front lit w/ sunny window
Back lit w/ sunny window
Red & blue gels over warm light
Red & blue gels over warm light
Blue gel over warm light
Lucy Maude Montgomery (1874-1941) is still inspiring 118 years after Anne of Green Gables hit the stands. Her poem was the final inspiration that pulled together the many ideas for naming Maple Moonrise.
Harbour Moonrise
There is never a wind to sing o'er the sea On its dimpled bosom that holdeth in fee Wealth of silver and magicry; And the harbor is like to an ebon cup With mother-o-pearl to the lips lined up, And brimmed with the wine of entranced delight, Purple and rare, from the flagon of night.
Lo, in the east is a glamour and gleam, Like waves that lap on the shores of a dream, Or voice their lure in a poet's theme! And behind the curtseying fisher boats The barge of the rising moon upfloats, The pilot ship over unknown seas Of treasure-laden cloud argosies.
Ere ever she drifts from the ocean's rim, Out from the background of shadows dim, Stealeth a boat; o'er her golden rim; Noiselessly, swiftly, it swayeth by Into the bourne of enchanted sky, Like a fairy shallop that seeks the strand Of a far and uncharted fairyland.
Now, ere the sleeping winds may stir, Send, O, my heart, a wish with her, Like to a venturous mariner; For who knoweth but that on an elfin sea She may meet the bark that is sailing to thee, And, winging thy message across the foam, May hasten the hour when thy ship comes home?
-Lucy Maude Montgomery
About Rebecca Budd
Of the many blogs Rebecca has and has had over the years, I find myself drawn to her Reading Room, Chasing Art blog and her her podcast –Tea Toast and Trivia.
Via the colour or other comparable aspect of the gown &/or painting – I will first pair a fine art painting from Robbie’s collection, then one from my collection, .
White Gowns
Jeune Femme se Poudrant – by Berthe Morisot – French (1841 – 1895)
Berthe Morisot‘s only daughter, Julie, inspired the many paintings, which documented the lives of women. The painting below is one of those paintings. It hangs in the Musée d’Orsay, Paris.
1887 – Oil on Canvas
Fortunate to have a genuine art education, Morisot studied under Jean-Baptiste-Camille Corot. In the 1860s, Morisot became a professional friend of Edouard Manet.
From1864 – 1870, she showed regularly at the Paris Salon.
In 1874, Morisot exhibited with the Société Anonyme des Artistes-Peintres, Sculpteurs, Graveurs, the first Impressionist exhibit.
In December, 1874 she married Eugène Manet (brother of Edouard Manet).
Achieving significant recognition during her lifetime, in 1887 her work showed at George Petit’s International Exhibition in Parisand Paul Durand-Ruel’s exhibition of Impressionist painting in New York.
Mrs. Wells as “Hebe” – James Northcote – British (1746 – 1831)
James Northcote was a writer as well as a painter of predominantly portraits. Largely self taught, he studied under and worked for Sir Joshua Reynolds. He became a member of The Royal Academy in 1787.
1805 – Oil on Canvas
At this time in history, allegorical artworks portraying people as mythological or historical figures were the height of fashion.
Mrs, Wells as “Hebe”features British actress Mary Wells (1761-1829), immortalizing herself via this painting.
Zeus’s daughter – Hebe, goddess of youth & cupbearer of the gods, was also the young bride’s patron goddess.
A Child’s Gown
Portrait of Clara Alewijn – Dirk van Santvoort – Netherlands (1610-1680)
Dirk van Santvoort was a prominent painter of children circa the mid seventeenth century. Clara Alewijn, the subect of the portrait below, was van Santvoort’s sister.
Oil on canvas – 1644
He likely studied under his farther – Dirck Pietersz. Bontepaert. None of the father’s work weathered time. After becoming wealthy, Van Santvoort ceased painting. He became the Dean of the Painters’ Guild and was an assessor of paintings.
Portrait of a Young Girl with Carnations – Jan Albertsz. Rotius – Netherlands (1615-1674)
Jan Albertsz. Rotius (aka Rootgies) was a portrait and still life painter
Oil on Canvas – circa 1663
He had 7 children, of which only 3 survived to adulthood. His son Jacob Rotius, became a successful painter of flowers.
Feels Antediluvian
Venus and the Three Graces Presenting Gifts to a Young Woman – Sandro Botticelli – Italian (1445-1510)
Botticelli, a draughtsman and painter, began painting religious frescoes before opening his own studio circa 1470.
Fresco – circa 1484
Prior to opening his studio he apprenticed in the studio of Fra Filipo Lippi, then worked with Antonio del Pollaiuolo. Botticelli spent most his life in service of the Medici family and their clique.
Aka Gioo degli Albizzi Receiving a Gift of Flowers from Venus, this fabulous fresco resides in the Louvre since 1882.
Found again in Italy in 1873, it is believed he used the patron’s daughter, possibly on her wedding engagement, for this allegorical image.
Botticelli’s name almost vanished from art circles until the late 19th century. At that time an esteem for the Florentine arts and culture renewed a look at his creations.
Initiation to Study – Two Young Ladies – Odilon Redon – French (1840-1916)
Bertrand-Jean Redon was a Symbolist painter, as well as a print maker.
At 15, his father made him switch from drawing to architecture. Later, he enjoyed sculpture and was instructed in etching and lithography by Rodolphe Bresdin.
He joined the army during the Franco-Prussian War, putting his career on hold.
Redon was still mostly unknown until in 1884, when a novel by Joris-Karl Huysmans titled, À rebours, featured a debauched aristocrat who collected Redon’s drawings.
A catalogue of his etchings and lithographs, published in 1913, caused his popularity to increase.
“My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined.” – REDON
The Lady Wears Black
La Dame aux éventails – Édouard Manet – French – 1832-1883
Manet emerged from wealth. He studied at the studio of artist Thomas Couture, then began copying paintings at the Louvre. Manet, inspired by the work of Spanish painter Diego Velázquez, chose a non academic free manner of loose brushwork.
He married Suzanne Leenhoff in 1863. She modelled for at least 13 of his paintings, but not for Olympia. Exhibited at the 1865 Salon, this parody of the classic Venus created a vicious scandal, making Manet the de facto leader of the avant-garde.
Oriental Poppies – Laura Muntz Lyall – Canadian (1860-1930)
Born in England, Laura Muntz Lyall immigrated to Canada at the age of 9 years. The first Canadian artist to receive honourable mention at the Paris Salon, she is also the first female Canadian Impressionist artist to have her work become part of the National Gallery of Canada.
Oil on Canvas – circa 1915
Laura Muntz-Lyall studied in London, Toronto and Paris. She supported herself in Paris by teaching English. Prior to moving to Montreal in 1906, where she ran a prominent studio at Beaver Hall Square, she taught art at Toronto’s Havargal College.
The Red Gown
The Jewish Bride aka Isaac and Rebecca – Rembrandt van Rijn (1606-1609)
Rembrandt attended Leiden University. Here he studied literature and history. He learned painting from Jacob Van Swanenburgh, then apprenticed in Amsterdam with history painter Pieter Lastman.
Oil on Canvas – Circa 1665-69
Later in his life, Rembrandt’s wife and some of their children died, leaving him in a state of loss. Demand for his work declined, and he declared bankruptcy.
This canvas, which he said brought him to tears, was painted later in Rembrandt’s career, when he was considered in artistic decline.
Ironically, this era yielded many of his most revered works, when rich earth tones ran from thinly painted areas to thick impasto.
“…Hang this picture in a bright light and in such a manner that it can be viewed from a distance. It will then sparkle at its best. “ – Rembrandt
I’m Half Sick of Shadows, Said the Lady of Shalott – John William Waterhouse – English (1849-1917)
John William Waterhouse was born in Rome, prior to his parents moving back to England in the 1850’s. His paintings’ early classical themes gave way to genre paintings in the late 1870’s.
Oil on Canvas – 1915
By 1888, Waterhouse’s paintings reveal a growing interest in Pre-Raphaelite themes. He developed a penchant for ladies of tragic circumstance or femmes fatales. In 1901 he joined the St John’s Wood Arts Club. Here he served on the Art School advisory council.
Based on Lord Alfred Tennyson’s poem – “The Lady of Shalott” is from the legends of King Arthur and his court at Camelot. The Lady of Shalott, aka Elaine Astolat, suffers a curse. Trapped in a tower, she may not look out the window. She observe’s the world through a window-facing mirror, weaving what she sees.
Waterhouse and his wife, Esther, married in 1883. She outlived him by 27 years.
“I’m Half Sick of Shadows, Said the Lady of Shalott” is inspired by the first 2 verses in part II.
PART II
No time hath she to sport and play: A charmed web she weaves away. A curse is on her, if she stay Her weaving, either night or day, To look down to Camelot. She knows not what the curse may be; Therefore she weaveth steadily, Therefore no other care hath she, The Lady of Shalott.
But in her web she still delights To weave the mirror's magic sights, For often thro' the silent nights A funeral with plumes and lights And music came from Camelot: Or when the moon was overhead Came two young lovers lately wed; "I'm half sick of shadows," said The Lady of Shalott.
A prolific creator of art, poetry and prose, Robbie is the Bloggers’ Blogger. Her 2 blogs Roberta Writes and Robbie’s Inspiration will not just entertain, but sweep you around the blogiverse, where she shares a multitude of topics with her many blog pals. – Resa McConaghy
Harriet Boulton Smith (1825-1909) willed her art collection and residence, The Grange – “to serve as the first home of the Art Museum of Toronto. Built in 1817, the Grange is a national historic site,” – now part of the AGO
Please click on the below painting by Louise-Adéone Drölling, to view all research links.
NO AI was used in the research or preparation of this post.
It was the social event of the season. Announced in all forms of media, it would raise a lot of money for GIFFT (Global Initiative for Flora & Fauna Trust).
How could that have happened? Simple. Dorinda pointed out to the board that their smash hit act, THE MIRROR, was drawing in hundreds every night.
Dorinda, wearing a vintage hand crocheted dress, told the board to think of all the money their act could generate. That was all the board needed to headline the 2 girls.
When the hoi polloi found out that Suzette was doing hair and make-up for the girls, ticket sales soared.
It was near impossible to get a beauty appointment at Suzette’s Pink Place, as she only took 2 each week, tops.
Special Thank you to Holly Rene Hunter for her contribution of poetry for this post. I love the way her poetry and my gowns work so beautifully together.
Please note: GIFFT (Global Initiative for Flora & Fauna Trust) is a fictitious charity!
Robbie Cheadle made a fun and gorgeous wedding post on Latinos USA with Art Gown Victorian Sonnetand her fabulously creative cakes. Pop on over for a taste of beauty!
By the way,
As a guest artist at my friend’s Pop-Up Art Gallery Show, I have space to show 2 Art Gowns.
A few Art Gowns pics printed on faux canvases, then painted over selectively with iridescent paint, will also be there.
Additionally, five portraits will be on a slice of wall. The 4 below are now framed.
One of the drawings below will be the 5th. If you’re leaving a comment, let me know which one you’d pick!
This is my first time showing in public, and it is a small sample try. If you are already in Toronto, pop by if time allows!
While we are celebrating the Holidays, pop over to Gigi’s for an Art Gowns’ Fashion Show of all original designs, created especially for CHICKMAS at The Coop!
There is music. The cafe is filled with revellers. Their drunken laughter is loud, but the seasons slip away, and they need something to remember.
A year has passed, and I still light my candles for the window and hope fades like summer into fall. The mirror has no mercy, a reminder of all that has passed through these hands. There is no holding back the past or what lies ahead.
The night deepens as we raise our glasses to the seasons of honey and fire and the aching memory of lovers slipped away.
Snakes and Metaphors
suspended
At the top of the stairs the hours pass hurriedly, lovers flee the break of dawn. Subdued seduction , silhouettes in flickering candlelight.
In black tie and silk gowns, the bourgeoisie sip cognac , exhale circlets of smoke from cigarillos into the softly whirring blades of a bamboo fan.
The walls are thin and the wood floor is bare. Music drifts upward, slips under my door, “La Vie En Rose”, the sighs of desperate lovers , their bodies pressed against one another.
At my mirror I braid silver thread through my hair. Should the Frenchman return I am wearing the dress he likes. Last night he signaled with a stone at my window .
He has taught me how to say I love you and other endearing terms in his tongue. At the hollow of my throat I dab a bit of the perfume he bought for me in Berlin. I’m not sure that is true but I like the scent.
He wants me to follow him but he is not my kind. The weak can not survive love that is bound to die nor can they forgive.
Holly for contributing your luscious poems to this collaboration & to Gigifor being the hallway model (where the music notation is actually the first 5 bars to La Vie en Rose).
It was a nothing, no where, no how day. No one seemed to know who sent the invitation?
Up for adventure and treasure, Genevieve donned her favourite party dress. Arriving at the address on the back of the invite, she found herself in beautiful garden that lead to a porch with 2 cats on it.
Linens & laces inherited from great grandmother & grandmother to mother then her, became all mine; an Art Gown to share.
Her beauty holds memories of Victorian times, and the bright light of many tomorrows.
Victorian Sonnet is dedicated to Diana, her great grandmother Emilie, her grandmother Truly (Caroline), and and her mother Tineke (Dutch nickname for Anna Martine).
Sonnets from the Art Gowns
Structure
Iambic pentameter – 5 feet to a line – 4 lines to a verse – 3 verses & a couplet
Rhyme scheme – ABAB, CDCD, EFEF, GG
Third verse volta
I
Dear Diana your lace and your linen Great grand mother, grandma, mother then you Woven treasure fair sent passed on to begin Romance dance a dress white and blue.
Lace held, fabric draped inspiration gold Creation libation confusion strewn All threads gay with gathers theirs to unfold Ancestry, a love light shimmering through!
Yet should something arise break then the spell To find magic's construct tattered and torn Ere rendered fore tendered tossed into the swell Became fragments merely blithely left lorn.
Our memory painted lingers in mind, Inherited Victoriana's time.
When the fabrics arrived, I threw the lot on top of Lilac Fan Dance. There was also a fabulous mosquito net with cotton top.
There were various lace yardages2 delicate bed jackets
A huge lace tableclothLarge assortment of doilies & table covers
When the time came to begin, there was so much lace and linens, I needed to spread them all out.
All laces and fabrics were hand washed, and tested for tensile strength.
A bertha collar was formed from a bed jacket’s trim and lined with mosquito net.
An underskirt was cut from the cotton top of the netting.
Mosquito netting was added to the underskirt to make it full length. Lace cut from the lace tablecloth was sewn on top of the netting.
A blue linen jacquard tablecloth was formed into a corset shaped top with straps into a plunging back.
My friend Kat gifted me a new Judy, so I transferred the gown to her. She also sent massive yardage of new, but cut into, winter white synthetic curtain sheer, found for a pittance at the good will.
After washing, the sheer was cut into a 3 tiered overskirt, and trimmed with the lace yardages. The sheer makes a solid backing that fortifies the antique laces.
Two side tails were draped in bias from the sheer, then trimmed with edges cut from the lace tablecloth.
A third centre tail was draped from the mosquito netting on bias. This tail was trimmed with the last of the lace yardages. It was then filled in with geometrically placed doilies, table covers and bits of cut up lace edgings.
A bussel was formed from blue serviettes that matched the bodice’s tablecloth, and eyelet lace trim from the second bed jacket.
Vintage hand covered buttons adorn the bodice.
Voilà! Victorian Sonnet
She’s so beautiful, I went overboard taking pics.
OUTTAKES
Serendipity
November, 2023 – The 2 boxes arrived, from Diana. Lilac Fan Dance was still in the making. I knew Diana was mid book. In May, 2024 Victorian Sonnet was begun. 6+ months later, the gown and Diana’s book – Tale of the Seasons’ Weaver – were finished, more or less at the same time.
Art Gowns 
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